INTRODUCERE
The exact date of this concert's premiere is not known, but it is certain that on December 22, 1808, Beethoven presented it in his final appearance as a soloist and conductor, marking his penultimate performance featuring a piano work The concert program was highly ambitious and notably lengthy, even by early 19th-century standards, including the premiere of the Piano Concerto in G major, along with Symphony No 5, Symphony No 6, the Fantasia for piano, choir, and orchestra, and excerpts from the Mass in C major by the composer.
The concert lasted approximately four hours in an inadequately heated hall during the peak of winter, and several unfortunate incidents occurred, particularly during the "Fantasy for Piano, Choir, and Orchestra," when the music stopped, and Beethoven requested a restart due to the musicians' lack of rehearsal time, with some pieces completed on the day of the concert Despite these imperfections, the concert was well-received by the audience, although descriptions of Beethoven's performance were marked as rapid and imprecise, while Czerny's interpretation noted that Beethoven deviated significantly from the written score, adding many unwritten embellishments.
This concert marks the first in a series by the composer, with prior publications preceding its premiere in Vienna It is likely that the concert score is already available in the libraries of amateur pianists in the city However, there remains a possibility that this piece was performed at a private concert in the residence of Prince Lobkowitz.
1 L Plantinga, Beethoven’s Concertos: history, style, performance, W W Norton & Compa- ny Incorporated, New York and London, 1999, pag 210-216
10 martie 1807 unde s-au auditat primele patru simfonii ale maestrului şi un concert neidentificat 5
Despite much speculation regarding the release date of the Concert in G major, it is unlikely that a new concert was performed on the mentioned occasion without any commentary from Prince Lobkowitz's close circle.
Considered by some analysts as the most perfected concert of the composer, this work is undoubtedly the most successful from the fruitful creative period following the premiere of the opera Fidelio in 1805 Beethoven's compositions during this time included the Fourth, Fifth, and Sixth Symphonies, as well as several quartets.
Razumovsky's Violin Concerto, Triple Concerto, and Piano Sonata Op 57 "Appassionata" represent a peak of creativity for Beethoven, marked by both quality and quantity This prolific period was unmatched until after 1820, during the final decade of his artistic life.
Beethoven faced challenges in balancing the orchestral and solo elements in his concertos, but in the Piano Concerto in G Major, he achieves a perfect harmony between these aspects, exemplifying the pinnacle of classical music.
The concert begins with a unique introduction that establishes the musical personality of the soloist, featuring an unconventional gesture of allowing an improvised theme to open the performance This theme concisely presents the thematic material that will be further developed using thematic techniques The opening is marked by a repeated four-note motif following a lengthy eight-note chord in the key of G major, which modulates to D major, concluding the piano's intervention.
These four sounds suggest a tense state, similar to that found in works like Symphony No 5 and Sonata Appassionata Some analysts define this brief motif as one of fate, a melodic and rhythmic element that dictates the musical unfolding of the entire concert section, and is even present in the second theme of the orchestra's exposition, initially, and later in the soloist's part, within the framework of melodic accompaniment in the form of harmonic pedals.
5 L Plantinga, Beethoven’s Concertos: history, style, performance, W W Norton & Compa- ny Incorporated, New York and London, 1999, pag 210-216
10 Vezi V Sandu-Dediu, V Iliuţ şi L Lockwood
After Beethoven establishes the tonal phrase within the dominant key of D major, the strings revisit the piano theme in the key of D major, which is then transitioned to the tonic key of G major in the second phrase at measure.
14 şi care modulează apoi spre la minor, tonalitatea grupului tematic secund, ợn măsura 29
The secondary thematic group presents a distinct and introspective character, marked by a melancholic and lyrical quality that contrasts with the primary thematic group It exhibits greater instability and abruptness, evoking a military essence through the rhythmic presence of eighth notes and the agitation created by the triplet accompaniment in the strings Following intense modulating passages within the secondary thematic group and subsequent sections exploring tonalities like F-sharp major and D major, the tonal plan stabilizes in G major, setting the stage for the highly anticipated soloist's exposition while maintaining a strong momentum established from the concert's outset, preparing the listener for what lies ahead.
The soloist's performance begins delicately, presenting a relatively innocuous decorative form of the piano, which feels distant and somewhat subdued However, as it progresses towards the secondary thematic group, the soloist asserts artistic control with a new theme marked pianissimo in B-flat major, pushing the pianist's hands to the extremes of the keyboard These registers represent the limits of the piano during Beethoven's time, encompassing both treble and bass This brief tonal excursion into the lowered mediant of G major is then stabilized in the dominant key of D major, where a theme reappears, attributed to the string section.
In this section, the secondary thematic group, lyrical and tonally unstable, reappears as expected, resuming its role within the orchestra's exhibition before leading to a bright conclusion Although the overall impression conveys a profound emotional serenity and a strong positive state, it is occasionally intertwined with hints of melancholy and sorrow Beethoven employs a strategy to create a deep contrast within the concert section, preventing it from becoming static and overly sentimental This is achieved through intense thematic work during the development, introducing a state of agitation and profound drama that ultimately brings back the thematic material.
11 L Plantinga, Beethoven’s Concertos: history, style, performance, W W Norton & Compa- ny Incorporated, New York and London, 1999, pag 210-216
12 tema iniţială a pianului ợn repriză, dar de data aceasta cu o voce puternică şi maiestuoasă, ợn nuanţă mare, fortissimo 12
It is important to highlight the remarkable tonal structure of the second movement of Piano Concerto No 4, as well as the overarching theme of dialogue between the piano and orchestra in the second part of the same concerto.
In this section, Beethoven radically transforms the convention of the final trill into a structural element that shapes the concerto's form while enhancing lyrical expression The final trills of the exposition, recapitulation, and cadence introduce significant innovations, as none reach the expected resolution, instead becoming some of the most expressive moments of the piece, with the dissonance of the trill left unresolved The new cantabile theme prolongs the trill and delays its resolution Beethoven's refusal to allow the trill to follow its traditional course blurs the lines between the solo and ritornello sections, eliminating the sectional character of the piece and enabling a more complete integration of the concerto form than ever achieved before This integration extends to the cadence and final section, creating a dialogue between the soloist and orchestra in the last ritornello (or coda), where the soloist elaborates on the orchestral phrase with fluid decoration, continuing the cadence until the final chord.
SCHEMA STRUCTURALĂ A PĂRŢII ẻNTÂI
Partea ợntõi - formă de Sonată cu dublă expoziţie, cadenţă solo şi codă
4(2+2) la minor do major sol major
4(2+2)+2 re major 7/ re major 7/ modulatoriu
(119) ẻncepe cu o strofă introduc- tivă simi- lară cu S1 din exp orch
8(3+2+2) si b major la major/ modulatoriu 119(U)
3] re major sol major/ la major 7/ re major 134(U)
4(2+2U) re minor fa major do major
B1(12) – cu elemente din T1 cu rol modu- latoriu
4(2+2) modulatoriu modulatoriu modulatoriu la major (V din re major) 174(U)
5(2+2+3) la major/ re major re major 193(U)
4(2+2)] re minor/ fa minor/ re minor fa # major 7/ si minor/ do# minor 7/ fa # minor/ sol # major/ do # minor
5(1+2+2)] do # minor/ mi major/ modulatoriu sol major/ sol major/ re major 7 253/1
S1 intro- ductivă variată din exp orch
2) sol major/ si major/ modulatoriu
A1 (11) – diferită ca profil me- lodic
5(2+3) (scurtată) mi b major/ re major
3] sol major/ mi minor/ do major/ re major 7/ sol major 301/134/29
4(2+2) sol major si bemol fa major
B1(12) – cu elemente din T1 cu rol modu- latoriu
6(2+2+2)+ re major 7/ re major 7/ modulatoriu
F4 4(2+2) / re major (V din sol major)
ANALIZA LA NIVEL MICROSTRUCTURAL A PĂRŢII ẻNTÂI, REA-
The proposed analytical model discusses the microstructural elements of musical discourse and the images they create in the listener's consciousness, along with interpretative and technical-pianistic elements presented in the following format.
Suggestions for musical meaning and interpretative-pianistic execution include: a The psychological state conveyed by music, reflecting a range of emotions or soulful states, and the psychological disposition evoked in the listener through the sound image; b Phrasing; c The technical-pianistic realization of the sound image.
Below, I will present several arguments drawn from Pascal Bentoiu to support the validity of the theoretical approach I have undertaken to gain a deeper understanding of the musical phenomenon and its impact on the listener.
„Sensul este o realitate psihică de o complexitate şi coloratură variabilă care există iniţial ợntr-o organizaţie psihică şi care, prin intermediul materialului, este transmisă altei organizaţii psihice.” 24 [ ]
The cultural heritage of the people highlights the contrast between euphoria and depression, ritual and everyday life, action and contemplation These expressions are widely accepted, compelling us to recognize that their significance extends beyond mere convention; they have been embraced because of their intrinsic value.
24 P Bentoiu – Imagine şi sens, Eseu asupra fenomenului muzical, Editura Muzicală a
20 limbajul materialului era deosebit de elocvent (expresiv şi convingător – exprimă ceva foarte clar sau clar).” 25 [ ]
„ẻntr-o zonă psihică complexă pot fi comunicate noţiuni ca violent şi calm, exuberant şi depresiv, simetric şi asimetric, deschis şi ợnchis.” 26 [ ]
The perception of meaning occurs through the dynamic experience of a sound journey, where several key elements contribute to the listener's understanding These include the characteristic profile, shaped by duration and pitch; absolute tempo, which is crucial for assigning weight to each relative duration and pitch within the discourse; intensities that enhance the imagery by creating highlighted areas; and the quality of the material, whether vocal or instrumental, which significantly influences the imaginative engagement of the audience.
Music invites us to engage in various experiences, such as enjoyment, contemplation, meditation, and movement It allows us to share a range of emotions, including pain, joy, nostalgia, exuberance, tenderness, anger, resignation, and enthusiasm Additionally, music encourages us to visualize external images and can evoke feelings of derision or blase attitudes, or simply guide us through a piece of material.
Music embodies an ethical significance, inviting us to reflect on the inconsistencies and informality within the author's personality It reveals a landscape where only a taste for the unusual remains, coupled with a desire to share this appreciation with others and an underlying need for admiration for their artistic endeavors.
Expoziţia a Expoziţia orchestrei (expoziţia 1) – măsurile 1-74:
25 P Bentoiu – Imagine şi sens, Eseu asupra fenomenului muzical, Editura Muzicală a
The main thematic group of the orchestra's exhibition begins with the unexpected intervention of the solo instrument in the first five measures of the initial section, posing a question to the orchestra The string section responds after the piano has introduced the thematic and musical material.
The musical personality of the soloist is established through the unconventional gesture of allowing the pianist to open the concert with an improvisational and melancholic theme This introduction suggests a general state of inner peace and profound lyricism, with tension initially kept under control However, it concisely contains the thematic material that will later be developed through thematic techniques, highlighting contrasting characters and internal conflicts that emerge as the concert progresses, leading to increased tension.
The piano's intervention at the beginning of the orchestra's exhibition, a space dedicated solely to showcasing thematic material, is not entirely new, as it was also employed by Mozart in 1777 in his Piano Concerto No 9 in B-flat major K.V 271 However, this approach is unusual within the current context, as it has not been utilized by anyone since that time.
Beethoven's introduction of a break in the concert format and the sectional nature of orchestral exhibitions marked a significant shift in thematic and musical content He blurred the lines characteristic of the genre, paving the way for Romantic composers to experiment with similar piano introductions This influence is evident in the opening sections of Schumann's and Grieg's concertos, which likely drew inspiration from Beethoven's G major concerto and the "Emperor" concerto, both of which employ a comparable opening structure.
Dacă Beethoven a avut numeroase probleme cu echilibrul din cadrul dublei expoziţii a părţii ợntõi a concertelor sale ợn trecut, cea orchestrală şi cea
22 solistică, soluţia la care a ajuns ợn Concertul ợn sol major atinge stadiul perfecţiunii ợn cadrul clasicismului 32
The concert opens with a repeated motif of four notes in an eighth-note rhythm, following a lengthy eight-note chord in the key of G major This motif suggests a tense state, mirrored in a similar melodic and rhythmic structure, and is present in works like Symphony No 5 and Sonata Appassionata Analysts often refer to this short motif as one of fate, influencing the musical development throughout the concert It is also featured in the second theme of the orchestra's exposition and later in the soloist's part, presented through a melodic accompaniment formula with harmonic pedals, rhythmically modified to showcase triplets.
The motif of destiny serves as a central theme throughout the concert piece, being repetitively emphasized and developed This motif forms the foundation for the most intense section of the concert, which will be further analyzed in my upcoming discussion.
The concert is constructed around the opposition between the Apollonian, characterized by a well-structured harmonic language that follows a defined and stable plan, and the Dionysian, highlighted by an improvisational style, particularly in the piano solo section This section showcases rebellious and free tendencies typical of Beethoven, as well as specific traits of the concerto genre, especially in ornamentation and very small rhythmic values, while still adhering to the formal logic of sonata form.
In measures 1-5, the melody features the third of the G major chord in a direct state (5/3), with a rhythm of tied quarter notes to an eighth note on beats 1, 2, and the first half of beat 3 It then repeats the same note four times in eighth note rhythm during the second half of beat 3, beat 4, and the first half of beat 1 in measure 2 From the second half of beat 2, the melody descends a tone to the note A, which is also repeated four times in eighth note rhythm on the second half.