Beethoven: Piano Concerto No. 4

Although in Vienna Beethoven became known primarily as a pianist, and composed many works in which he could show off, six years elapsed between the third (1800) and fourth piano concerto (1806). These years were filled with hard work and shattering personal experiences. He was very worried about his increasingly deteriorating hearing, and harbored doubts about his nephew's development. His despair resulted in suicidal thoughts, and in the famous will he wrote in his residence in Heiligenstadt, where he takes his leave of life. When the crisis was overcome, he decided in 1802 to "consecrate my life and my music to humanity". He realized that his talent was unique, and that he had to develop it. During these years he wrote the fourth and fifth symphonies, the second version of the opera Fidelio, the Waldstein and Appassionata sonatas, the Rasumovsky quartets and much else that pushed his creation forward. As early as 1804, he had begun sketching the fourth piano concerto, and at the beginning of 1806 serious work began. The Fourth Piano Concerto became his most lyrical and personally heartfelt concerto. This is a work in which delicate fine joinery dominates. By having, against all rules, the soloist lead alone, and then having the orchestra repeat the main theme faintly in pianissimo, he confused the audience to such a mild degree that they found the music very peculiar. In addition, the music seems to continue in a disorderly and improvised way that threw all the rules out of play. It took time for the listeners to realize that it is a true musician who has been on the move! The concerto was dedicated to his pupil and patron, Archduke Rudolph, and was only performed twice in Vienna during the composer's lifetime: the private premiere at Prince Lobkowitz in March 1807 and in public in December 1808, at the famous concert where the 5th and 6th symphonies were also performed , as well as the great choral fantasy op 80, movements from the C major mass and the concert aria Ah Perfido!. Beethoven himself played the solo part and contemporary testimony tells us that he played with great impulsiveness and speed. The first movement is the most extensive and here the dreamy character of the concert is founded. The slow movement is a battle between a gentle piano playing and a strong string orchestra. The friendly piano succeeds in subduing the hostile orchestra and in a happy and glorious finale the piano can celebrate the victory when finally the timpani and trumpets are activated.