Piano Concertos Nos. 1 & 2

Abstract

Confusingly, Beethoven's Piano Concerto No. 1 (1795-1800) actually follows the Concerto No. 2 in order of composition. The confusion is explained by the fact that the composer withhheld what is now known as the Second Concerto from publication in order to make substantial revisions (including an all-new rondo), in the meantime proceeding to complete and publish the present work. There are distinct Mozartean moments in the First Concerto, particularly in the quiet, strings-only introduction to the opening Allegro con brio. With the entrance of the orchestra (complete with brass and timpani), however, the music takes on a more martial character and a distinctive vigor peculiar to Beethoven's style. The second subject, played by violins and woodwinds over a restless bass accompaniment, unfolds in longer, more lyrical phrases. When the piano finally enters, it's with material that can be heard as a variant of either of the themes already presented; a recurring rhythmic figure, though, clearly links it to the music that opens the work. Throughout the remainder of the movement, Beethoven employs light, rapid passagework no doubt intended to display the composer's own virtuosity. Further opportunity for pianistic display arises at the cadenza, which is followed by a brief coda. The Largo second movement begins with a vocally expressive, lyrical melody, an almost prayerful moment that forecasts the profound slow movements of Beethoven's final period. The orchestra answers with a more forthright theme, then eases into a variant of the piano's melody. The soloist returns with further comments in this vein, highly ornamented and subtly supported and commented upon by the strings and woodwinds. After a poignant episode in which the keyboard adopts for the first time a thin, unassuming texture, the piano reintroduces the opening theme, soon joined by the orchestra. The movement closes in a hushed atmosphere. The Allegro scherzando rondo is typical of much of Beethoven's music of the period: full of high spirits, rhythmic syncopations, and irregular phrasings. The piano presents a comically sputtering theme, soon echoed by the full ensemble. Several of the succeeding episodes have a quirky urgency and comic almost melodrama of the sort that inspired silent film scores more than a century later. The work draws to a conclusion in a spirit of both boldness and mischief.