Ludwig van Beethoven 
(1770–1827) 

Concerto for Violin, Cello, and Piano in C Major, Op. 56, "Triple Concerto"
Composed 1803-04

By the early 1800s, Ludwig van Beethoven had become a prominent figure in Vienna’s musical world, known as both a brilliant pianist and a composer of great promise. However, his rising success was soon overshadowed by a devastating personal crisis: the onset of deafness. At not yet 30 years old, Beethoven began to realize his hearing was deteriorating, a cruel fate for a musician whose craft depended on his auditory perception. This painful realization led to deep despair, which he expressed in the poignant “Heiligenstadt Testament,” a letter written to his brothers in 1802. In it, Beethoven revealed how his worsening condition drove him to contemplate ending his life, with only his commitment to his art preventing him from doing so.

Despite this profound struggle, Beethoven channeled his anguish into a period of remarkable creativity. The early 19th century saw the creation of some of his greatest works, including his second through sixth symphonies, the “Razumovsky” string quartets, and his only opera, Fidelio. Among these was the Triple Concerto for piano, violin, cello, and orchestra, composed between 1803 and 1804. Written during a time of personal turmoil, the work stands out for its lightheartedness, lyricism, and the intricate interplay among the solo instruments.

The Triple Concerto is unique in Beethoven’s oeuvre as his only concerto for multiple soloists. Combining the classic piano trio—piano, violin, and cello—with a full orchestra, the work creates a dynamic conversation between the soloists and the ensemble. Beethoven skillfully maintains a balance, often allowing the trio to take center stage with minimal orchestral accompaniment, preserving the distinct voices of each soloist while blending them harmoniously with the orchestra.

Structured in three movements, the Triple Concerto begins with an expansive Allegro, where Beethoven contrasts classical themes with his inventive style. The serene Largo follows, seamlessly transitioning into the final movement, a spirited Rondo based on the lively polonaise, a Polish dance. This concluding section highlights the concerto’s lighthearted and courtly nature, showcasing Beethoven’s mastery in merging classical forms with engaging, rhythmic elements.

Premiered in Vienna’s Augarten in 1808, the Triple Concerto exemplifies Beethoven’s ability to rise above adversity. Its grace, humor, and technical brilliance have solidified its place as a cherished work in the concerto repertoire, reflecting the composer’s enduring spirit.

Instrumentation – flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings, solo violin, solo cello, and solo piano

Duration – 45 minutes

~ Kenneth Bean
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra