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Beethoven's Piano Concertos

1K views 13 replies 10 participants last post by  Hurrian 
#1 · (Edited)
Can you guys offer your thoughts/experiences with these pieces? I think they are so fantastic, almost like Mozart on steroids, which I've said of Haydn before as well, but might I say Beethoven may achieve more character than Haydn did with at least his symphonies (sans his piano sonatas which are exquisite beyond words).

Did Beethoven compose these in his early career, because I don't hear the romantic touches in these as much as Classical, Mozartian ones.
 
#2 ·
As far as I know they were composed for Beethoven to perform himself, so they all come from relatively early in his career when he could still hear well enough to function as pianist. The last two begin to lean decidedly towards romanticism, but they are all very uniquely Beethoven.

My personal favourite is the dreamy and lyrical no 4. The second movement must be one of the most stunningly original ideas any composer ever had, and there are bits in there that are quite modern-sounding too.

But then, originality was his game. For example, who in his right mind does not only open a violin concerto with soft taps on the timpani, but then uses that little motif as the basis of an entire movement? The mind boggles. :)
 
#7 ·
As far as I know they were composed for Beethoven to perform himself, so they all come from relatively early in his career when he could still hear well enough to function as pianist.
The exception is #5, which was premiered by Archduke Rudolf (!) Soloists in subsequent performances were Friedrich Schneider and Carl Czerny. By that time, Beethoven was retired from public performances.
 
#3 · (Edited)
If you're new to these concertos, it's important to know that the #2 is actually #1. The publishing of #2 was delayed. It's not hard to hear the difference between them. The #2 is more classical era, even more 'Mozartean'. It's main composition occurred while Mozart was still alive -5 years or so before the #1- though it was revised somewhat before it reached its final form about 1795 and then was published in 1801.
 
#5 ·
If you're new to these concertos, it's important to know that the #2 is actually #1. The publishing of #2 was delayed. It's not hard to hear the difference between them. The #2 is more classical era, even more 'Mozartean'. It's main composition occurred while Mozart was still alive though it was revised somewhat before it was published in 1795.
Similar to The Beatles Abbey Road and Let it Be ordeal.
 
#11 ·
I listened to the Third Concerto on the radio a few days back. I was again amazed by this work. It may be my favorite of the five piano concertos. It's sturdy "Beethoven".

The first two concertos are certainly wonderful, and they speak of beginnings. One hears the influence of Haydn and Mozart, still. The last two are unique creatures of Beethoven's most experimental age. The Fourth is so different from anything else, sort of like the Eighth Symphony, and the giant Fifth is beautiful and noble sort of in the manner of the Ninth Symphony. But that Third. That strikes the ears as does the monumental Third Symphony -- a fully formed original Beethovenian architectural structure that screams the composer's mark.

I've long loved the Egmont Overture as the "perfect" example of Beethoven's music. The Egmont Overture would be a wonderful introductory piece in a concert featuring the Third Concerto, followed by the Third Symphony, or the Fifth Symphony. This is Beethoven at his most Beethovenian finest. Not the early genius finding his way or the later genius writing deeply introspective, philosophical soundings. But quintessential Beethoven.

And what is better than quintessential Beethoven?
 
#13 ·
The Third was well-regarded from the beginning. From a contemporary review:

"This concerto is among the most important works published by this genial master in recent years. In certain aspects it may even excel above all others. In none of his latest works does the reviewer find so many beautiful and noble ideas, such a thorough execution that does not tend to the bombastic or contrived, such a firm character without excesses, or such unity. Wherever it can be performed well, it will have the greatest and most beautiful effect. Even in Leipzig, where one is used to hearing the greater Mozart concertos performed well and where one views them with justifiable preference, this will be and has already been the case."
 
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