View of the Augarten Palace and Park, Vienna by Johann Ziegler

Triple Concerto in C major Op.56 for piano, violin, cello and orchestra (1803-4, Beethoven aged 33)

1 Allegro
2 Largo (attacca)
3 Rondo alla polacca

Dedication Joseph Franz von Lobkowitz
Duration 38′

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written by Ben Hogwood

Background and Critical Reception

It is fashionable in recent times to look down on Beethoven’s Triple Concerto, but despite its perceived critical failings it was an innovative work for its time. Lewis Lockwood notes how, “We can readily connect the Triple Concerto with the symphonie concertante that had prospered in France and in French-influenced centres such as Bonn and Mannheim in the later eighteenth century, and which stayed alive until about 1810.”

Beethoven had performers in mind when writing the piece, too – the violinist Georg August Seidler, cellist Anton Kraft (the senior figure in the cello-playing family) and almost certainly Beethoven himself, at the piano. Jan Swafford traces the origins of Beethoven’s thinking to the baroque concerto grosso, describing the work as ‘gorgeous but peculiar, expensive and impractical to perform’. Commentators are united in drawing a link to Beethoven’s intentions at the time of composition, where he was looking to move to Paris and impress the musical hierarchy there. The concerto would have been in his arsenal for sure, but while staying put it quickly lost its allure – with no public performance until 1808, at the summer concerts in Augarten (above)

The Triple Concerto has a substantial structure, with a first movement almost 20 minutes in length – then a relatively brief Largo in A flat major which leads directly to a Rondo alla Polacca finale. The key choice is instructive, A flat having been used for the slow movements of the Pathetique sonata and the Piano Concerto no.1. Commentators have noted how prominent the cello in this piece – and in their excellent book Beethoven’s Cello, Marc D. Moskovitz and R. Larry Todd spend time examining its role.

Along with Lewis Lockwood, they see the Triple Concerto as a forebear to techniques used by Beethoven soon after in his third Cello Sonata, Op.69, with Lockwood going further to bring in the two piano trios Op.70.

Thoughts

Listening to the Triple Concerto is a pleasant if undemanding experience – and if the listener is in the right mood an enjoyable concert experience is in store. It certainly is a long first movement, its 20 minutes an extraordinary length of time for a concerto even when there are three soloists involved. Although it can seem very drawn out at times there is a very appealing warmth, especially when the cello is to the fore. Its themes are invested with a great deal of warmth, complemented by the violin and then trumped by the piano.

The second movement feels like a flash in the pan, for it is only 5 minutes in length (roughly 15% of the work) but it has an appealing tenderness and lyricism. The Rondo alla Polacca is a ‘safe’ C major, though there is some dancing as the soloists have fun together.

The musical language of the Triple Concerto feels relatively basic – back in C major as we were in the Piano Concerto no.1 – but the interplay between the soloists is where the chief interest lies. The language feels quite basic – we are in C major as we were for the first piano Concerto – and the length of the piece is considerable. Yet, in the right combination of soloists and orchestra, the Triple Concerto can still be an appealing proposition.

Recordings used and Spotify links

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Also written in 1804 Spohr Violin Concerto no.2 in D minor Op.2

Next up Piano Sonata no.23 in F minor Op.57 ‘Appassionata’

Violin from Beethoven’s possession, one of four instruments Beethoven received as a gift from Prince Karl von Lichnowsky around 1800 (image from the Beethoven-Haus Bonn)

Romance no.1 in G major Op.40 for violin and orchestra (1800-02, Beethoven aged 31)

Dedication unknown
Duration 7′

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Background and Critical Reception

Beethoven’s first published Romance for violin and orchestra was written after the second, which we have already appraised. It is seen by commentators as part of his preparation for a full-scale violin concerto, having attempted such a work ten years previously.

Once again there is a surprising lack of prose written about this piece, which is odd given its popularity on classical music radio. It is written for a ‘classically sized’ orchestra, the violin teamed with strings, flute, oboes, bassoons and horns.

Thoughts

Beethoven starts his Romance with the solo instrument alone, a striking move. It would have been relatively conventional for a piano to start such a piece on its own, but not the violin – which starts here with soft, plaintive chords, like a drone. The mood is slightly folksy.

Gradually the orchestra join the soloist, and as they do the mood becomes more warm-hearted, the theme heard several times and finished off with a decisive cadence. The violin goes on to lead quite an assertive section in the minor key, before returning to sing the main theme in a higher register.

Recordings used and Spotify links

Anne-Sophie Mutter (violin), New York Philharmonic Orchestra / Kurt Masur (Deutsche Grammophon)
Thomas Zehetmair (violin), Orchestra of the Eighteenth Century / Frans Brüggen
Itzhak Perlman (violin), Berliner Philharmoniker / Daniel Barenboim
Arthur Grumiaux (violin), Royal Concertgebouw Orchestra / Sir Colin Davis

Thomas Zehetmair gives an attractive introduction with the Orchestra of the Eighteenth Century under Frans Brüggen, with a fast tempo choice that results in a swift performance time of five and a half minutes. Perhaps not surprisingly Anne-Sophie Mutter lingers longer, hers a luxurious but tender account with Kurt Masur. Arthur Grumiaux has the ideal singing tone for this piece, while Itzhak Perlman also finds great sensitivity.

You can chart the Arcana Beethoven playlist as it grows, with one recommended version of each piece we listen to. Catch up here!

Also written in 1802 Blasius Clarinet Concerto no.1

Next up Piano Sonata no.16 in G major Op.31/3