The 'FIELDish' RONDOS from the Concertos

            John Field, as forementioned, a notable Irish composer with great masterpieces but now has shrinked to a composer of Nocturnes only. No concert given by Field would have been complete without one or more of his Rondos. He usually billed a nocturne paired with a rondo in the second, lighter part of his programmes, leaving the exact choice of these items to be decided at the last minute. 
           All Field's seven concertos end with brilliant rondos, as what I am focused on, excluding the original rondos, which will be featured in later parts. When no orchestra was available, he would play these pieces unaccompanied, making cuts in the tuttis and changes to the solo part as were necessary. Only three of the rondos were published in revised versions during his lifetime, those form 3rd, 4th and 5th Concertos, though most of the others were published separately, out of their proper context. 
          The rondo from the First Concerto can be played unaccompanied without being altered in any way. The tuttis are extremely brief and sound quite well on the piano. The rondo of the Second Concerto does not adapt quite so easily. Field managed to wrote out a solo arrangement of it for his own use, but the manuscript has not yet been published (as I don't have it too). The rondo from the Third Concerto needed more alteration to make it fit for playing without orchestra. This rondo, in its Polonaise form was always a favourite with Field's audiences. An intended substitution for the long Moderato in the rondo is given in a manuscript, which is unpublished, now available through this book: The Life and Music of John Field. This makes a perfection by smoothening in the solo arrangement of the rondo. A more drastic condensation of the piece with the new title Polonaise en forme de Rondeau was published in 1819.
         The fourth concerto has been published in its solo form of the whole concerto. The rondo is the least altered of the three, with most cuts in its solo part, the tutti parts though left unchanged. The rondos of Fifth and Sixth Concertos also exist in manuscript versions which required no accompaniment. It is obvious that Field has trimmed the concertos suitable to play in the solo form. The last rondo, which is from the Seventh Concerto, since the whole concerto was not even published, so does the revision of the rondo into solo form.

above shown is a snippet from the rondo of 1st Piano Concerto, the part before the tutti comes in. The rondo starts with a lullaby-like theme (an octave higher), imitates a traditional Irish instrument. This is not the original solo form of the rondo but it is most likely identical in notes and music.Score public domain, available at IMSLP.

above shown is a snippet from the rondo of 2nd Piano Concerto, the part before the tutti comes in. The rondo starts with a lovely theme that corresponds to its tempo Moderato innocente, and most suitable to play without orchestra. This is not the original solo form of the rondo but it is most likely identical in notes and music. Score copyrighted by Stainer and Bell, London. This is intended for educational purposes only.

above shown is a snippet from the rondo of 3rd Piano Concerto, the part after the tutti. The rondo starts with lullaby-like theme, imitates a scenery of a meadow, which is popular in Ireland. This is not the original solo form of the rondo but it is most likely identical in notes and music. Score copyrighted by Stainer and Bell, London. This is intended for educational purposes only.

above shown is a snippet from the rondo of 4th Piano Concerto, the part before the tutti comes in. The rondo starts with a lovely theme in pp, accompanied by soft strings. This is not the original solo form of the rondo but it is most likely identical in notes and music.Score public domain, available at IMSLP.

above shown is a snippet from the rondo of 5th Piano Concerto, the part before the tutti comes in. The rondo starts with a sonatina form, leading to tutti by a long cadenza. This is not the original solo form of the rondo but it is most likely identical in notes and music.Score public domain but not readily available.