- Allegro moderato Andante on moto iii . Rondo (vivace)
Theatr an der Wien, Vienna, 22 December 1808 – one of the most momentous evenings in the entire history of music. The weather was freezing, but Beethoven, increasingly and cataclysmically deaf, seized the opportunity to premiere no less than three of the greatest works ever committed to paper before or since, an, not satisfied with that, introduced several other works which were scarcely less eminent. During the four hours’ duration of the concert the shivering audience was privileged to witness the world premieres of the Fifth and Sixth Symphonies and the Fourth Piano concerto, together with those of the Choral Fantasia and a number of songs. The concert was also hugely important as the very last occasion on which Beethoven, scarcely able to hear anything, performed as a concerto soloist, also presenting the solo piano part in the Choral Fantasia, although given the conditions, it was a wonder that any of the musicians could play at all.
The first two of Beethoven’s piano concertos had appeared some years before whillst he was still in possession of his full aural capacity, the Second in B flat, written first but published second, and the First in C major carrying the piano concerto genre beyond the perfection of Mozart into new territory. The Third Concerto, in C minor, had appeared in 1803 during the gestation period for that titan of symphonies, the Eroica when Beethoven had scarcely recovered from the desperation he had experienced when he realised his hearing was beginning to fail, and that concerto explored a degree of angst common to many of his works 1 C minor, notably the Pathetique Piano Sonata, the Eroica‘s funeral march, the Cariolan Overture and the Fifth Symphony.
The G Major Concerto however, is still more miraculous. The opening, intoned quietly and seriously by the piano alone, to be answered just as seriously by the strings of the orchestra as they set off the opening exposition, remains virtually unique in the piano concerto canon, and presages a concerto in which there is just as much serenity .as there is torment. Compared with the grandiosity of the Emperor Concerto which would appear in 1811 the Fourth is inward-looking and cerebral, but completely engaging.
The first movement exposition proceeds with a restrained romanticism, which the solo then begins gilding with glittering passage work. The second subject once aga1.n sees the piano decorating the melodic line. Shortly the development sees dyna 1c arpeggios in the solo set against swirling orchestration carrying us through a myriad of keys before the recap again takes into the slightly more remote territory of the opening exposition. After the massive, improvisatory cadenza (Beethoven’s own), the coda when it comes muses for a moment, then rounds off the movement with almost military precision, a pre-echo of the Emperor concerto.
The brief Andante con moto explores unique ground again; the strings offer a terse challenge to the soloist in angular dotted rhythms, whereupon the piano, completely alone, responds quietly and thoughtfully as if seeking to calm the orchestra. Further cycles of this dialogue follow, until the piano finally succeeds and the strings’ mood changes to one of anticipation, which leads straight into the quietly military but also light-hearted beginning of the final Rondo. The piano gives its own gloss on the rondo theme, then the orchestra bursts with a much louder version. The episodes explore many moods with the piano and orchestra often in equal partnership. Eventually the final solo cadenza leads to the coda, at first reflective, then impish, then finally triumphant.
Notes by HDJ 12th May 2018