Piano Concerto No. 5 (Beethoven)
The Piano Concerto No. 5 in E-flat major, Op. 73, by Ludwig van Beethoven, popularly known as the Emperor Concerto, was his last piano concerto. It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf, Beethoven's patron and pupil. The first performance took place on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz, the soloist being Friedrich Schneider.[1][2] On 12 February 1812, Carl Czerny, another student of Beethoven's, gave the Vienna debut of this work.
The epithet of Emperor for this concerto was not Beethoven's own but was coined by Johann Baptist Cramer, the English publisher of the concerto.[3] Its duration is approximately forty minutes.
Contents
Instrumentation
The concerto is scored for a solo piano, two flutes, two oboes, two clarinets in B-flat (clarinet I playing clarinet in A in movement 2; flute II, clarinet II, both trumpets, and timpani are tacet during this movement), two bassoons, two horns, two trumpets, timpani in E-flat and B-flat, and strings.
Movements
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The concerto is divided into three movements:
- Allegro in E-flat major
- Adagio un poco mosso in B major
- Rondo: Allegro ma non troppo in E-flat major
As with Beethoven's other concertos from this time period, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements of about twenty minutes.)
I. Allegro
- <score>
\relative c' {
\override TupletBracket #'stencil = ##f
\override Score.BarNumber #'stencil = ##f
\key es \major
es2~\f es8 \times 2/3 { f16( es d) } es8-^ f-^ |
g4( es c) bes8. bes16 |
es2~\sf es8 \times 2/3 { f16( es d) } es8-^ f-^ |
g4( es c) bes8. bes16 |
d2\sf es8 r f r |
g2\sf as4.\sf f8 |
es4\p
} </score>
Despite its use of simple chords, including a second theme constructed almost entirely out of tonic and dominant notes and chords, the first movement is full of complex thematic transformations. When the piano enters with the first theme, the expository material is repeated with variations, virtuoso figurations, and modified harmonies. The second theme enters in the unusual key of B minor before moving to B major and at last to the expected key of B-flat major several bars later.
Following the opening flourish, the movement follows Beethoven's trademark three-theme sonata structure for a concerto. The orchestral exposition is a typical two-theme sonata exposition, but the second exposition with the piano has a triumphant virtuoso third theme at the end that belongs solely to the solo instrument (Beethoven does this in many of his concertos). The coda at the end of the movement is quite long, and, again typical of Beethoven, uses the open-ended first theme and gives it closure to create a satisfying conclusion.
II. Adagio un poco mosso
- <score>
\relative c' {
\key b \major dis2(\p cis4 dis | b4 e cis2) | fis4 fis( gis ais | b4 dis, cis2) |
} </score>
The second movement in B major is, in standard contrast to the first, calm and reflective. It moves into the third movement without interruption when a lone bassoon note B drops a semitone to B-flat, the dominant note to the tonic key E-flat.
III. Rondo: Allegro ma non troppo
- <score>
\relative c {
\key es \major \time 6/8 bes8\ff( es) es([ g)] r g16( bes) | bes16( es) es4~ es es16( g) | f8 r d16( f) es8 r g,16( bes) | bes4\trill~ bes16 a bes4
} </score>
The final movement of the concerto is a seven-part rondo form (ABACABA), a typical concerto finale form. The piano begins the movement by playing its main theme, then followed by the full orchestra. The rondo's B-section begins with piano scales, before the orchestra again responds. The C-section is much longer, presenting the theme from the A-section in three different keys before the piano performs a cadenza. Rather than finishing with a strong entrance from the orchestra, however, the trill ending the cadenza dies away until the introductory theme reappears, played first by the piano and then the orchestra. In the last section, the theme undergoes variation before the concerto ends with a short cadenza and robust orchestral response.
Recordings
- In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen's Hall Orchestra under Henry Wood but this recording no longer exists.
- In the 1920s, Wilhelm Backhaus recorded all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in stereo.
- In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra.
- Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
- Josef Hoffmann recorded it with the Chicago Symphony Orchestra, conducted by Hans Lange on May 12, 1940.
- Arthur Rubinstein recorded it three times, with Josef Krips, Erich Leinsdorf, and Daniel Barenboim.
- Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944 or 1945 for German radio. It was one of the very earliest high-fidelity magnetic tape recordings, as well as one of the earliest stereo recordings, and was one of about 300 such recordings made during the war. However, only three are known to survive. During the quiet passages, anti-aircraft weapons can be heard firing.
- Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra.
- Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
- Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic; in 1953 with Eugene Ormandy and the Philadelphia Orchestra; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa.
- Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic. The performance was filmed and released on DVD.
- Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
- Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis, first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden.
- Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould's interpretations. Gould also recorded it with Karel Ančerl.
- Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon. First with Karl Böhm and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic.
- Alfred Brendel recorded all Beethoven's piano concertos at least three times over his career.
- Paul Lewis recorded all five of Beethoven's piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek.
- Murray Perahia recorded all five of Beethoven's piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink, 1988.
Notes
- ↑ Michael Steinberg: The Concerto: A Listener's Guide. Retrieved 4 August 2014
- ↑ San Francisco Symphony. Retrieved 4 August 2014
- ↑ Stevenson, Joseph. Johann Baptist Cramer at AllMusic. Retrieved 5 June 2011.
References
- Walter Gieseking: Wartime German Radio Recordings, Music & Arts Programs of America, Inc. CD-815, 1994.
External links
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Wikimedia Commons has media related to Piano Concerto No. 5 (Beethoven). |
- Piano Concerto No. 5: Scores at the International Music Score Library Project
- Beethoven's Fifth Piano Concerto Analysis and description of Beethoven's Fifth Emperor Piano Concerto
- BBC Discovering Music – analysis (RealAudio, 29 minutes)
- Piano Concerto No. 5 sheet music at Musopen
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