branch out, the most important of which is played initially pizzicato by the strings in a minor key and immediately continued by two horns, playing it tenderly and warmly in a major key. Both themes are presented by the orchestra and are considerably developed before the piano plays its version of this thematic material. The development section is stormy and is followed by a vigorous dialogue between the piano and the orchestra. In the recapitulation, the themes reappear almost in their original form. Where the cadenza is usually expected, Beethoven instructs the pianist not to play one but rather to immediately attack the next part ("non si fa una cadenza, ma s'attaca subito il seguente"), which is in fact written as a short cadenza based on the two major themes of the movement. The orchestra joins the pianist in an invigorating coda. The slow movement is very lilting, in the manner of a nocturne. The principal melody is played initially by muted violins and later by the piano, which ornaments it with variations. As the last harmony of the third variation fades out, the bassoons softly hold the note B (the key of the movement) and then, without any transition, the entire orchestra descends half a tone to B-flat. This soft sustained sound provides a background to implied fragments of the main theme of the concluding Rondo, which follows immediately without any break. The theme of the extensive Rondo bursts out in fierce and intense syncopations. Beethoven's amazing control of form and the creative way in which he uses it, contribute greatly to the dynamic and festive atmosphere of the movement. This is not the place to provide a detailed analysis, as intriguing as it may be, of the movement. Suffice it to say that generally speaking it is built as a combination of rondo and sonata forms, in which the repetitions of the rondo theme provide the overall framework and the diverse episodes are the various sections of the traditional sonata form (exposition, development, etc.). But although the overall structure is complex, the movement itself sounds free and spontaneous. It concludes with sweeping acceleration, intensity and brilliance. Beethoven may have had some reservations about the title "Emperor", but there is no doubt that this is indeed a very special and majestic concerto, which expresses direct and bursting emotions. Orly Tal
RkJQdWJsaXNoZXIy NTQ4MDQ5