Written by Anna Vorhes

Born
baptized December 17, 1770, Bonn, Germany

Died
March 26, 1827, Vienna, Austria

Instrumentation
solo piano, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings

Duration
34 minutes

Composed
1803

World Premiere
April 5, 1803, with the composer as soloist

Something to listen for
The first movement of the concerto has a sense of reference to Mozart's piano concertos. It begins with the double exposition sonata form so common in the Classical era of music. A double exposition sonata form means that the two themes of the exposition part of the form are "exposed" by the orchestra without the soloist. The first theme sounds quite militaristic, giving a a sense of drumbeat, though the only percussion in the ensemble is the timpani. The second theme is more lyric as those who know the form expect. After the orchestra comes to a sense of closing the section, the pianist enters and embellishes the themes we have heard the orchestra play. These melodies are fragmented, then the recapitulation of the themes begins. You should be able to recognize them as they return. Finally, the piano offers a cadenza, a solo passage giving us a chance to be impressed by the fancy finger work. A coda with the orchestra ends the movement. The second movement begins with the piano playing solo, and as the movement develops returning between explorations of other melodies. The first theme of the rondo (which returns between other themes) is actually rather morose compared to most rondos. There are moments through the movement where a little cheerfulness appears. And to make sure we goon in the right frame of mind after the concerto, the final appearance of the morose theme moves from minor to major, ending in a lovely and happy major key.  

Program Notes

This piano concerto is one of the works that signals the beginning of Beethoven's heroic middle compositional period.  Musicologists divide Beethoven's compositional output into three sections.  The first section is his exploration of the works of his predecessors from the classical era which include Mozart and Haydn, both of whom Beethoven admired immensely.  His first and second symphonies and the first thee piano concertos are part of his exploration.  During this era, he was not as troubled by the deafness that would plague him soon after.  He was able to make his living as a concert pianist.  His works would soon develop into styles that are distinct from his forebearers.  Here however, there is a resemblance to what came before, especially Mozart's single piano concerto in c minor among that composer's twenty-one piano concertos.  The similarity does not erase the distinct differences, but some consider this an homage to Mozart's work.

The occasion for the composition of this particular piano concerto was a benefit concert at the Theater an der Wien.  The concert was all Beethoven works, organized by the composer to fund his own living expenses.  This was common in the early nineteenth century.  His second symphony would be presented after a performance of the first symphony, and this concerto would premiere.  His oratorio Christ on the Mount of Olives was also performed.  Ferdinand Ries conducted the event.

Unfortunately, the musicians available for this massive performance were second-string Viennese performers.  The most skilled musicians had been hired for a performance of Haydn's The Creation the same evening.  The result was disturbing to the players and the composer.  Of course, these works were in manuscript form and tricky to read.  Thie single rehearsal began at 8:00 AM, and by 2:00 PM the musicians were most unhappy.  Fortunately, Beethoven supporter Prince Karl Lichnowsky brought in large baskets of bread, cold cuts and wine.  Once fed, the musicians went back to work.

Since Beethoven was playing the piano solo himself, he didn't write down all the notes of the piano part.  Instead, he made notes and scribbles for himself to help him remember what he intended to do.  As it was not at all close to standard notation, the page turner had to guess where the composer was at any given moment.  Beethoven's student Ignaz von Seyfried was given the job of turning pages though Beethoven had to nod at him when it was time to turn the page.  The composer was also accomplished at improvisation, so the passages that weren't written down were not the same at the rehearsal and at the concert.  Fortunately, Beethoven was skilled and popular, so all turned out well.

The next year the concerto was performed again, this time with Ferdinand Ries as the piano soloist.

As you listen to this concerto, see if you can haer similarities to the Beethoven works you know well.  This is one of the pieces that marked the end of his youthful compositions through which he honed his ability.  His third symphony, the Eroica, was stared shortly after this premiere.  It shows him to be ready to take on refining and changing the norms audiences had learned in the earlier part of the era, thus entering his second period of composition.  He would become the Beethoven who created melodies and motives we all hum or whistle.