Concerto for Piano No. 2 in D minor, Op. 23 Cover Image

Concerto for Piano No. 2 in D minor, Op. 23: Piano Solo

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Concerto for Piano No. 2 in D minor, Op. 23 Cover Image
Concerto for Piano No. 2 in D minor, Op. 23: Piano Solo

Concerto for Piano No. 2 in D minor, Op. 23: Piano Solo

Edward MacDowell

Item: 36-W713191
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Description
The first major piano concerto written by an American, CONCERTO FOR PIANO NO. 2 IN D MINOR, OP. 23 by Edward MacDowell (1860-1908) manages to be quite original, although some similarities to the concertos of Grieg, Saint-Saens, and Liszt may be found. Although it remained unperformed for the first few years after its completion in late 1885, it did finally receive its premiere in 1889, with the New York Philharmonic under Theodore Thomas, and the composer at the piano. Although many of MacDowell's smaller works continue to be performed regularly, MacDowell's PIANO CONCERTO NO. 2 is the only large-scale composition to remain in standard repertoire. This piano reduction, written for two pianos with four hands, is in performance score format, so individual copies are needed for each performer.

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Additional Details
Series: Well Tempered Press - LudwigMasters
Publisher: Keiser Productions, Inc.
ISBN10: 1-63887-630-4
ISBN13: 978-1-63887-630-4
UPC: 735816290160
SKU: 36-W713191
Instrumentation: Detailed Instrumentation: 2 Pianos, 4 Hands

More about this title

About the Composer: Edward MacDowell

Edward MacDowell (1860-1908) stands as the first American composer to achieve international recognition for large-scale orchestral and concertante works. Trained in Europe under the influence of the Romantic tradition, MacDowell absorbed the architectural ambition of Liszt and the lyrical gift of Grieg, then synthesized these with an unmistakably American voice rooted in nationalist sentiment and folk idiom.

His legacy rests primarily on the Concerto for Piano No. 2, a work that secured his reputation during his lifetime and remains the most frequently performed large-scale composition from the American Romantic era. MacDowell spent his final years as a professor at Columbia University, profoundly shaping American musical pedagogy before his early death at age 47.

Why we love this

This work delivers the dramatic scope and Romantic grandeur that students expect from a concerto, yet it remains more accessible than many European contemporaries. The D minor tonality creates natural drama, the piano writing lies well for advanced amateurs, and it fills a genuine void in American concert repertoire, allowing directors to program a major keyboard work with authentic historical weight.

What to expect

Heroic and driving in the outer movements, with surging Romantic lyricism and moments of virtuosic brilliance. The slow movement opens into intimate, almost melancholic introspection before the finale launches into exuberant, flag-waving climactic passages that affirm both American identity and pianistic triumph.

Who it's for

Advanced pianists seeking a substantial solo work with genuine concert credentials, or collaborative pairs who want to tackle a major Romantic-era composition. This suits upper-level undergraduate students and serious amateurs ready for music that demands both technical facility and interpretive maturity.

How to get the most out of it

  • Balance the two pianos as soloist and accompanist rather than equal partners; the primo part should speak with confidence while the secondo provides harmonic and rhythmic support without overwhelming.
  • Attend closely to the emotional architecture across all three movements. The outer movements demand virtuosic energy, but the slow movement's introspection requires restraint and tonal refinement to avoid sentimentality.
  • Study the score together before rehearsal begins. This reduction demands tight coordination between players, especially during passage work where rhythmic precision determines whether runs sound brilliant or muddled.

How to use it

Feature this as a centerpiece recital work or as part of a concert celebrating American Romantic composers. Its substantial length and formal rigor make it suitable for a solo recital's opening statement or a program that positions MacDowell alongside Liszt and Grieg to highlight transatlantic artistic exchange.

Skills your students will build

  • Handling large Romantic-era formal structures (sonata form with cyclic themes across movements)
  • Balancing independence and coordination in piano ensemble writing
  • Building stamina and technical security across virtuosic passage work in D minor positions
  • Managing pedal transitions in orchestral transcriptions to create orchestral color at the keyboard

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