BEETHOVEN: Piano concerto No. 5 in E flat major, “Emperor”, op. 73

1. Allegro II. Adagio un poco mosso III. Rondo. Allegro

Of the five piano concertos composed by Beethoven, his last was written in 1809. The key of E flat major, and the atmosphere of the piece, suggest that it is linked to the ideals of the French Revolution and to Napoleon’s cult of personality. Its first public performance was in Leipzig on 28 November, 1811. The solo was performed by Beethoven’s distinguished pupil Czerny. The order of movements in the work is traditional: two fast movements surrounding a slow one. While the first movement is oriented toward the structure of concertos and symphonic sonatas, surprisingly, it begins with a solo cadenza, only after which the orchestra joins in. “The piano solo enters the ensemble like a prince into the throne room, with regal consciousness.” (Bence Szabolcsi) During the slow movement – to quote Szabolcsi again – “the fires of the universe light up… they sparkle in their full nocturnal splendour and merge into an otherworldly coronet.” The movement doesn’t end as such, but after quietly prepared, searching moments, the basic galloping motif of the third movement bursts forth with elemental power. Before the end of the piece, Beethoven surprises us with an unexpected twist: above the sinister, soft beats of the timpani, the solo instrument seems to be bidding us farewell, then the coda explodes with a shower of scales, leaving the feeling in the listener of joy and affirmation.

BEETHOVEN: Symphony No. 3 in E flat major “Eroica”, op. 55

1. Allegro con brio II. Marcia funebre – Adagio assai III. Scherzo. Allegro vivace IV. Finale. Allegro molto

Audiences and critics alike were puzzled by Beethoven’s Symphony No. 3 in 1805. The length of the piece was unusual, as was the so-called “development” section in the first movement. Additionally, after the reprise, yet another long development section follows, instead of the expected short coda. The basic impression is that a single fundamental idea rules the movement: heroic pathos. We hear numerous themes and motifs which are only replaced for a short time by more melodic, gentler musical ideas during the middle of the movement. The slow movement in C minor is a true funeral march, and is followed by an astonishingly energetic scherzo which seems to dispel the mood of the funeral march in no uncertain terms. The beginning of the immense finale is also remarkable. At first we hear only a simple bass theme, and then variations on it as the melodic theme is finally revealed. Then begin variations on the theme, one of which is of distinctly Hungarian character. Beethoven had originally planned this as a Bonaparte Symphony, but upon hearing that Napoleon had crowned himself Emperor, he tore up the title page of the already completed work in disgust. The score was later published as the “Eroica” symphony.