Beethoven: "Triple Concerto" in C major, Op. 56 (with Score)

Ludwig van Beethoven:
Concerto for piano, violin, cello & orchestra in C major ("Triple Concerto"), Op. 56 (with Score)
Composed: 1803 - 1804
Violin Solo: David Oistrakh
Violoncello Solo: Mstislav Rostropovich
Piano: Sviatoslav Richter
Conductor: Herbert von Karajan
Orchestra: Berlin Philharmoniker
00:00 1. Allegro (C major)
17:57 2. Largo (A-flat major)
23:34 3. Rondo alla Polacca (C major)
Beethoven's "Triple" Concerto is often treated as the less brilliant sibling of the more imposing works composed around the same time: Fidelio, the Fourth Piano Concerto, the Violin Concerto, and the Fourth Symphony. It is important to note that this work was written with an amateur pianist in mind: the relatively simple piano part was designed for Beethoven's patron, the Archduke Rudolf; nevertheless, professional musicians are required for the brutal cello part and the less difficult -- but still quite challenging -- violin part. The work was not premiered until 1808, failed to go over well, and has received limited attention ever since. The themes do tend to wander, their development is rather haphazard, and there are no showy cadenzas; in the work's favor, the subtle effects for the soloists and their imaginative interplay with the orchestra must be noted. The concerto follows all the expected patterns. The first movement, Allegro, is in sonata form, with the principal themes laid out by the orchestra before the soloists put in an appearance. The first theme is optimistic, elegant, mildly striving, but completely unpretentious: almost a German walking tune. The two string soloists come in with their version of the first theme, which is soon taken up by the piano with the strings playing a subsidiary role. The soloists develop this material sometimes individually, sometimes the strings alternating with the piano, and sometimes in conjunction with various components of the orchestra. In general, though, only one soloist takes the spotlight at a time, if only for a few bars. This polite turn-taking stretches the movement beyond the point its thematic material merits, the inventive dialogue among the instruments almost compensating for the thin content. The second movement, Largo, is far more compact. Written in A flat major, this movement is highly cantabile and poetic, with the cello first singing out the theme at some length. The piano offers some atmospheric support, while the two string soloists handle most of the lingering, effusive lyricism. Clouds pass over during a minor mode episode imposed by the orchestra near the end, but the soloists modulate back to the major for a seamless transition into the finale, a Rondo alla Polacca. The "Polish" designation has to do with the rhythm rather than any appropriations of folk tunes. The movement begins sweetly enough, though with some tough turns for the string players. Spirits rise through the remainder of the rondo, with a light but distinctly pulsing rhythm (there is nevertheless an obvious polonaise right in the middle of it all) and several instances of rapid passagework for the string soloists. The trio rushes through a penultimate breakneck episode, but slows down for its last, dance-like section while the orchestra keeps trying to cut in with a big, affirmative conclusion.

[@IbrahimHoldsForth]

I remember an observation that's attributed to the Beethoven scholar Joseph Kerman, something to the effect that Beethoven's major works are as differentiated and unique like any random people are to each other. After not hearing a certain work for a while and you revisit it it's like revisiting an old friend who has new things to communicate to you...

[@ClassicalMusic-ds9yt]

(Adapted from Concert Piano 3, 1st mov) 10:06

[@FreakieFan]

It's absurd to me that this is treated as less brilliant as his other concerto work. I find this concerto much more enjoyable than his violin concerto, and at least the first three piano concertos. This is one Beethoven's most engaging compositions IMo.

[@detectivehome3318]

Violin Concerto, agreed. First three piano concertos, not agreed.

[@ShaunakDesaiPiano]

This concerto is an awesome piece, definitely. However, I think the main reason it is treated as less brilliant is because of the piano writing. I don’t know if you know the history but Beethoven wrote this piece for one of his amateur students so the pianism is not as interesting or fun as with 99% of Beethoven’s works involving the piano. The violin and cello parts are written for professionals. It is treated as less brilliant because the pianism is less brilliant, not the concerto itself or the orchestration or all of the other reasons that Beethoven excels in. It pains me to say this about my favourite composer, but as a pianist I like the 2nd movement of Tchaikovsky’s second piano concerto (which incorporates solo violin and cello parts) more than Beethoven’s triple concerto. It’s weird that a non-pianist made the piano more fun to play than one of the greatest composers of all time, but equally I understand why Beethoven did it.

[@ryaedowens]

I agree.

[@michaelrosa2015]

So far as I know, this is the one and only attempt at composing for what amounts to a concerto for piano trio and orchestra. The challenges inherent in writing virtuostically for three solo instruments while also allowing for nuanced interplay between each violin-piano, cello-piano, and cello-violin then altering those exchanges as Beethoven is wont to do in his other works for solo instrument and orchestra makes it difficult for even a keen listener to integrate it all. I think there are far more compelling works for two instruments esp the Brahms Double bc of the intricacy of the voicing and interplay between the solo violin and cello.

[@brendangordon2168]

It’s possibly less known because it’s a triple concerto and people look it up less… instead, they have to kind of stumble across it.

[@felixmendelssohn7425]

Fantastic Work!

[@pyotr-ilyich-tchaikovsky]

Some of the greatest musicians on the planet coming together to create this fantastic recording of a rather underappreciated piece! Thank you for uploading this, I enjoyed it very much.

[@gaboelexo]

Keep making music yo

[@qfcbv]

@@gaboelexoif he didnt die at such a (relatively) young age he mightve written a cello concerto😢 tchaikovsky thank you for everything!!!

[@joshscores3360]

Great concerto

[@60bui]

The best performance, ever!!

[@gaboelexo]

29:39 amazing

[@therealrealludwigvanbeethoven]

This work has been the recipient of some ridiculous criticism. It is one of Beethoven's greatest concerti.

[@gerdprengel7616]

if you love the triple concerto then you you may also like this one: 2 years before he composed this triple concerto he made a first draft (of the exposition) to write a a splendid double concerto which I tried to complete: kzbin.info/www/bejne/j3TbY2eYeaZ0g6csi=fkgjpPwe11lSuP7k

[@klop4228]

For all the complaints against this piece in the description, I think it might still be one of my favourites of Beethoven's concerti :P. Somehow most of the Piano Concerti turn me off a bit (though not the 4th) and even the Violin one does a little bit. This one's a very pleasant listen, though.

[@maniak1768]

What complaints do you mean?

[@klop4228]

@@maniak1768 "the themes do tend to wander, their development is fairly haphazard, and there are no showy cadenzas" is what the description says.

[@maniak1768]

@@klop4228 I'm afraid that we're not seeing the same description. Mine is in German and doesn't contain any such criticisms.

[@klop4228]

@@maniak1768 Ah, I see. Well, good on the uploader for having different-language versions, but having them be so different is maybe a questionable decision :P

[@PieInTheSky9]

How could the third piano concerto turn anyone off?

[@denzelbroocksmora9722]

Cello 03:00 06:14 18:00 3:38 20:04 Violín 07:10 25:40 15:07 - 15:32 35:09 - 35:17 04:46 04:56 20:27-20:52 Contrastes de colores y volumen 02:25 2:36 5:07-5:19 fuga 34:45-35:11

[@ClassicalMusic-ds9yt]

01:10

[@gamingmusicandjokesandabit1240]

23:27 Geez

[@user-ys5ib2kt6d]

베토벤 - [삼중 협주곡] 피아노, 바이올린, 첼로

[@gerdprengel7616]

if you love the triple concerto then you you may also like this one: 2 years before he composed this triple concerto he made a first draft (of the exposition) to write a a splendid double concerto which I tried to complete: kzbin.info/www/bejne/j3TbY2eYeaZ0g6csi=fkgjpPwe11lSuP7k

[@JustarandomaccountInnit-is8lf]

You did an exceptional job with it too, mate!

[@Zero-bu5ry]

3:20 After Beethoven introduces the theme using the solo violin and the solo cello, he restates it using the solo piano- creating double octaves on the left and right hand. You know who wouldn't write it like that? BRAHMS. A master of counterpoint (and of the piano), Brahms would probably do something crazy on the left hand. Listening to a majority of the first movement, there were a few things I was disappointed with: 1. The theme is restated too many times... and it seems like Beethoven's greatest merit here was changing the key... (lacking development) 2. Beethoven doesn't do the cello justice, because only its middle-high range is utilized for the melody. Any time the low range of the cello is heard, it's either accompanying the piano alone or with the violin. 3. Similar to how Beethoven doesn't maximize the range of the cello, he uses only the high range for the violin. (I mean to be fair he is writing a triple concerto, so it's difficult to balance the properties of each instrument) 4. There's way too much piano- the piano is presented too much as a "hero" that the violin and the cello had to "foreshadow"- all three of them are solo instruments, Ludwig!! That being said, amazing performance by the musicians.

[@vMusica.]

As a master in the development of sonata form Beethoven was aware of everything you said. But this concerto was composed to provide an opportunity for one of Beethoven's students, who had very limited abilities, to perform in front of an audience. That's why the piano parts are relatively simple. Beethoven aimed to strike a balance between simplicity and quality.