A Magical Beethoven Experience
A Desert Island Choice
I have had a love affair with a piece of music since I was about eight or nine years old. I am talking about Beethoven’s Piano Concerto no. 4 in G. There are so many details in this masterwork that always transport me to a very special place where I feel a kind of serene joy.
This concerto was first performed at a highly unusual all-Beethoven concert, running to over four hours, that took place in Vienna on a cold December night in 1808. Three other big Beethoven works also premiered that night: his Fifth and Sixth Symphonies as well as his Choral Fantasy (which includes an anticipation of the famous “Joy theme” of the Ninth Symphony). These are all works that I consider his “musical miracles.”
Listen with me to the Piano Concerto no.4:
The opening fourteen measures are magical. The piece begins with the piano solo announcing a gentle, caressing theme. Beethoven is revealing his tender side. What you are hearing is actually a transformation of the angry fate motif of his contemporaneous Fifth Symphony (three short notes followed by a long one – “ta-ta-ta -daah”). It is evident from his sketchbooks that this motif was one of Beethoven’s great obsessions. Here, it is a unifying motif of the opening movement.
At the very start, we hear the pitch of b as a melody note supported by the G major chord. But when the orchestra softly and sweetly comes in, that same pitch of b is now part of a B major chord – an absolutely magical touch. And before we know it, he has circled back ever so gently to the home key of G.
The music of the orchestra builds to a crescendo of joy centered around G.major, then is seamlessly juxtaposed with some minor-key interpolations that give it a tinge of sadness. You will notice that the orchestration is limited to wind and string instruments, as befits such a serenely beautiful work.
Here is a link to an outstanding performance from the 2013 London Proms featuring Mitsuko Uchida performing with the Bavarian Radio Symphony under Mariss Jansons.
Uchida is a pianist of transcendent gifts, unmatched in her interpretations of Beethoven as well as of composers like Mozart, Schubert, Debussy, and Ravel.
Here are some important cues synced with this performance:
0:13 this is where the opening piano solo begins: notice with what extreme care Uchida plays that opening solo. It’s as if she is whispering a very special secret.
0:31 the orchestral tutti begins, entering in the key of B major
O:53 the music has gently circled back to G and starts building in a crescendo of joy
1:29 brings the brief interpolation of some minor keys, suggesting a brief tinge of sadness. Notice also some of the wind instruments like oboe and flute.
3:10 the piano re-enters, transforming the motif from the very opening
Leave a comment here to let me know your response to this music. Are there any particular pieces you would like me to talk about with you?
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A very stirring performance!