Accompanied by the Vienna Symphony Orchestra (Wiener Symphoniker), considered one of the greatest pianists of the twentieth century, the Italian classical pianist Arturo Benedetti Michelangeli (5 January 1920 – 12 June 1995) performs Ludwig van Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, popularly known as the “Emperor”. Conductor: Carlo Maria Giulini (9 May 1914 – 14 June 2005).
Beethoven’s Piano Concerto No. 5 “Emperor”
Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, often called the “Emperor Concerto,” is one of his most celebrated and grand works. Composed between 1809 and 1811, during a time of personal and political turmoil for Beethoven, the concerto reflects both his resilience and innovation as a composer. It was written while Vienna was under occupation by Napoleon’s forces, and despite his deteriorating hearing, Beethoven pushed forward with a powerful and expansive composition. The “Emperor” nickname wasn’t given by Beethoven himself but likely originated from its majestic and regal character.
The concerto is known for its grandeur and technical demands on the pianist, showcasing both virtuosity and lyrical beauty. It opens with a dramatic flourish, immediately setting a bold and heroic tone. Beethoven uses the piano as a central force, often in dialogue with the orchestra rather than as a mere accompaniment. The integration of the piano and orchestra was innovative for the time, marking a significant development in the concerto form. Throughout the piece, there are moments of intensity, triumph, and profound beauty, creating a balance between strength and sensitivity. The concerto’s harmonic and melodic richness, combined with its expressive range, demonstrates Beethoven’s mastery of both form and emotion.
Beethoven’s approach in this concerto represents a shift from the traditional Classical concerto to something more symphonic, with a richer texture and more elaborate piano writing. It’s considered the pinnacle of his piano concertos, blending technical brilliance with deep emotional resonance. The premiere, held in Leipzig in 1811, was not performed by Beethoven due to his hearing loss but by Friedrich Schneider. Despite this, the concerto quickly gained acclaim and remains a staple in concert repertoires, loved for its combination of energy, innovation, and expressive depth.
Movements
There are three movements, with the starting times in the video:
1. Allegro in E-flat major (0:35)
The first movement of Beethoven’s Piano Concerto No. 5, marked Allegro, is a grand and commanding opening that sets the tone for the entire work. It begins with a powerful orchestral chord, immediately followed by a series of virtuosic flourishes from the piano, a striking gesture that breaks with traditional concerto openings. This bold introduction establishes the heroic and regal atmosphere that characterizes the movement. The orchestra and piano engage in a dynamic dialogue, with the piano’s role being far more assertive and prominent than in earlier concertos.
Beethoven crafts the movement with a sense of drama and energy, using the key of E-flat major, often associated with nobility and strength. The thematic material is both expansive and lyrical, moving between powerful, triumphant passages and moments of lyrical delicacy. The piano weaves intricate, technically demanding runs and arpeggios, highlighting both the soloist’s virtuosity and the piano’s expressive capabilities. The orchestra provides a rich, textured backdrop, occasionally taking the lead but always maintaining a cohesive balance with the piano.
The development section explores the themes further, using modulation and counterpoint to add depth and complexity. The piano continues to drive the momentum, showcasing Beethoven’s innovative approach, where the soloist isn’t merely an accompaniment but an equal force in the musical narrative. The movement concludes with a triumphant recapitulation and coda, reinforcing the heroic character and leaving a powerful impression of strength and brilliance. This Allegro movement, with its bold architecture and emotional depth, stands as a defining example of Beethoven’s late Classical style transitioning into the Romantic era.
2. Adagio un poco mosso in B major (21:00)
The second movement of Beethoven’s Piano Concerto No. 5, marked Adagio un poco mosso, offers a profound contrast to the grandeur of the first movement. It is a serene and lyrical piece, unfolding with a sense of calm and introspection. The orchestra introduces a gentle, flowing theme, creating an atmosphere of tranquility and grace. The piano then enters delicately, echoing the theme with a tender and expressive quality, showcasing Beethoven’s gift for creating deeply emotional and melodic lines.
The music is intimate, almost contemplative, as the piano and orchestra engage in a subtle dialogue, exchanging phrases in a way that feels more like a conversation than a display of virtuosity. The pacing is unhurried, allowing each phrase to linger, and the simplicity of the harmonies adds to the movement’s ethereal quality. Beethoven’s use of muted strings in the orchestra enhances the dreamlike atmosphere, while the piano’s lines are gentle and flowing, often resembling a song.
Throughout the movement, there’s a sense of timeless beauty, and Beethoven’s ability to create contrast within the simplicity is remarkable. The restrained dynamics and delicate orchestration allow the piano to shine as an expressive voice, rather than a technical force. As the movement progresses, it maintains this peaceful character, building only slightly in intensity. It leads seamlessly into the finale, with the piano playing a bridge passage that gradually transitions from the calm of the Adagio into the lively energy of the final movement. The effect is one of poetic continuity, making this movement a deeply moving and reflective part of the concerto.
3. Rondo. Allegro ma non-troppo in E-flat major (28:53)
The third movement of Beethoven’s Piano Concerto No. 5, marked Rondo. Allegro ma non troppo, is an exuberant and spirited conclusion that contrasts with the serenity of the previous movement. It begins with the piano introducing a lively, dance-like theme, full of rhythmic energy and playful character. This theme is then echoed and developed by the orchestra, creating a vibrant back-and-forth interaction that propels the movement forward. The rondo form allows Beethoven to revisit this main theme multiple times, each return bringing variations in orchestration and dynamics that keep the listener engaged.
The movement showcases Beethoven’s brilliance in combining virtuosity with humor and lightness. The piano passages are technically demanding, filled with rapid runs, trills, and lively arpeggios, but they never lose their playful charm. The orchestra complements the piano with bright, spirited responses, and together they build a sense of joyful momentum. Beethoven uses syncopated rhythms and unexpected accents, adding a sense of unpredictability and excitement to the music.
As the movement progresses, Beethoven introduces contrasting episodes that vary in mood, some more lyrical and others more forceful, but all maintain the lively and buoyant character that defines the movement. These sections provide moments of contrast before returning to the familiar and joyful main theme, creating a sense of coherence and unity. The movement culminates in a triumphant coda, where the piano and orchestra join forces in an energetic finale. The concluding passages are marked by their brilliance and vitality, bringing the concerto to a powerful and uplifting close.
Sources
- Piano Concerto No. 5 (Beethoven) on Wikipedia
- Piano Concerto No. 5, Op.73 (Beethoven, Ludwig van) on the International Music Score Library Project website
- Beethoven: Piano Concerto No. 5 in E-flat, Opus 73, Emperor on the Boston Symphony website
- Beethoven: Piano Concerto No. 5, “Emperor” on the L.A. Phil website
- Beethoven: Piano Concerto No. 5 “Emperor Concerto” on the Encyclopedia Britannica website