Concerto for Violin, Cello, Piano, and Orchestra in C Major, Op. 56, “Triple”
Ludwig van Beethoven (1770-1827)

THE STORY

      When Ludwig Van Beethoven composed his “Triple” Concerto in 1803, the piano had fully replaced the harpsichord as the preferred keyboard instrument and was increasingly found in households throughout Europe. With that, the piano trio (violin, cello, and piano) had become an especially popular chamber music ensemble.
      Yet, no composer had utilized the piano trio in the way that Beethoven did with this work—with the three instruments collectively serving as soloist with the orchestra. No other composer has done so since, either.
      Beethoven wrote to his publisher about his new concerto, proud of the innovative instrumentation that made the work almost like a hybrid of chamber music and concerto. But unfortunately, the “Triple” was not well received at its premiere several years later. That would be the one and only performance during Beethoven’s lifetime—and even now, the concerto is infrequently performed compared with his other works of a similar scale.
      There are challenges that come with the unique instrumentation. On a purely logistical level, it is difficult to find a way to arrange the solo instruments on stage so that they can all see each other as well as the conductor. Balancing the three solo instruments with the orchestra is also a complex task. But even without any cadenzas in the concerto, Beethoven ensured that each instrument has shining moments—and he took care to vary the texture, offering solos, all possible duet combinations, and sometimes bringing all three voices together.
      Recognizing that the cello’s mellow timbre might make it easy to get lost in the sonic shuffle, Beethoven gave the instrument special treatment, writing for its upper register and bestowing on the soloist especially prominent and virtuosic lines.

LISTEN FOR

• The unusually quiet introduction to the concerto and the frequent use of dotted rhythms and triplets that lends a sense of pomp and dignity throughout the first movement, Allegro

• The emotional depth and poetry of the second movement, Largo, contrasting with the grandeur of the outer two movements

• The string soloists’ lightning-fast passagework in the finale, Rondo alla polacca

INSTRUMENTATION

Solo violin, cello, and piano; flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings