Influenced by Mozart’s tendency towards tight
phrasing and expression, Beethoven’s first and second piano concertos
sound more ‘classical’ in style and structure than his later
works. These two concertos obediently adhere to a pattern consisting
of a quick opening movement in sonata form, a slow and expressive introspective
movement, followed by a faster flourishing rondo,. Beginning with a
lengthy orchestral introduction, the solo piano enters with a new theme
which is then repeated throughout. Under the affirmative omnipresence
of Belgian conductor André Vandernoot, the Paris Conservatoire
Orchestra here demonstrates great dynamic range and crystalline definition.
Although Beethoven performed on numerous private occasions during his first
few years in Vienna, his official Viennese debut did not occur until April
1800, when he was the featured soloist and composer in a Hofburgtheater
concert. The programme included Beethoven's
Septet, his
First
Symphony, and his
Piano Concerto in C Major Op. 15 (which was to
become known as his first concerto). The evening also included a Mozart
symphony and selections from Haydn's oratorio
The Creation. Composed
in 1797 - after the
Second Concerto - and dedicated to his pupil
Countess Anna Louise Barbara Keglevics, Beethoven’s
Piano Concerto
No. 1, though seemingly restrained in comparison to his brooding third
(in C Minor) or fifth (
Emperor) concertos, hints at the
inquisitiveness and poise of his later works.
Whilst in Beethoven’s
Piano Concerto No. 1 there is a respectful
distance between the piano and orchestra, there are at times moments
of exquisite synergy where the idea of the creator’s doppelganger
is expressed through music. Though perhaps not ‘revolutionary’
or challenging these works began to reform the standard piano concerto.
With a spry
Rondo (Allegro), Beethoven stamps this concerto with
authoritative vigour, inventiveness and vitality.
In particular, the
Largo is an irresistible exploration of the
psyche. In the distant, dark key of A-flat major, beginning with a slow
version of the march rhythm, this central movement is inward looking and
contemplative.
Topped and tailed in youthful jocundity, Beethoven’s
Second Piano
Concerto encases one of his most soft and svelte Adagios. Opening with
an orchestral presentation of the theme, this movement removes all fussy
embellishments to expose naked emotion. Pure tranquillity morphs into
onomatopoeic pictures of spring in the
Rondo. This brings to mind
Beethoven’s opinion that: ‘Music is a higher revelation than all
wisdom and philosophy. Music is the electrical soil in which the spirit
lives, thinks and invents.’
Demonstrating sensitivity and with an exactingly crisp definition to each
note, Emil Gilels’s 1957 recording is both intimate and universal. The
improvisatory quality is not lost in his freshness and energy and is
balanced with a quiet spiritual sense of the Romantic spirit. With moments
of fortitude and panache in the first and third movements of each the
concertos Gilels certainly commands the stage though perhaps not knocking
over candles as Beethoven did when he was performing.
Lucy Jeffery
Masterwork Index: Beethoven
piano concerto 1 ~~
Piano concerto 2
