In 1794, Beethoven met a precocious violinist, Franz Clement, who was only thirteen at that time. Shortly thereafter, he wrote to the teenager, “Continue along the road on which you have already made such a fine and magnificent journey. Nature and art have combined to make a great artist of you…”
Beethoven followed Clement’s career and trusted him with conducting the first performance of his Eroica. Selecting him to premiere of the violin concerto Opus 61 was not surprising.
On December 23, 1806, at Theater an der Wien in Vienna, Franz Clement, noted for “graceful playing, a relatively small but expressive style, and unfailing purity in high positions and exposed entrances.. indescribable delicacy, neatness and elegance” introduced Beethoven’s Violin Concerto, which he had requested from the composer. The frequent high positions, restraint, and lyricism in Opus 61 were tailor-made for his personal strengths, and the concerto was dedicated to him.
To audiences of that time, however, the Violin Concerto was perplexing at best because it just did not seem like a “real” knockout concerto. For example, the opening began with a long three minute wait for soloist entry; the five note “knocking rhythm” from the timpani seemed strange; direct connectivity between second and third movements was unusual; a brusque ending was shocking; a comparative “lack” of traditional virtuosity was disappointing, and the length seemed excessive.
It was not until the precocious Joseph Joachim at age thirteen played the concerto in London in 1844 with Mendelssohn conducting, that the concerto began to thrive. Audience reception finally was positive, and Joachim continued to play the concerto many times to great acclaim.
Listen now to Anne-Sophie Mutter as she performs this music.
