Tchaikovsky’s Piano Concerto

Composed by Jonny Greenwood (born 1971)

10 minutes


Jonny Greenwood is best known as a member of Radiohead, but his music also features in concert halls and cinemas. His Suite from Norwegian Wood comes from his score for the 2010 film adaptation of Haruki Murakami’s novel Norwegian Wood, directed by Tran Anh Hung. The orchestral suite was created in 2011 and first performed at the BBC Proms by the BBC Concert Orchestra.

This is not a traditional film theme, where a big melody tells us exactly what to feel. Greenwood is more interested in atmosphere, texture and emotional tension. The music feels intimate and unsettled, as if circling around memories that are difficult to name. That suits Murakami’s story, which deals with youth, love, grief and the pull of the past.

Greenwood’s writing for strings can be beautiful, but it rarely feels completely comfortable. Lines hover, press against each other, or drift in and out of focus. The effect is close to a half-remembered conversation, or a photograph beginning to fade. Moments of warmth are often shadowed by unease.

Listeners who know Greenwood’s scores for There Will Be Blood or Phantom Thread may recognise his gift for making orchestral music feel both physical and psychological. Fans of Radiohead may also recognise his taste for sounds that are beautiful and unusual at the same time.

The suite lasts about 10 minutes, but creates a strong emotional world: tender, tense, fragile and quietly intense.

Composed by Pyotr Ilyich Tchaikovsky (1840 – 1893)

33 minutes


Pyotr Ilyich Tchaikovsky’s Piano Concerto No 1 is one of the most famous and instantly recognisable works in classical music. From its towering opening chords to its sweeping melodies and explosive piano writing,it is music designed to make a huge emotional impact. Even audiences hearing it for the first time will likely recognise parts of it.

Tchaikovsky wrote the concerto in 1874. Surprisingly, its first private performance did not go well. Tchaikovsky played the work to pianist Nikolai Rubinstein, hoping for feedback and support. Instead,Rubinstein reportedly attacked the concerto, calling it awkward and unplayable.Tchaikovsky refused to rewrite it, declaring he would “not alter a single note”. History proved him right. Today, it remains one of the most celebrated piano concertos ever written and a favourite with audiences around the world.

The first movement begins with one of music’s most unforgettable openings: broad orchestral melodies supported by massive piano chords. Strangely, this famous tune never appears again. What follows is music full of urgency, contrast and virtuosic brilliance, with the soloist pushed to extraordinary heights through thunderous chords, delicate runs and moments of lyrical warmth.

The second movement provides a moment of calm, opening with delicate simplicity before moving into a playful central section. Then comes the finale: energetic, rhythmic and driven by folk-inspired melodies. As the music surges toward its blazing conclusion, the concerto delivers the kind of thrilling release that has captivated audiences for generations.

Composed by Johannes Brahms (1833–1897)

45 minutes


Brahms’s Symphony No 1 took a long time to arrive. He was already admired for chamber music, piano music and songs, but writing a symphony was different. Beethoven’s example still loomed large, and Brahms felt the pressure of following in that tradition. He worked on the piece for many years before its first performance in 1876.

The symphony begins with great intensity. Pounding timpani, rising strings and dark harmonies create a sense of struggle from the first bars. This is music under pressure, pushing forward with determination. The first movement is dramatic and tightly argued, but it also has moments of warmth and lyricism.

The second movement brings a gentler mood. Its melodies unfold slowly and tenderly, offering a sense of reflection after the force of the opening. The solo violin has several beautiful moments, almost like a private voice within the orchestra.

The third movement is lighter and more graceful. Instead of a stormy scherzo, Brahms gives us music that moves with quiet charm. It offers a brief release before the weight of the finale.

The final movement is the symphony’s great emotional journey. It begins in darkness and uncertainty, then gradually opens into a broad, noble theme often compared to Beethoven’s ‘Ode to Joy’. But this is not imitation – Brahms is stepping into the symphonic tradition and finding his own voice.

By the end, the music has travelled from struggle to triumph. That triumph does not feel easy, it feels earned.