Rudolf Firkusny (piano)
Philharmonia
Walter Susskind (conductor)
1. Allegro con brio
2. Largo
3. Rondo: Allegro
Beethoven completed his Piano Concerto no. 3 in 1800-1, and its composition was contemporary with the that of the Symphony no. 2. He conceived the work, as he did all his piano concertos, for himself to perform as soloist, and it is therefore worth noting that when some years later, his increasing deafness prevented him from playing in public, he stopped writing concertos. His opus 37 , however, is far more than a conventional virtuoso showpiece. In his previous piano concertos, Beethoven had increasingly sought to create themes which were simple in outline but suitable for thorough development, and in the C minor Concerto this trend is fully exploited.
The opening orchestral tutti is extensive, and immediately gets to the heart of the matter with the first theme, in the 'tragic' classical key of C minor. This theme has enormous potential, containing both lyrical and rhythmic elements as well as phrases which are projected by the various sections of the orchestra. Similarly the second subject is treated extensively, appearing first in the woodwinds before the strings join. But soon theme one is heard in stern outline in the bass, and a rather abrupt cadence prepares the way for the entry of the solo piano, whose three impatient upward scales herald new presentations of the existing material. The piano part is certainly demanding, though at times, for example during the development section, its manner is curiously restrained. The cadenza, as if in compensation, is long and complex, and during the coda the piano remains involved through to the end.
The central Largo is among Beethoven's most exalted lyrical creations, featuring a piano part which demands great sensitivity in phrasing, and gloriously eloquent writing for the strings. As the music proceeds, the florid decorations of the piano line seem to anticipate the style of Chopin, while at the heart of the movement there is a quasi-operatic duet for bassoon and flute, set against impressionistic piano arpeggios. In due course the serene principal theme returns, now featuring new and ever more elaborate embellishments.
The rondo finale is high spirited, but beneath the surface there seems to lurk a more intense emotional mood; this is soon confirmed at the first climax, when the trumpets and timpani hammer out the rhythm. The interludes extend the moods yet further, including hints of playfulness and even frivolity, while the textures are occasionally complex, and new tunes give opportunities to woodwind soloists in addition to the piano. In the final stages, the music moves resolutely into the major key, to ensure a high spirited and triumphant conclusion.
Terry Barfoot
