Beethoven’s Piano Concerto No. 2 in B-flat major, Op. 19 is an early work, rooted in the classical style, yet already revealing glimpses of the bold voice that would define his later compositions. In this performance, the concerto is played by Margarita Höhenrieder (piano) and the Kammerphilharmonie Amadé under the baton of Leon Fleisher. The concert took place in 2014 at the unique industrial setting of the Zeche Zollverein in Essen, Germany.
(00:00) I. Allegro con brio
(14:01) II. Adagio
(23:51) III. Rondo. Molto allegro
Although officially designated Beethoven’s Piano Concerto No. 2, this was actually the first piano concerto he composed. Its creation spans several years: sketches and fragments date from 1786 to 1792, when Beethoven was still living in Bonn. After multiple revisions, the work was premiered on March 29, 1795, at Vienna’s Burgtheater — with Beethoven himself at the piano. He later revised the concerto again before publishing it at the end of 1801.
Interestingly, Beethoven began work on his Piano Concerto No. 1 in C major, Op. 15 at a later date, but it was published earlier, in the spring of 1801. That’s why it carries a lower opus number and is considered his "first" concerto in the official catalog.
Both early piano concertos were pivotal for the young composer from Bonn — they served, so to speak, as his musical calling cards. Since arriving in Vienna in 1792, Beethoven had quickly gained access to aristocratic circles thanks to his virtuosity, and these influential patrons also supported him financially. The aforementioned 1795 concert marked his first public performance in the musical capital of Vienna, boosting his reputation as a piano virtuoso. That said, Beethoven himself reportedly claimed that his first and second piano concertos were not among his best works.
Following in the footsteps of Wolfgang Amadeus Mozart (1756–1791), who had popularized the piano concerto as a genre — and dazzled audiences with his own brilliance as a pianist — Beethoven’s Second Piano Concerto still closely echoes the stylistic hallmarks of his predecessor, especially in the first and third movements. Yet dramatic moments throughout already hint at the unmistakable personal style that would later define Beethoven’s music.
Margarita Höhenrieder discovered her love for the piano at an early age. She gave her first public performance at the age of seven in Munich’s Herkulessaal. She studied with Anna Stadler and Ludwig Hoffmann in Munich, and later with renowned American pianist and conductor Leon Fleisher in Baltimore.
In 1981, she won First Prize at the prestigious Busoni Competition in Bolzano, joining the ranks of other notable Busoni laureates such as Martha Argerich and Jörg Demus. At the age of 28, she became Germany's youngest piano professor when she was appointed to the University of Music in Würzburg. In 1991, she was appointed to the University of Music and Performing Arts in Munich.
As a soloist, Margarita Höhenrieder has performed with many of the world’s most celebrated conductors and orchestras, including Kirill Petrenko, Claudio Abbado, Lorin Maazel, James Levine, Ivor Bolton, Riccardo Chailly, and Fabio Luisi, as well as with major ensembles such as the Bavarian Radio Symphony Orchestra, the Munich Philharmonic, the New York Philharmonic, the Staatskapelle Dresden, the Gewandhausorchester Leipzig, the Mozarteum Orchestra Salzburg, and the Mahler Chamber Orchestra.
© 2014 Accentus Music
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