Beethoven’s Fourth Piano Concerto debuted in 1807 at the palace of Beethoven’s patron, Prince Lobkowitz. Its public debut occurred in a remarkable five hour concert on December 22, 1808, which also premiered the Fifth and Sixth Symphonies, the Mass in C and the Choral Fantasy.
Beethoven opens the concerto with the playing by the soloist alone, dispensing with the conventional orchestral introduction. Very gently, the pianist lifts the curtain by playing the first theme. Then, the soloist drops away and the orchestra begins by adding to the first subject and ushering in a second melody in a minor key. A smaller third idea is also generated before the pianist reappears. The main topic of this movement concerns the soloist’s melody. A development section focuses almost exclusively on its potential.
Beethoven wrote four cadenzas for his concerto, and a pianist has a broad selection for her/his traditional moment of glory. However, in this case, all are subdued affairs with gentle spirit. After the cadenza, the movement concludes with a short coda.
The second movement, an andante in E minor continues the discourse between soloist and orchestra. A rather stern orchestral part vies with the lyrical piano which comments with unsurpassed tenderness, both in dialogue and a ravishing monologue.
An aggressive third movement begins without pause from the second. Strings burst with a flourish, declaiming an energetic tune. The soloist quickly joins in the merrymaking with instant rapport. Trumpets and drums add accent and color. A lyrical second theme emerges, but the consistent mood is propulsive. A long coda brings the concerto to a close.
Here is Yeol Eum Son to play this great music for you:
