Beethoven’s fourth piano concerto is every bit as beautiful and in several respects more original than its predecessors.
Instead of an orchestral opening, which until this work had been the customary starting point for any concerto, Beethoven begins with a brief meditation by the piano alone. Its statement, growing out of a series of repeated notes, is answered at once by the orchestra. Only upon the conclusion of that phrase does Beethoven launch into the full and proper exposition of his thematic material.
The close weaving of piano and orchestral music that marks the first movement gives way in the second to a kind of dramatic encounter unique in Beethoven’s music. In each of his other concertos, the middle movement offers hymn-like music of deep serenity. Here the piano responds lyrically to the stern statements of the orchestra, their exchanges growing increasingly urgent and eloquent.
The concluding rondo finds Beethoven’s spirits restored. This is the most elegant of the composer’s concerto finales, for although quite exuberant, it does not convey the earthy humor that generally marks his closing movements. Rather, its delights are of a more refined sort and often surprise us, as when the violas unexpectedly emerge from the orchestral texture to sing a lyrical melody based on the recurring principal theme.
Here is a totally amazing performance of this music by pianist Helene Grimaud:
