Work: Concerto for Piano no 2 in B flat major, Op. 19
About This Work
For almost two centuries, the original version of the Piano Concerto No. 2 was assigned to the year 1794, when Beethoven was 23 and needed a showpiece for his public debut in Vienna. He did introduce it in the Court Theater on March 29, 1795, during
the Lenten season when Hapsburg Catholicism banned all theatrical activity. But latter-day scholarship has determined that most of the B flat Concerto -- certainly the first two movements -- were written at Bonn in 1789 and 1790, three years after his curtailed first visit to Vienna, but three before his return in November 1792, with a letter of introduction from Count Ferdinand Waldstein and an invitation to study with Haydn. In other words, he was as young as Chopin when the latter composed his first concerto (which, further in common with Beethoven's B flat, was published out of sequence as No. 2). Whether or not Haydn saw it during the 14 contentious months that Beethoven was his pupil, we don't know.
Beethoven revised the concerto to include a new finale during his study year with Haydn. This was this version he introduced in 1795 and then further revised in 1798 for Prague, giving it still another finale. (The "official" First Concerto in C, published as Op. 15, wasn't composed until 1797.) To keep the B flat for his own use, he left the solo part un-notated until the Leipzig publisher Hoffmeister agreed to buy the work in 1801, for half the price of a new sonata. The composer didn't haggle: "I really don't give out as one of my best....Still, it will not disgrace you in any way to publish it."
Although the B flat has come down to us as one of the two runts in Beethoven's concerto litter (along with the "Triple"), it is nonetheless a work of substantial charm and considerable elegance, with several Haydn-like surprises including an abundance of themes. In the opening Allegro con brio movement, however, he followed Classical rules, concentrating on the two principal subjects of a double exposition (by the orchestra first, next by the soloist), then a development section, and finally a recapitulation. The main themes in their cheerful confidence are distinctly Beethoven's, though their working-out is clearly influenced not only by Haydn but also by the recently departed Mozart. The middle movement -- Adagio, in E flat major -- hints at the slow movement of the Fourth Concerto to come a decade later. It is, in effect, an accompanied fantasia that resembles a carefree theme and variations, with an attention-getting solo recitative-like passage at the end. The twice-rewritten finale, Molto allegro, combines sonata and rondo forms, with perhaps the nicest surprise of all saved for last: a brief solo rumination which the orchestra brusquely interrupts with a terminal tantara.
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