Aldo Ciccolini

Thessaloniki State Symphony Orchestra
Myron
Michailidis
Ludwig van Beethoven
Thessaloniki State Symphony Orchestra
Myron
Michailidis
Ludwig van Beethoven
Piano Concertos Nos. 3 & 4
Aldo
Ciccolini
Since his victory in t h e Marguerite L o n g C o m p e t i t i o n in 1949, A i d o Ciccolini has b e e n
a luminary of t h e piano w o r l d . Over a p e r i o d of m o r e t h a n 4 0 years he has built a n
exceptional c a t a l o g u e for EMI, revealing the true richness of the French piano repertoire:
his a d v o c a c y of Satie in particular has b r o u g h t him w o r l d w i d e r e c o g n i t i o n , b u t he has
also m a d e definitive surveys of the c o m p l e t e piano w o r k s of Massenet a n d D e o d a t d e
Severac, a n d -- in a c r o w n i n g , landmark a c h i e v e m e n t -- Debussy.
A l d o Ciccolini c o n t i n u e s t o p e r f o r m great m a s t e r p i e c e s in public, s u c h as these t w o
B e e t h o v e n c o n c e r t o s r e c o r d e d in G r e e c e with t h e Thessaioniki State S y m p h o n y
Orchestra. Unlike m a n y musical d o y e n s , he s h o w s n o s i g n s of s l o w i n g d o w n in a b i d for
s u p p o s e d profundity, but retains a youthful vigour that is even m o r e inspiring in a m a n
born in 1924.
Depuis sa v i c t o i r e a u c o n c o u r s M a r g u e r i t e L o n g d e 1949, reclat d e la carriere d ' A l d o C i c c o l i n i n'a j a m a i s
faibli. P e n d a n t plus d e q u a r a n t e a n s , il a c o n s t r u i t c h e z E M ! une d i s c o g r a p h i e e x c e p t i o n n e i i e , revelant avec
Constance a u m o n d e m u s i c a l les tresors d e la m u s i q u e f r a n c a i s e ; Satie, bien sur q u ' i l a r e n d u m o n d i a i e m e n t
c e l e b r e , m a i s aussi la m u s i q u e p o u r p i a n o d e M a s s e n e t , d e D e o d a t d e S e v e r a c d o n t i! a d o n n e d e s integrales
definitives, p a r a c h e v a n t sa c o l l a b o r a t i o n par u n e integrale D e b u s s y q u i fait reference.
A u j o u r d ' h u i A l d o C i c c o l i n i c o n t i n u e d e d o n n e r e n c o n c e r t les g r a n d s chefs-d'ceuvre d u repertoire, tels c e s
d e u x c o n c e r t o s d e B e e t h o v e n e n r e g i s t r e s e n G r e c e a v e c i'Orchestre d e T h e s s a l o n i q u e , n o n e n raientissant
les t e m p o s et e n les a c c a b l a n t d e p r o f o n d e u r c o m m e f o n t tant d e vieux s a g e s , m a i s a u c o n t r a i r e e n e n
p r o d i g u a n t t o u t e la v i g u e u r et la s e v e , c o m m e u n vrai j e u n e h o m m e q u e c e pianiste a nul autre pareil, ne e n
1924, est t o u j o u r s reste.
Myron
Michailidis
Myron Michailidis is o n e of the m o s t talented a n d important Greek c o n d u c t o r s of his
generation.
He has c o n d u c t e d several important orchestras in Germany, Israel, Italy, Czech Republic,
Mexico, Slovakia, Poland, Portugal a n d Taiwan (Berlin S y m p h o n y Orchestra, R o m a
S y m p h o n i c Orchestra, Slovak Philharmonic Orchestra, G e o r g e Enescu Philharmonic
Orchestra, Prague Radio S y m p h o n y Orchestra, Jerusalem S y m p h o n y Orchestra, Mexico
State Orchestra etc.), as well as all the major orchestras in Greece. He has also b e e n a
regular guest at the Greek National Opera.
Maestro Michailidis has c o n d u c t e d at various festivals in Greece a n d a b r o a d . In D e c e m b e r
2007, he c o n d u c t e d the Thessaloniki State S y m p h o n y Orchestra (TSSO) in Beijing, China,
in o n e of the major celebration events of the Cultural Year of Greece in China. Other
e n g a g e m e n t s include visits at the Teatro Verdi in Florence a n d Milan, Prague's Rudolfinum a n d S m e t a n a Hall,
Berlin's Konzerthaus etc.
He has collaborated with m a n y distinguished soloists, s u c h as Paul Badura-Skoda, Salvatore A c c a r d o , A l d o
Ciccolini, Cyprien Katsaris, Lars Vogt, S h l o m o Mintz, Misha Maisky, Martino Tirimo, J u n e A n d e r s o n , Cheryl Studer,
Fazil Say a n d others.
Past a n d future recording projects include CDs for Naxos, as well as recordings for Greek labels and the Greek
Radio.
His latest CD with the T S S O includes w o r k s by lldebrando Pizzetti (some of w h i c h are W o r l d Premiere Recordings)
a n d has received excellent reviews (Five Diapasons in " D i a p a s o n " , H o n o r a b l e Distinction f r o m t h e Greek Critics
Association for Music a n d Theater in December, both in 2009). T S S O ' s first C D w a s issued for NAXOS in 2007,
a p r o d u c t i o n that inaugurated the new "Greek Classics" series of the w e l l - k n o w n label. This C D contains w o r l d
premiere r e c o r d i n g s of w o r k s by Greek c o m p o s e r s , under t h e baton of Myron Michailidis a n d with r e n o w n e d
s a x o p h o n e player T h e o d o r e Kerkezos as soloist. The recording received the " S u p e r s o n i c A w a r d " by Pizzicato
Classics in L u x e m b o u r g (February 2007) a n d earned t w o G r a m m y ® n o m i n a t i o n s for NAXOS.
Myron Michailidis studied piano in Athens with Dimitris Toufexis a n d c o n d u c t i n g at the Berlin Music A c a d e m y with
Hans-Martin Rabenstein, Miltiadis Karydis a n d S i m o n Rattle. From 1999, until 2004, he w a s Permanent C o n d u c t o r at
the Opera of Eastern Saxony in Germany. He also holds a law d e g r e e from the University of A t h e n s .
From July 2004, until January 2 0 1 1 , he w a s Artistic Director of the TSSO. During this p e r i o d , he i m p l e m e n t e d a
qualitative a n d elaborate artistic p r o g r a m , a n d s u c c e e d e d in raising the orchestra to a higher artistic level. Since
January 2 0 1 1 , he is Artistic Director of the Greek National Opera.
He has been getting rave reviews for his operatic a n d s y m p h o n i c c o n d u c t i n g in n e w s p a p e r s (Sachsische
Berliner Morgenpost, Der Tagesspiegel) a n d magazines (Das Orchester, Opernweit, Fanfare, Gramophone,
AHmusic.com,
Classicstoday.com)
a n d has been a w a r d e d several honorary distinctions.
Website: www.myronmichailidis.net
Zeitung,
Pizzicato,
Myron
Michailidis
Myron Michailidis is o n e of the m o s t talented a n d important Greek c o n d u c t o r s of his
generation.
He has c o n d u c t e d several important orchestras in Germany, Israel, Italy, Czech Republic,
Mexico, Slovakia, Poland, Portugal a n d Taiwan (Berlin S y m p h o n y Orchestra, R o m a
S y m p h o n i c Orchestra, Slovak Philharmonic Orchestra, G e o r g e Enescu Philharmonic
Orchestra, Prague Radio S y m p h o n y Orchestra, J e r u s a l e m S y m p h o n y Orchestra, Mexico
State Orchestra etc.), as well as ail the major orchestras in Greece. He has also b e e n a
regular guest at the Greek National Opera.
Maestro Michailidis has c o n d u c t e d at various festivals in Greece a n d a b r o a d . In D e c e m b e r
2007, he c o n d u c t e d the Thessaloniki State S y m p h o n y Orchestra (TSSO) in Beijing, China,
in one of the major celebration events of the Cultural Year of Greece in China. Other
e n g a g e m e n t s include visits at the Teatro Verdi in Florence a n d Milan, Prague's Rudolfinum a n d S m e t a n a Hall,
Berlin's Konzerthaus etc.
He has collaborated with m a n y distinguished soloists, s u c h as Paul Badura-Skoda, Salvatore A c c a r d o , A i d o
Ciccolini, Cyprien Katsaris, Lars Vogt, S h l o m o Mintz, Misha Maisky, Martino Tirimo, J u n e A n d e r s o n , Cheryl Studer,
Fazil Say a n d others.
Past a n d future recording projects include CDs for Naxos, as well as recordings for Greek labels and t h e Greek
Radio.
His latest CD with the T S S O includes w o r k s by lldebrando Pizzetti (some of w h i c h are World Premiere Recordings)
a n d has received excellent reviews (Five Diapasons in " D i a p a s o n " , H o n o r a b l e Distinction f r o m t h e Greek Critics
Association for Music a n d Theater in December, both in 2009). T S S O ' s first C D w a s issued for NAXOS in 2007,
a p r o d u c t i o n that inaugurated the new "Greek Classics" series of the w e l l - k n o w n label. This C D contains w o r l d
premiere r e c o r d i n g s of w o r k s by Greek c o m p o s e r s , under t h e baton of Myron Michailidis a n d with r e n o w n e d
s a x o p h o n e player T h e o d o r e Kerkezos as soloist. The recording received the " S u p e r s o n i c A w a r d " by Pizzicato
Classics in L u x e m b o u r g (February 2007) a n d earned t w o G r a m m y ® n o m i n a t i o n s for NAXOS.
Myron Michailidis studied piano in Athens with Dimitris Toufexis a n d c o n d u c t i n g at the Berlin Music A c a d e m y with
Hans-Martin Rabenstein, Miltiadis Karydis a n d S i m o n Rattle. From 1999, until 2004, he w a s Permanent C o n d u c t o r at
the O p e r a of Eastern Saxony in Germany. He also holds a law d e g r e e from the University of Athens.
From July 2004, until January 2 0 1 1 , he was Artistic Director of the TSSO. During this p e r i o d , he i m p l e m e n t e d a
qualitative a n d elaborate artistic p r o g r a m , a n d s u c c e e d e d in raising the orchestra t o a higher artistic level. Since
January 2 0 1 1 , he is Artistic Director of the Greek National Opera.
He has been getting rave reviews for his operatic a n d s y m p h o n i c c o n d u c t i n g in n e w s p a p e r s (Sachsische
Berliner Morgenpost, Der Tagesspiegei) a n d magazines (Das Orchester, Opernweit, Fanfare, Gramophone,
AHmusic.com, Ciassicstoclay.com)
a n d has been a w a r d e d several honorary distinctions.
Website: www.myronmichailidis.net
Zeitung,
Pizzicato,
Thessaloniki State Symphony Orchestra
The Thessaloniki State Symphony Orchestra is one of the
leading symphonic orchestras in Greece. The orchestra's
extensive repertoire includes works from the baroque to
the avant-garde.
The TSSO was founded in 1959, by the Greek composer
Solon Michaelides. In 1966 it became a state orchestra.
Many important Greek musicians b e c a m e directors of
TSSO: First in line was the founder, followed by Georgios
Thymis, Alkis Baitas, Karolos Trikolidis, Kosmas Galileas,
Konstantinos Patsalides, Leonidas Kavakos, Mikis Michaelides a n d Myron Michailidis. Today TSSO numbers
approximately o n e hundred a n d twenty musicians.
Besides the scheduled symphonic concerts, TSSO covers
a wide range of artistic activities performing opera, ballet,
music for silent films, educative concerts for children a n d
y o u n g people etc. These activities have contributed to the
increase of the audience in the
last few years.
The main aims of the TSSO
are to promote the Greek
music heritage, including giving many Greek a n d world
premieres performances, as well as promoting y o u n g
artists, many of which today are renowned in the Greek
and international music scenes. A pioneer artistic institution of Greece, TSSO records for international labels such
as BIS, NAXOS and EMI Classics. A m o n g orchestra's
most important recent productions is the recording of the
Concertos No 3 and No 4 for piano of Beethoven with the
famous soloist Aido Ciccolini (EMI Classics).
The list of Greek and foreign conductors and soloists w h o
have collaborated with TSSO includes a large number of
famous artists: Placido Domingo, Jose Carreras, Luciano
Pavarotti, Salvatore Accardo, June Anderson, Vladimir
Ashkenazy, Paul Badura-Skoda, Lazar Berman, BrunoLeonardo Gelber, Natalia Gutman, Jascha Horenstein,
Aram Khatchaturian, Leonid Kogan, Edmund Kurtz, Mischa
Maisky, Shlomo Mintz, Igor Pogoreiich, Ruggieri Ricci, John
Nelson, Mstislav Rostropovich, Gil Shaham, Yuri Simonov,
Vladimir Spivakov, Victor Tretjakov, Odysseas Dimitriadis,
Cyprien Katsaris, Leonidas Kavakos, Theodoras Kerkezos,
Kostas Paskalis, Dimitris Sgouros, Martino Tirimo, etc.
TSSO appears at the Thessaloniki Concert Hall and every
year at the Athens Megaron Concert Hall. The orchestra
also performs at the most important festivals of Greece a n d
abroad (Athens Festivai-Herode Atticus Odeon, Demetria,
Philippi, International Festival "Cypria" in Cyprus, International Festival "Zino Francescatti" in Marseille-France, Eclectic Festival in Valencia-Spain, etc.).
In February 2007, the CD production of TSSO "Impressions
for saxophone and orchestra",
with Theodoras Kerkezos (saxophone), was awarded the "Supersonic" prize. In December
2007, the TSSO gave a historic
concert in the Forbidden City
Concert Hail in Bejing, dedicated
to N. Kazantzakis, as part of the
Cultural Year of Greece in China.
In June 2008, the new recording of the TSSO with works of N. Skalkottas was released
worldwide, in cooperation with BIS. It includes s o m e world
premieres. 2009 also saw the release of the third TSSO recording with pieces of lldebrando Pizzetti, in cooperation
with NAXOS. It is a worldwide first recording with works of
the Italian composer. It was awarded in December of 2009,
by the Greek Drama a n d Music Critics' Union.
In April 2009, TSSO m a d e a notable appearance in Smetana Hall of Prague (Czech Republic), in collaboration with the
Prague Phiharmonic Choir, where they presented the work
Requiem by G. Verdi, in November 2009, TSSO gave t w o
concerts in Italy (Teatro Manzoni of Pistoia and Teatro Verdi
of Florence), while in autumn of 2010, m a d e an appearance
in Konzerthaus Berlin.
W e b p a g e of the orchestra: www.tsso.gr
Thessaloniki State Symphony Orchestra
The Thessaloniki State S y m p h o n y Orchestra is one of the
leading symphonic orchestras in Greece. The orchestra's
extensive repertoire includes works from the baroque to
the avant-garde.
The TSSO was f o u n d e d in 1959, by the Greek composer
Solon Michaelides. in 1966 it b e c a m e a state orchestra.
Many important Greek musicians became directors of
T S S O : First in line was the founder, followed by Georgios
Thymis, Alkis Baitas, Karolos Trikolidis, Kosmas Galiieas,
Konstantinos Patsalides, Leonidas Kavakos, Mikis Michaelides a n d Myron Michailidis. Today TSSO numbers
approximately one hundred and twenty musicians.
Besides the scheduled symphonic concerts, TSSO covers
a wide range of artistic activities performing opera, ballet,
music for silent films, educative concerts for children and
y o u n g people etc. These activities have contributed t o the
increase of the audience in the
last few years.
The main aims of the TSSO
are to promote the Greek
music heritage, including giving many Greek and world
premieres performances, as well as promoting y o u n g
artists, many of which today are renowned in the Greek
and international music scenes. A pioneer artistic institution of Greece, TSSO records for international labels such
as BIS, NAXOS a n d EMI Classics. A m o n g orchestra's
most important recent productions is the recording of the
Concertos No 3 and No 4 for piano of Beethoven with the
famous soloist Aldo Ciccolini (EM! Classics).
The list of Greek and foreign conductors and soloists w h o
have collaborated with TSSO includes a large number of
famous artists: Placido Domingo, Jose Carreras, Luciano
Pavarotti, Salvatore Accardo, June Anderson, Vladimir
Ashkenazy, Paul Badura-Skoda, Lazar Berman, BrunoLeonardo Gelber, Natalia Gutman, Jascha Horenstein,
Aram Khatchaturian, Leonid Kogan, Edmund Kurtz, Mischa
Maisky, Shlomo Mintz, Igor Pogorelich, Ruggieri Ricci, John
Nelson, Mstislav Rostropovich, Gil Shaham, Yuri Simonov,
Vladimir Spivakov, Victor Tretjakov, Odysseas Dimitriadis,
Cyprien Katsaris, Leonidas Kavakos, Theodoras Kerkezos,
Kostas Paskalis, Dimitris Sgouros, Martino Tirimo, etc.
TSSO appears at the Thessaloniki Concert Hall a n d every
year at the Athens Megaron Concert Hal!. The orchestra
also performs at the most important festivals of Greece a n d
abroad (Athens Festival-Herode Atticus Odeon, Demetria,
Philippi, Internationa! Festival "Cypria" in Cyprus, Internationa! Festival "Zino Francescatti" in Marseille-France, Eclectic Festival in Valencia-Spain, etc.).
I In February 2007, the CD prc- duction of TSSO "Impressions
\r saxophone and orchestra",
•. with Theodoras Kerkezos (saxophone), was awarded the "Su: personic" prize. In December
2007, the TSSO gave a historic
: concert in the Forbidden City
Concert Hall in Bejing, dedicated
• to N. Kazantzakis, as part of the
Cultural Year of Greece in China.
In June 2008, the new recording of the TSSO with works of N. Skalkottas was released
worldwide, in cooperation with BIS. It includes s o m e world
premieres. 2009 also saw the release of the third TSSO recording with pieces of ildebrando Pizzetti, in cooperation
with NAXOS. It is a worldwide first recording with works of
the Italian composer. It was awarded in December of 2009,
by the Greek Drama and Music Critics' Union.
in April 2009, TSSO m a d e a notable appearance in Smetana Hal! of Prague (Czech Republic), in collaboration with the
Prague Phiharmonic Choir, where they presented the work
Requiem by G. Verdi. In November 2009, TSSO gave t w o
concerts in Italy (Teatro Manzoni of Pistoia and Teatro Verdi
of Florence), while in autumn of 2010, m a d e an appearance
in Konzerthaus Berlin.
Webpage of the orchestra: www.tsso.gr
programme notes
Recent research is inconclusive as to whether preparatory work o n the sketches for t h e C minor Concerto had b e g u n
between late 1799, a n d early 1800, or in the s e c o n d half of 1802. W e c a n only be sure that Beethoven w o r k e d seriously
o n this piece a n d c o m m i t t e d t o paper ail but the solo part in the few months preceding its first performance o n 5
m
April
1803, at the Theater an der Wien. Along with it, t w o other major w o r k s were presented for the first time: the S e c o n d
S y m p h o n y (Op. 36) a n d the oratorio Christ on the Mount of Olives (Op. 85). The c o m p o s e r h a d been awake for a
g o o d part of the previous night c o p y i n g parts, Furthermore, as was typical also of Mozart w h e n presenting one of
his new piano concertos, Beethoven did not have adequate time to write d o w n the solo piano part a n d had t o play it
virtually from memory. Ignaz v o n Seyfried, the musical director of the theater, w a s a s k e d to turn pages a n d left a telling
account of his experience: "I saw almost nothing but empty leaves; at most, o n one p a g e or the other a few Egyptian
hieroglyphs wholly unintelligible to m e were scribbled d o w n to serve as aids to his memory."
W h e n the C o n c e r t o w a s published late in t h e s u m m e r of 1804,
it w a s d e d i c a t e d t o Prince Louis Ferdinand of Prussia, w h o s e
piano skills Beethoven h a d praised a n d w h o h a d d e m o n s t r a t e d
in t u r n his admiration a n d respect for Beethoven's g e n i u s .
A c o m p o s e r ' s genius is typically evaluated by the ways a n d
m e a n s of handling the conventions of a g e n r e . A s t h e personal
style c h a n g e s , so d o e s the d e g r e e to w h i c h o n e adheres t o - or
deviates f r o m - these conventions. In the c a s e of Beethoven's
Third a n d Fourth Piano C o n c e r t o s , it is interesting t o trace
t h e evolution of his style by seeking his answers to a set of
stimulating questions: " H o w t o begin a c o n c e r t o ? H o w t o handle
t h e f o r m a n d treat the thematic material? H o w to e n g a g e a n d
c o m b i n e meaningfully the t w o musical forces into play (solo a n d tutti)? H o w t o secure unity a n d contrast within a
m o v e m e n t , or even between m o v e m e n t s ? "
In his b o o k Concerto Conversations,
J o s e p h Kerman has left a useful road m a p for dealing with s u c h issues, offering
also the m o s t lucid codification of the t w o cardinal c o n c e r t o principles: polarity a n d reciprocity. His insights will
enlighten o u r analysis.
Beethoven's Third a n d Fourth Piano C o n c e r t o s inhabit different w o r l d s , d o m i n a t e d by their
centra! tonality: C minor a n d G major, respectively. Especially in t h e first m o v e m e n t of O p . 37,
the m i n o r key certainly has a bearing o n the character of the o p e n i n g ritornello: threatening
a n d agitated, with military undertones, it is a self-contained t h e m e p r e g n a n t with all t h e
elements that will propel t h e m o v e m e n t f o r w a r d : a rising triadic gesture, t h e s e c o n d half of
a d e s c e n d i n g scale a n d the d r u m motif that will ultimately trigger the c o d a . Beethoven d o e s
not hesitate t o use the simplest m e a n s of the tonal system as his primary material, for he is
confident in t h e originality of his l a n g u a g e a n d the forcefuiness of his rhetoric.
r
I
1
1
1
C o m m e n t a t o r s agree that holding up the Third C o n c e r t o against
the light of its predecessors reveals the persistent s h a d o w of
Mozart's C o n c e r t o No. 21 (K. 491), also in C minor. That w o r k
w a s p u b l i s h e d in 1800, a n d Beethoven is k n o w n t o have a d m i r e d
it as an unsurpassable p a r a d i g m , d r a w i n g inspiration f r o m its
daring rhetorical devices. Regarding the specific affinities between
the t w o w o r k s , aside f r o m the unison of the initial t h e m e , one
c o u l d definitely mention the c o d a of the first m o v e m e n t : there,
Beethoven's soloist claims a n u n c o m m o n l y active role in the final
m o m e n t s of the d r a m a by offering a r p e g g i a t e d c o m m e n t a r y that
emulates the "disquieting s h a d o w s " (Robert Levin's w o r d s ) f r o m
the c o r r e s p o n d i n g section in K. 4 9 1 . However, Beethoven's c o d a
leads t o a s t o r m y a n d electrifying fortissimo
ending, whereas
Mozart's m u s i c disappears mysteriously in a mist of pianissimo.
O n e s h o u l d also m e n t i o n that both the finales
of K. 491 a n d O p , 37 c o n c l u d e with a c o d a in 6/8 meter. But even here the overall affect is so antithetical, w h e n
o n e c o m p a r e s the s u b l i m e pathos of Mozart's C minor final s e g m e n t with the exuberance a n d youthful p o w e r of
Beethoven's t r i u m p h a n t C major c o n c l u s i o n .
W h a t sets Mozart a n d Beethoven further apart is the middle m o v e m e n t , where the y o u n g e r c o m p o s e r transcends his
m o d e l . The Largo of O p . 37 is set in E major, a startling major third apart f r o m the s u r r o u n d i n g C minor m o v e m e n t s .
O n e of Beethoven's more sensitive a n d p r o f o u n d creations until then, this s l o w m o v e m e n t provides a t e m p o r a l
oasis - a haven of refuge after the storm - a n d transports the listener t o subliminal d e p t h s . Carl Czerny has remarked
that "the w h o l e [ o p e n i n g ] t h e m e must s o u n d like a distant, holy, unearthly h a r m o n y " . A c c o r d i n g t o him, this is w h y
Beethoven resorted to the una corda pedal here to achieve this effect, a l t h o u g h he d o e s not call for it in the score.
(A true una corda effect c a n n o t be achieved by the action of the left pedal o n m o d e r n pianos.)
The transition f r o m the Largo t o the Rondo finale is carried out with a decisive g r o u n d i n g m o t i o n . The G s h a r p of
the s l o w m o v e m e n t ' s final E major c h o r d still s o u n d s in our ears w h e n it is c h a n g e d enharmonically into a n A flat
to kick off the brilliant last m o v e m e n t . Unity a n d contrast, continuity a n d interruption - all in o n e c o m p a c t gesture!
Beethoven's Fourth Piano C o n c e r t o in G major, O p . 58,
b e l o n g s to a n extraordinariiy prolific five-year period
(1803-08) of g r o u n d b r e a k i n g masterpieces, s u c h as the
"Waldstein" a n d the "Appassionata" Piano Sonatas, t h e
S y m p h o n i e s Nos. 3-6 a n d the Triple C o n c e r t o , a m o n g
other important w o r k s . It w a s first p e r f o r m e d at a private
c o n c e r t held in March 1807, at the Viennese palace of
Prince Lobkowitz, Beethoven's patron, A l t h o u g h the
c o m p o s e r h a d c o m p l e t e d the work during 1805-06, he
kept it to himself. In August 1808, it was finally p u b l i s h e d
a n d d e d i c a t e d to Beethoven's friend, pupil a n d patron,
A r c h d u k e R u d o l p h . Four m o n t h s later the C o n c e r t o
received its p u b l i c premiere at the four-hour-long A c a d e m y
of 22™ D e c e m b e r 1808, w h e r e the Fifth a n d the Sixth
S y m p h o n y , the aria "Ah, perfido", sections of the Mass in C
major a n d the Chorai Fantasy were also p e r f o r m e d .
T h e first m o v e m e n t of the Fourth C o n c e r t o reveals Beethoven's b o l d a n d innovative solution t o the p r o b l e m of " h o w
to begin a c o n c e r t o " . Breaking with established tradition, it o p e n s with the solo. Its gentle c h o r d a l t h e m e e n d s in
the d o m i n a n t (D major) a n d is b a s e d o n the s a m e four-note rhythmic motif heard in t h e violent o p e n i n g of the Fifth
S y m p h o n y , only here it a p p e a r s in a n entirely different guise. Five bars later the strings reciprocate with a n even
softer entry a n d t h e orchestral ritornello is under way. Beethoven's u n o r t h o d o x strategy will naturally have further
ramifications for all three m o v e m e n t s .
J o h a n n Friedrich Reichardt, Capellmeister at the c o u r t of the King of Prussia, a t t e n d e d the D e c e m b e r 1808, concert,
i m p r e s s e d with what he h e a r d , three days later he wrote in a letter a b o u t a " n e w c o n c e r t o for fortepiano, terribly
difficult, w h i c h Beethoven played astonishingly well in the fastest possible t e m p o s . The A d a g i o [sic], a masterpiece
of beautiful sustained melody, he actually sang o n his instrument with a d e e p m e l a n c h o l y feeling w h i c h a w a k e n e d
its r e s p o n s e in m e " ,
Aside f r o m mistaking the A n d a n t e c o n m o t o for a n A d a g i o , Reichardt's c o m m e n t that t h e c o m p o s e r " s a n g o n his
instrument" brings to m i n d Leonard Ratner's perceptive observation, that "the s l o w m o v e m e n t is in the style of a
recitativo obbiigato a n d t h u s f u n c t i o n s as a n interlude or a n introduction t o t h e finaie, creating a n extremely s h a r p
contrast between its pathetic m o o d a n d the c o n t r e d a n s e of the finale".
Cast in E minor, a minor third b e l o w the main G major tonality, t h e middle m o v e m e n t of the Fourth C o n c e r t o creates
a unique new d i m e n s i o n full of poetry a n d e m o t i o n . In the t w o centuries of its life it has inspired various extramusica!
associations, the m o s t imaginative a n d powerful of w h i c h is the narrative of O r p h e u s c o n f r o n t i n g t h e Furies at t h e
Gates t o H a d e s a n d t a m i n g t h e m . T h e c o m p o s e r reverses t h e p r o c e d u r e of the first m o v e m e n t , dramatizing t h e
thematic, stylistic a n d timbral polarity of the t w o antagonists: strings a n d piano (entering in that order). O n this
imaginary theatrical stage, the harsh utterances of the orchestra are gradually softened by t h e dignified p l e a d i n g of
the soloist. Only in the trill c a d e n z a d o e s Beethoven briefly allow for a visceral outburst, but the soloist's goal has
already been a c h i e v e d . Ultimately, it m a y b e better to leave the protagonists a n o n y m o u s a n d their e x c h a n g e s o p e n
to interpretation. It is worth n o t i n g , however, that here is the first d o c u m e n t e d instance where Beethoven specifically
asks for una corda t h r o u g h o u t t h e A n d a n t e c o n m o t o (with the exception of the c a d e n z a ) . C o m p l e m e n t e d by his
a t m o s p h e r i c use of the d a m p e r p e d a l , the s o u n d acquires a w o n d e r f u l eerie quality
Beethoven w i s h e d for the R o n d o t o follow immediately after the last E minor
c h o r d of the piano in t h e A n d a n t e . A s he had d o n e in the c o r r e s p o n d i n g place
of the Third C o n c e r t o , the return t o reality is rather abrupt - a n d n o w also
" w r o n g " : the finale begins with t h e strings in C major (not G major). In its
reciprocal entry the piano s e e m s to correct the h a r m o n i c mistake. But the C
major will return u n s c a t h e d at prominent f o r m a ! junctions. T h e orchestra is
enriched here with t r u m p e t s a n d d r u m s t o p u n c t u a t e t h e finale's contrasting
character. The m u s i c is witty, rhythmically b o u n c y a n d joyful. Following t h e
short cadenza, the soloist is s o o n e n g a g e d in the closing Presto, partaking in
the j o y of arrival at a stable G major version of t h e o p e n i n g motif - at long last!
© George-Julius P a p a d o p o u l o s
"I am impressed and happy to have collaborated with this orchestra, brilliantly conducted
by Myron Michailidis, who knows what he is doing,.. A partnership that will remain in
memory for long. Thank you!"