Occasionally it can be hard to find the right words about a piece of music, and today’s choice is one such example. So apart from a little background and a few thoughts, I will let the music speak for itself: when you’ve listened to it, I am sure you will see why I struggled. But the urge to share my love of this with you was more important than the need to discuss it at any length.
Beethoven (1770-1827) wrote five concertos for piano and orchestra. In its entirety, the fourth is my personal favourite, but the slow movement of his fifth, known as the ‘Emperor’, is surely amongst the loveliest of all slow movements of any piano concerto. Although the longest of the slow movements in Beethoven’s five (stay with me), it is not a minute, even a second, too long. Composed around 1809, the piece is deserving of its name by virtue of its length and magnitude, even if Beethoven would probably not have approved the term: at the time he was writing it, he was taking shelter in the cellar of his brother’s house while Vienna was being bombarded by the French under the self-crowned emperor Napoleon. It is believed Beethoven was about 60% deaf by now, so he was unable to play its first performance in 1810 as he had done with his previous four – and his attempt to perform it in 1811 had to be aborted.
And so to the music, which can only be described as sublime, one simple definition of that word being ‘of very great excellence or beauty’. It has a dreamy, introspective quality about it, unlike the majestic first movement and galloping jubilant last. It’s as if a deliberate reflective passage, by way of a rest, is needed between them. The two tunes are gorgeous, with lovely interaction between piano and orchestra, especially in its closing moments with flute and gentle strings, and in the opening I always find myself thinking of “There’s a place for us” from the song “Somehere” in Leonard Bernstein’s West Side Story. Bernstein was certainly a Beethoven fan, so maybe the idea is not so crazy.
The recording here is played by one of the great romantic interpreters, Alfred Brendel, who retired from public peformances a few years ago, and I don’t think it comes much better than this. As this second movement finishes, Beethoven unusually heads straight into the third (a device later used by Schumann in his only piano concerto) by letting the oboe drop a note to allow the piano to introduce the opening of a final romp…I hope your enjoyment of the previous six or seven minutes is not spoiled by being left tantalised at the end!