1

Beethoven Piano Concertos: An Interview with

Dr. Steven L. Havens Pianist and Instructor of Piano at College of DuPage

1. How significant are the five solo Piano Concertos of Beethoven? In what way are they special among the many piano concertos composed over the past three centuries?

There are hundreds of piano and keyboard concertos composed roughly from the time of Bach to the present day, but many, indeed the vast majority, of those pieces have failed to secure a firm place in the active concert repertoire, and are thus rarely programmed. The piano concertos of Field, Hummel, Hiller, Kuhlau, Medtner, Moszkowski, Reinecke, Rubinstein, Clara Schumann, Scharwenka, Weber, to mention only a few, constitute significant compositional efforts (and, in some cases, truly admirable efforts), but are pieces that have been relegated over time in the realm of music history.

By contrast, the five piano concertos of Beethoven are unquestioned masterpieces, and works that rightfully deserve to be acknowledged as absolutely premiere in that genre. This is due in large measure to the fact that they are creations of Beethoven, but also that by any measure, they are works of uncommon beauty, creativity, craftsmanship, and appeal. They may well be universally considered as among the greatest piano concertos ever composed, and some might argue that the 3rd, 4th, and 5th piano concertos are the finest among the five.

Beethoven was a great pianist, but beyond that, he possessed a profound sense of how to write for the instrument in a strikingly idiomatic manner, which is to say that the music is beautifully suited to the instrument, gratifying to the player, and effective for the listener. Of course, Beethoven’s writing for the orchestra is masterful as well.

What is it about the music of Beethoven? What makes it so special? I have been told that it is understood among those in arts management that a Beethoven concert can be counted upon to sell tickets.

It is absolutely acknowledged that Beethoven is counted among the musical giants of all time, but what captivates me is that Beethoven himself regarded his work as not just musical creativity and craftsmanship, but rather an expression of moral force, reaching to the highest platitudes of thought and philosophy, and therefore imbued with profound significance and meaning. The music of Beethoven speaks directly and profoundly with epic authority. His music is both timeless and universal in scope. Beethoven himself knew that he was composing music for all the ages. To me that is quite powerful.

2

2. How do the Piano Concertos factor into Beethoven's compositional output?

As I mentioned, the piano was Beethoven’s instrument. Thankfully, this means we have a wealth of compositions for solo piano (32 solo piano sonatas, some 20 variations sets for solo piano, and scores of shorter pieces for solo piano), as well as larger works for piano with orchestra (like the five piano concertos featured in this program, as well as the triple concerto for piano, violin, and cello, and the Choral Fantasy for piano, choir, and solo voices). There are also pieces incorporating the piano along with other instruments or voices (this includes chamber pieces such as sonatas, trios, quartets, etc.), and, of course, the 9 symphonies, an opera, choral works, and art songs.

Beethoven was perhaps a singular figure in the transition from 18th century classicism to 19th century romanticism. His influence on the subsequent generation of composers in the 19th century cannot be overstated.

Scholars conventionally assign Beethoven’s creative output into three (some prefer five) style periods. The early period lasting up to 1802, the middle period from around 1803 until around 1814, and the later period from around 1815 until his death. These divisions constitute broad notions of creative, stylistic, and expressive tendencies.

The early period is characterized by the strong influence of Haydn and Mozart, as well as a marked expansion of scope and ambition in his compositional designs. The first two piano concertos, as well as the first 12 solo piano sonatas, and the first two symphonies hail from this period.

The middle period, which began after a personal crisis for Beethoven, has been called his “heroic” phase. The compositions from this era are noted for their larger scale, as well as expression of heroism and struggle. Some important pieces from this era include the third, fourth and fifth piano concertos, several solo piano sonatas, symphonies number 3 through 8, and his only opera, Fidelo.

Beethoven’s later period is noted for intense introspection, intellectual depth, and deep personal expression. From this era, we have the last five solo piano sonatas, the last five string quartets, and symphony number 9.

Much speculation has surrounded the cause and nature of Beethoven’s deafness. At some point around 1798, Beethoven suffered a bout of illness resulting in the loss of hearing. After a phase of partial recovery of his hearing, he experienced a gradual and lengthy decline toward deafness, and by 1814, was thought to be nearly, if not completely, deaf.

3 3. Can you comment further on the Beethoven Concertos? What can the listener expect to hear?

The concertos of Beethoven are built upon standard and established symphonic forms: sonata-allegro, ternary, rondo and sonata-rondo, to be specific. However, the added complication of a concerto lies in the coordination of the piano and orchestra, which is a context of two rather equal components or voices in the texture. In an elementary sense, the concerto as a genre might be thought of as a dialogue, a dramatic exchange, or even a friendly competition, between the two forces of soloist and orchestra.

The peak of the drama, generally found in the first and sometime final movements of a concerto, features a cadenza, which is a cessation of the forward motion of the music (creating the illusion of time standing still). During this time, a kind of musical soliloquy is presented by the soloist, generally comprised of an impromptu fantasy-like display of virtuoso technical fireworks, which serves, in effect, to declare that the soloist in the competition has asserted itself as the winner in the exchange.

Historically, the cadenza was improvised on the spot, which points to the fact that improvisation had historically been regarded as a standard component of the skill set expected of a virtuoso performer, and not merely a feature belonging to the world of Jazz.

The content of the cadenza was generally comprised of thematic material presented in the particular movement, though in some cases, new thematic material would be presented. The ideal cadenza would dazzle listeners with florid displays of rapid figuration comprised of scales and arpeggios exploring the entire range of the piano. Dramatic gestures of fast finger work would alternate with slow and intimate thematic passages. In many cases, an extended trill at the end of the cadenza would signal for the orchestra to enter and conclude the movement.

Beethoven, celebrated for his improvisational skill, elected to write out cadenzas for the various movements in the concertos, and indeed, these cadenzas are brilliant and often used by pianists today, but the option still exists for the soloist to create his or her own. Over the course of history, many pianists have composed and published cadenzas for some of the Beethoven concertos.

It is worth noting that the first movement of the 4th piano concerto begins with the solo piano alone, which is an exception to the standard classical concerto design of an orchestral exposition at the outset of the piece with the solo instrument joining in later.

Even more exceptional is the solo passage of the first movement of the 5th piano concerto, which opens in dramatic fashion with boisterous cadenza-like passage work, setting the bold tone of the entire movement, as well as the absolute preeminence of the piano as the leading character in the piano-orchestra dialogue.

4

Cadenzas Concerto 1 – First movement, third movement (two small cadenzas)

Published cadenzas apart from Beethoven’s include those by Wilhelm Kempf and Glen Gould. Concerto 2 – First movement

Beethoven’s famous and very difficult cadenza was written much later than the concerto’s initial publication.

Concerto 3 – First movement Beethoven’s cadenza is standard, but others include those by Kempf, Clara Schumann, Franz Liszt, and Ignaz Moscheles.

Concerto 4 – First movement Beethoven wrote two famous cadenzas, with others by Brahms, Clara Schumann, Busoni, von Bulow, Moscheles, Saint-Saens, Anton Rubinstein, Kempf, Medtner, and others.

Concerto 5 – First movement Beethoven’s own, in addition to the opening cadenza, also a brief cadenza just before the dramatic ending)

4. What does a project like this demand of a pianist?

Like any concert, this program calls upon the performer’s mental powers of concentration, physical strength and stamina, commanding and dependable technical skill, but also a level of artistic mastery that grows out of a comprehensive skill and knowhow we call musicianship.

Let me frame that notion for you. It is not merely delivery of a packaged musical product, but rather the artful rendering and masterful interpretation, which is accomplished by a process of deep consideration, thoughtful study, and exploration of music. The skills of a fine musician, a complete musician, are many, and that reality is evident in the end product.

There is a vast expanse which lies between the mere notes on the page and a profound and meaningful musical performance—a presentation which reflects the composer’s highest intentions, along with the artist’s particular musical values, sensibilities, temperament, and convictions. That statement is so very tidy, but in truth, the process of musicianship at a truly artistic level is deeply complex and riddled with myriad layers of considerations, complexities, and problems to solve.

I would also point out that there are many “correct” ways of interpreting a given piece of music, and, of course, it is not always a matter of right and wrong, good and bad. Listen to any two recordings of the same piece by two performers, and you will hear distinctions—some subtle and some more pronounced.

Of course, people always want to talk about memorization. How can anyone retain literally thousands of notes in a performance? Particularly in the pressure of a live performance.

5

This concert is comprised of 300 pages of piano music—something like 2 hours and 30 minutes of music. And by definition, a concerto is a virtuoso setting for the soloist, and generally, an extended work. This means that the technical and expressive demands, as well as the volume of music, are considerable.

There is a good deal more to memorization than most might imagine. Certainly, the pianist must know the notes, but far more, too. The pianist should have the broader context of intimately knowing things like formal structure, harmonic content, expressive indications, tempo and character.

The soloist must also possess a deep familiarity with the orchestral part, including matters of instrumentation in the orchestra. In truth, the pianist must virtually take on the full obligations of the entire score, in the same way as that of the conductor. I would also point out that artist performers will have studied, agonized over, and performed the music in their repertoire for years. In this way, familiarity runs extraordinarily deep on many levels.

The obligations of the pianist and conductor are enormous. I have met and heard Wael Farouk perform, and can confidently report that he is an exceptional artist who will deliver. Maestro Muspratt, as well. Both are consummate musicians.

5. How unique is it to present a concert featuring all five of the Beethoven Piano Concertos?

Honestly, I have never heard of such a thing, specifically featuring the same pianist playing all five in one sitting.

Historically, many pianists have performed all 32 of the solo piano sonatas in a series of several concerts over weeks or months, but all five concertos in one concert? This is an uncommon feat to be sure.

I regard this as rather brilliant and bold programming on the part of Maestro Muspratt, but not surprising at all. Having been in music school as a student in the United States as well as Europe, and a college faculty member for over 20 years, I have attended hundreds of concerts, but many of the programs here with the New Philharmonic Orchestra have been absolutely innovative events. I think this Beethoven program is one of them.

This program reminds me the spectacle of an extended 19th century opera. This program is Olympian, even Herculean, in scope. This project is taxing on any pianist, any conductor, any orchestra, and, to be honest, any audience, but what a great opportunity to hear in juxtaposition, all five of the Beethoven piano concertos.

I am so looking forward to it!

Dr. Steven L. Havens