Were these dances for Beethoven’s imagined wedding? The Concerto in C major for Violin, Cello, Piano and Orchestra, Op. 56 — popularly known as the "Triple Concerto" — is a celebration of joy in life unlike any other work by the great classical composer. It is performed here by Nicola Benedetti (violin), Jan Vogler (cello), Alexander Melnikov (piano), and the Dresden Festival Orchestra under the direction of Ivor Bolton. The concert took place on April 28, 2017, at the Kulturpalast Dresden.
(00:00) I. Allegro
(17:38) II. Largo
(21:46) III. Rondo alle polacca
There has long been speculation about the origins of the Triple Concerto, which Ludwig van Beethoven (1770–1827) composed in the first half of 1804. One theory points to the cheerful and optimistic character of the concerto and to the dance forms that shape its three movements: a festive march, a stylized minuet and a polonaise. According to this interpretation, Beethoven put to music a "celebration of the eternal wedding feast" — the longed-for culmination of his love for Josephine Brunsvik (1779–1821). In 1799, she had married Count Joseph Deym and soon gave birth to four children in quick succession. During this time, Beethoven was a regular visitor to the countess and gave her piano lessons. When Count Deym died unexpectedly at the beginning of 1804, a passionate love affair developed between the composer and the widow, lasting several years. But it was not to have a happy ending, since Beethoven was not considered a suitable match.
Another theory about the origins of the Concerto in C major for Violin, Cello, Piano and Orchestra identifies Beethoven’s prominent piano student Archduke Rudolf of Austria (1788–1831) as the intended recipient of the work. The argument for this is the striking difference in difficulty between the solo parts in the concerto: the violin and cello parts are highly demanding, whereas the piano part is conspicuously simple. According to this view, Beethoven wrote it that way so that the Archduke could take part in a performance of the concerto. However, there's no solid evidence for this theory, especially since the Archduke only became Beethoven’s student after the Triple Concerto had already been composed.
In fact, the score is dedicated to Prince Franz Joseph Maximilian von Lobkowitz (1772–1816), one of Beethoven's patrons, to whom he dedicated numerous other compositions as well. The Triple Concerto was published in 1807, and its premiere took place on February 18, 1808, in Vienna. The audience wasn't especially reactive to the piece. Perhaps that's because once again Beethoven had dared to do something revolutionary: he had invented a new genre. It was the first time in music history that a solo piano trio was performed with an orchestra — and in such a way that the orchestra was not set against the piano trio as a single unit, but rather against the individual instruments of the trio, either as soloists or in pairs. The result was a texture of combinations resembling a sinfonia concertante.
On the other hand, Beethoven’s Triple Concerto could almost be described as a cello concerto. The cello quite clearly plays the leading role here, and its part is the most difficult by far. The Triple Concerto has even been called the most difficult cello piece of all. Seen in that light, one might regard it as the cello concerto that Beethoven never actually wrote. In the end, however, this work — difficult to classify in generic terms — stayed outside of the limelight for a long time after its premiere, despite its momentum and the sense of good humor it conveys when it's performed.
Fun fact: It's thanks to Herbert von Karajan (1908–1989) and the Berlin Philharmonic that Beethoven’s Triple Concerto became popular again, starting in 1969. It was recorded it with Russian soloists David Oistrakh (violin), Mstislav Rostropovich (cello) and Sviatoslav Richter (piano). Rostropovich’s recollection said of the recording: "I tried to play Beethoven, David believed he was playing Beethoven, Sviatoslav, as always, played only himself, and Karajan believed he was Beethoven."
Text: Rita Kass
© 2017 Accentus Music
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