By 1803-4, Beethoven had become Vienna’s favorite musician and felt confident enough to break away from the traditional Classical language so dear to the Viennese. He had shocked his admirers with the “Eroica” Symphony, as well as with some of his piano music of the period, especially the “Waldstein” (Op. 53) and “Appassionata” (Op. 57) Sonatas. The self-confidence also extended to his choice of libretto for his only opera, Fidelio – a story of governmental misdeeds – that was sure to run afoul of the ever-present censor.

Dedicated to “…his serene highness Prince Lobkowitz,” Beethoven’s Concerto for Piano, Violin, Cello & Orchestra was composed during those years. There is no record of commission or of the intended performers, but one theory states that it may have been composed for his 15-year-old pupil, Archduke Rudolph. As he aged, the Archduke was to become one of Beethoven’s staunchest supporters throughout the composer’s turbulent and troubled later years. Another theory, in light of the Concerto’s difficult cello part, is that it was intended for Anton Kraft (1749-1820), a superb cellist for whom Haydn composed his D major Cello Concerto, and who had settled in Vienna.

The Concerto was published in 1807 and premiered in 1808, although there may have earlier private performances. Its form harks back to the sinfonia concertante (actually a concerto for more than one solo instrument) that was so popular in the second half of the eighteenth century, especially in France. Beethoven’s choice of instrumental combination, however, was unique, and he took special pains to balance the contrasting sonorities of the three soloists to avoid their overpowering one another. The public response, however, was cool at best.

While the Triple Concerto it is often performed by an established piano trio, it is important to recognize that it is not a concerto for trio and orchestra, but rather a work for three soloists. While neither the piano nor violin part offers unusual difficulties, Beethoven, with Olympian disregard, gave little consideration to the technical limitations of the cello, making it one of the most difficult parts in the repertoire.

The Concerto does not have the emotional intensity or the momentum of Beethoven’s other concertos. This is especially true in the exposition and development sections of the first movement, where Beethoven repeats the themes in new keys on the different instruments and instrument combinations rather than developing them. This approach, while unusual for Beethoven, was largely dictated by the necessity of giving each solo instrument equal time to expand on all of the three main themes in its own particular way, an issue that does not arise in a solo concerto. Beethoven also forgoes formal cadenzas, which would have been unwieldy with three soloists.

The Concerto opens directly with the first theme as a section solo for the basses; only towards the cadence do the rest of the strings enter, suggesting the musical image of a sunrise. The image is completed as the entire orchestra chimes in on its way to the second theme. 

The Largo is a short lyrical movement with a single theme, first presented by the orchestra, followed by beautiful solos for each of the instruments, each varying the theme in a slightly different way. With minimal orchestral accompaniment, the soloists go on to play variations on the theme more in the style of a piano trio. The movement is actually an intermezzo, or transition, linking directly to the Finale. The bridge, however, is very long, building up considerable tension before finally resolving in the Finale. Beethoven used this effect in the Fifth Piano Concerto as well. 

The rhythm of the rondo theme is that of a polonaise, hence the designation Rondo alla polacca. The movement is shaped like an arch; Beethoven pours out several new themes for the episodes between the reappearances of the refrain, then repeats them before the coda. Its already vivacious theme becomes more boisterous in the coda through a sudden change in tempo and rhythm.

Program notes by:
Joseph & Elizabeth Kahn
Wordpros@mindspring.com
www.wordprosmusic.com