Piano Concerto 3

Allegro con brio: Largo: Rondo - allegro

Beethoven's Third Piano Concerto, dedicated to Prince Louis Ferdinand of Prussia, was written in 1800 but not performed until an extraordinary concert of his music in the Theater-an-der-Wein in April 1803. Concerts in those days tended to include a great deal more music than today and this was no exception. As well as the Third Piano Concerto, the programme included an Oratorio, "Christus am Olberge" and the First and Second Symphonies. As if that were not enough, further works had been rehearsed only to be omitted in case the concert proved too long. Just as well that this marathon began at the early evening hour of six-o-clock. All this was prepared on only one rehearsal commencing at eight in the morning. According to Beethoven's contemporary Ferdinand Ries, "The rehearsal was a terrible affair which left Beethoven more or less discontented. The Prince Karl Lichnowsky, present from the beginning, ordered large baskets of bread and butter, cold meat and wine to be brought in. He invited everyone to partake and all helped themselves with both hands. As a result everyone grew good-humoured." Beethoven played his concerto from scraps of unfinished manuscript with a willing assistant to turn the pages for him - its reception was luke-warm.

It was during the period from the genesis of the Third Piano Concerto to its unsatisfactory premiere that Beethoven realised more and more that he was going deaf. By 1801 he was deeply distressed as doctors could find no remedy. It was a bitter blow. No surprise that during the summer of 1802, whilst residing in the peaceful surroundings of the village of Heiligenstadt near Vienna, he wrote an anguished document to his brothers Carl and Johann full of suffering, reproach and bitterness. "My heart and my mind were from childhood prone to the tender feelings of affection. Nay, I was always disposed even to perform great actions. But only consider, that, for the last six years, I have been attacked by an incurable complaint, aggravated by the unskilled treatment of medical men, disappointed from year to year in the hope of relief, and at last obliged to submit to the endurance of an evil, the cure of which may last perhaps for years. Forgive me, then, if you see me draw back when I would gladly mingle with you. Almost alone in the world, I dare not venture into society more than absolute necessity requires. I am obliged to live as an exile". As though willing death to rid him of his burden he declaimed, "I hasten to meet death with joy. If he comes before I have had occasion to develop my professional abilities, he will come too soon for me, in spite of my hard fate…..But even then I am content, for he will release me from a state of endless suffering. Farewell, and do not quite forget me when I am dead." There is almost a sense of voyeurism in reading the writings of another human being in such grave torment yet we can rejoice that Beethoven lived for another twenty-five years, contributing some of the most inspired, astonishing and revolutionary music to Western civilization.

The form of the Third Piano Concerto with its three movements is traditional. The orchestra is entrusted with the thematic ideas of the first movement developing an extended introduction of power and beauty yet tempered by the predominantly minor key. When all is clearly stated the piano joins the action. There is something immensely satisfactory in the ensuing dialogue between piano and orchestra; it all seems so well proportioned and balanced. The usual piano solo cadenza further mulls over the musical ideas until, with a stroke of imagination typical of Beethoven, the orchestra is gently ushered back by the timpani. The solo piano starts the slow movement with a startling change of mood and key - this is Beethoven at his most sublime. To confirm the serenity of his music, the more strident wind instruments are eschewed in favour of soft-toned flutes, bassoons and horns. The third and final movement disproves the rule that minor keys produce only sad music. Here is a pert-faced Rondo, firmly in the minor key yet refreshingly bright and bouncy. Musical ideas are freely discussed and appreciated before the music moves on to reiterations of the main theme. Finally, after another solo piano cadenza-like passage, Beethoven does switch to the major tonality for a fizzing ending.