Basic Information

Instrumentation: Piano, 1 Flute, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, Timpani, Strings (5 parts)

Dedication: Archduke Rudolf

First Edition: 1808

Premiere: March 1808 at Prince Lobkowitz's palace, with Beethoven himself as piano soloist (semi-private premiere). December 22, 1808 at the Theater an der Wien, with Beethoven himself as piano soloist (public premiere).

General Overview

When discussing Beethoven's piano works and the innovations in his musical language, one cannot disregard the historical aspect of piano improvements. Pianos were produced by various makers in cities such as Vienna, London, and Paris, each undergoing different improvements, resulting in diverse characteristics of the instruments. It is said that Beethoven owned more than ten pianos throughout his life, likely because he believed that the enhancement of the piano's functions was essential for the development of performance techniques.

In 1803, Beethoven acquired a state-of-the-art piano from the French company Erard, with which he composed numerous masterpieces. This piano had a significantly different structure and timbre from the Viennese instruments he had used previously. Viennese instruments, with their 'Prellmechanik' (up-striking) action, were delicately built and produced a light and delicate sound. In contrast, the piano gifted by Erard adopted the English 'Stossmechanik' (down-striking) action, was more robustly built, and could produce a powerful and profound sound. Its range also expanded from the 5 octaves (F1–f3) he had previously used to 5 and a half octaves (F1–c4). The dampers, which were previously operated by a knee lever, were replaced by foot pedals, and the instrument was equipped with a total of four pedals, including the damper pedal.

In Beethoven's piano concertos, departing from the examples of predecessors like Haydn and Mozart, one can clearly sense the dynamism of the piano confronting the orchestra. Particularly in Concerto No. 4, composed with the Erard piano, the orchestral tutti and piano solo respond to each other, at times engaging in a struggle. While emphasizing a lyrical character, pianistic passages in the high register frequently appear, perhaps influenced by the expanded range of the instrument (especially in the first and final movements). Furthermore, the opening of the first movement with a piano solo was a novel historical attempt, undoubtedly surprising the audience and simultaneously enhancing the piano's presence. This more symphonic concerto style, established by Beethoven, was further refined in the 'Emperor' Concerto and became a prototype for concertos by Schumann, Liszt, and Grieg in the Romantic era and beyond (Chopin being a well-known exception).

This work is also known as the last piano concerto that Beethoven himself premiered as the pianist. Indeed, the Piano Concerto No. 5 'Emperor' was premiered by Beethoven's pupil, Carl Czerny.

Movement-by-Movement Analysis

Movement 1

Allegro moderato

G major. 4/4 time. While adhering to the concerto sonata form, the opening first theme is innovatively played by the solo piano. This simple theme, beginning with repeated B notes, is often linked to the 'Fate motive' (Schicksalsmotiv), as the sketch for this concerto was written immediately after the first page sketch of Symphony No. 5 'Fate'. Furthermore, this theme is immediately played by the orchestra in B major, a third-related key. This emphasis on third-related keys is consistently observed throughout Beethoven's piano concertos and can be seen as a departure from classical norms based on dominant or relative keys. The entire work, including the cadenza composed by Beethoven himself, is interspersed with pianistic passages, providing many brilliant showcases for the pianist, while the sweet and long-breathed secondary theme and the interplay with the orchestra highlight the work's lyricism.

Movement 2

Andante con moto

E minor. 2/2 time. The contrast between the heavy, severe string unison, marked by dotted rhythms, and the legato, sorrowful piano solo is striking. The strings, initially playing ff as if rejecting the piano's pathetic plea, gradually reduce their volume to accompany the piano, almost subtly suggesting that the true protagonist is the piano.

Final Movement

Rondo Vivace

G major. 2/2 time. Rondo form. The second movement ends on the E minor tonic chord (e-g-b), from which this movement flows seamlessly into the C major tonic chord (c-e-g), which shares the same constituent notes. The repeated E notes at the beginning also evoke the repeated B notes at the beginning of the first movement. The atmosphere shifts dramatically from the slow movement, with the dotted-rhythm rondo theme played with vivacity. While the lively rondo theme features disjunct motion, the secondary theme is based on conjunct motion, possessing a more melodic and cantabile character. As in the first movement, Beethoven left a written cadenza (35 measures) for this movement.