Piano concerto No. 4 in G major

Ludwig van Beethoven's Piano Concerto No. 4 in G major, op. 58, was composed in 1805–1806, although no autograph copy survives.

The work is scored for solo piano and an orchestra consisting of a flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. As is standard for concertos, it is in three movements:

I. Allegro moderato (G major)

II. Andante con moto (E minor)

III. Rondo (Vivace) (G major)

The Fourth Concerto was premiered by Beethoven himself, at a private concert given in March, 1807 at the palace of his patron, Prince Lobkowitz. However, the public premiere was not until 22 December 1808 in Vienna at the Theater an der Wien. Beethoven again took the stage as soloist. This was part of a marathon concert which saw Beethoven's last appearance as a soloist with orchestra, as well as the premieres of the Choral Fantasia and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.

A review in the May 1809 edition of Allgemeine Musikalische Zeitung states that "[this concerto] is the most admirable, singular, artistic and complex Beethoven concerto ever."^{[citation needed]} However, after its first performance, the piece was neglected until 1836, when it was revived by Felix Mendelssohn.

Movements

I. Allegro moderato

The first movement opens with the solo piano,^[1] playing simple chords in the tonic key before coming to rest on a dominant chord. After a poetic pause of two and a half beats, the orchestra then enters in B major, the major mediant key, thus creating a tertiary chord change. This becomes a motif of the opening movement.

The orchestra states the main theme in B major, dropping through the circle of fifths to a cadence in the tonic, G major. The theme is then stated again, this time in stretto between upper and lower voices. A very strong cadence in the tonic, withering away within one bar, introduces a transitional, modulatory theme with restless triplet accompaniment, also containing hints of stretto. The music moves to the minor mediant key, B minor, while its dynamic is reduced to pianissimo, at which point material from the opening theme returns. Through a rising bass line and sequential harmonies, the music regains the tonic key (on a dominant pedal) with a new theme derived from bars 3, 4, and 5. The final cadence is delayed for several bars before the material from the opening bar resurfaces as the movement's closing theme, accompanied by a tonic pedal over forte dominant chords.

The piano's entrance resembles an Eingang, an improvisatory passage from Mozart's day that would have occurred after the orchestra's last unresolved dominant chord, but before the piano played the main theme. Beethoven captures this improvisatory style by accelerating the rhythm in the piano part, from eighths, to triplets, to sixteenths, and finally in a scale that rushes downward in sixteenth sextuplets. A long preparation is then made before a tonic cadence duly arrives, and the orchestra once again takes up the main theme.

II. Andante con moto

The second movement is widely associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades. It was long thought that Franz Liszt had been the first to suggest this association, although, as musicologist Owen Jander pointed out (Jander, 1985), it was probably first used by Adolph Bernard Marx in his 1859 biography of Beethoven. The movement's quiet E minor ending leads without pause into the C major chords that open the finale.

The solo cadenza at the end of the movement involves pedaling directions that cannot be executed on the modern piano; for discussion see Piano history and musical performance.

III. Rondo (Vivace)

In contrast to the preceding movements, the third movement, in traditional rondo form, is characterized by a very rhythmic theme. The main theme begins in the subdominant key of C major before correcting itself and cadencing in the tonic of G major.

Popularity

This concerto is one of the most popular among pianists, evidenced by the many cadenzas written for it by various pianists and composers throughout history; these include Clara Schumann, Feruccio Busoni, Hans von Bülow, Ignaz Moscheles, Camille Saint-Saens, Anton Rubinstein, Nikolai Medtner, Eugèn d'Albert, Leopold Godowsky, and Samuel Feinberg, to name but a few.

References

• Freed, Richard. Piano Concerto No. 4 in G major, Op. 58 Accessed 1 May 2006.
• Jander, Owen (1985) "Beethoven's 'Orpheus in Hades': the Andante con moto of the Fourth Piano Concerto," Nineteenth Century Music 8:195-212.

Media

External links

• Piano Concerto No. 4 was available at the International Music Score Library Project.

References