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John Field - Piano Concerto No.7 in c-moll, H.58, Míċeál O'Rourke (piano), London Mozart Players, Matthias Bamert, conductor 01. Allegro maestoso – Lento – 00:00 02. Rondo. Allegro moderato – 17:15 John Field (26 July 1782 – 23 January 1837) was an Irish pianist, composer, and teacher. He was born in Dublin into a musical family. John early on displayed unusual musical ability, making his debut as a pianist at the Rotunda Assembly Rooms in that city when he was only nine years old. The following year his family moved to London, and Field was soon placed under the musical care of Muzio Clementi. “Field began to perform in public in London concerts from 1793 on, (playing, among other repertoire, concertos by Dussek), but the very few compositions surviving from the years before the appearance of the first piano concerto give no clue to the technique that had been building up during his teenage years. So the concert given at the King Theatre on 7 February 1794 marked the true beginning of Field's career as a composer. Field was very highly regarded by his contemporaries and his playing and compositions influenced many major composers, including Frédéric Chopin, Johannes Brahms, Robert Schumann, and Franz Liszt. Piano Concerto No. 7, Field's seventh and last piano concerto is the only one of the set to begin in a minor key. It is not known why Field waited a full ten years before completing the concerto, but when he finally performed the whole work the occasion was a prestigious one — his return to Paris after an absence of thirty years. The concert took place on Christmas Day 1832 and among the distinguished audience were the young Chopin and Liszt. The success was overwhelming, 'a veritable delirium' according to one contemporary account, and the Revue de Paris reported that the tremendous applause made the hall tremble'. Its construction is highly original. Instead of the usual three movements there are only two, although the first contains within itself a contrasting slow episode of sufficient length and substance to be considered as a movement in its own right (later published separately as Nocturne in G). Soft timpani rolle at the beginning of the Allegro maestoso lead to a melancholy but gracious theme somewhat akin to a short keyboard Largo which Field had sketched for his celebrated pupil, Maria Szymanowska. In the finale, an Allegro moderato, the piano's sprightly triple-time theme may have been a source of inspiration for the waltz-like finale of Schumann's Piano Concerto for it is known that Schumann admired the work greatly. Unexpected in this otherwise lively movement are two melancholy passages in which the piano does not participate. The first, for strings alone, consists of melodic fragments interspersed with silence. The second (which was encored at the first performance) begins with a trumpet call. Afterwards the playful mood returns and the piano whirls its way to an affirmative ending.” (from Album booklet)