Review:

on 2011-02-22 CharlesMartel Said:

These two concertos, performed by the Georgian Simi Festival Orchestra, bring to life two of Beethoven's most familiar piano concertos, and two of his most significant piano works. Both are rather long pieces in three movements and display different facets of Beethoven's work and were completed within a few years of each other, though Beethoven's own notes suggest that both had been longer in the writing.

Concerto number 4 is scored for a piano and a an orchestra and, unusually perhaps, starts with a piano introduction into which the orchestra slowly emerges in imitation of the soloist at first, before branching out into its own fully fledged part. The second movement has a more severe and perhaps heavy opening before a plaintiff piano enters the scene. The movement is broken by several orchestral interruptions, gradually becoming less imposing, until the piano takes over with a much freer hand than the opening might suggest. It leads directly into the third and final movement which opens in a more pleasant and lively fashion, where orchestra and piano combine perfectly.

Although it as first performed in private at the home of Prince Franz Joseph von Lobkowitz, the public premiere, a year later, is perhaps more significant for it was the last time Beethoven performed as a soloist. However, after its initial performances, Beethoven began to fall out of fashion in Viennese musical circles and it was not revived until 1836 when Mendelssohn took an interest and brought it back into performance. Beethoven's own writings suggest some anger at the piece going out of fashion, exacerbated by his own growing deafness.

Concerto number 5 was Beethoven's last concerto and has been given the nickname the "Emperor", though this was not a label it received when it was written or first performed in 1811, although it was dedicated to his friend and patron, Archduke Rudolf. By now his deafness was so pronounced that Beethoven was no longer able to take on the role of soloist. That role fell to one of his former pupils, Carl Czerny.

The first movement has an impressive opening, full of imperial pomp and grandeur, immediately leading into a piano break which confirms that this is a piece of some power in the performance. This stands in contrast to the opening of Piano Concerto Number 4 which is more delicate. The second movement is more calm and soft with an opening by some strings which are at the same time proud and relaxed. The piano is full of descending arpeggios which mimic the orchestral melody, albeit in a simpler fashion, and run for some time before the fuller arrangement returns to conclude. As with the fourth concerto, it leads directly into the third movement (a popular device with Beethoven), which is impressive and written with some finesse and grace.

To modern ears, less familiar with classical music than perhaps we ought to be, these two pieces can be a little underwhelming on first listen. Modern music is more used to a relatively quick rush to a climax, which is then frequently repeated - the standard verse-chorus-verse format. As a result, it does take some listening to appreciate this work as it ought to be. However, the virtuosity as displayed on this recording is excellent and is an easy avenue into the complex and demanding world of the classical piano concerto. I know this is not to everyone's taste, but I would counsel patience as it eventually brings its reward.
Rating: 7/10