Triple Concerto : Work information

Composers
Ludwig van Beethoven ( Music, Images,)
Performed by
Bernard Haitink, Gordan Nikolitch, Tim Hugh, Lars Vogt, London Symphony Orchestra

This work

Work name
Triple Concerto
Work number
Op. 56
Key
C major
Genre
A
Composed
1803-01-01 02:00:00

This recording

Label
Royal Philharmonic Orchestra
Producer
Matthew Dilley
Engineer
Dick Lewzey
Recording date
n/a

The Composers

Ludwig van Beethoven

Ludwig van Beethoven is regarded as one of the greatest composers in the history of Western music, and certainly the most dominant of the 19th century. In taking the Viennese Classicism of Mozart and Haydn to its limits and developing his own intensely personal style, his output heralds the birth of musical romanticism.

Although Beethoven's personal life was often turbulent, he managed to produce some of the most sublime music ever written. Among his most profound works can be counted the nine symphonies, the Missa Solemnis, many of the piano sonatas, the late string quartets, the Piano Concerto No. 5, and his only opera, Fidelio. All enjoy a permanent and important place in the musical canon.

Born in 1770, the son of an obscure musician in the provincial town of Bonn, Beethoven received his early musical training from his father and other local musicians. His talents for composition and the piano were quickly recognised and nurtured by court organist, Christian Gottlob Neefe, for whom the young Beethoven deputised.

Sent to Vienna in 1792 to study with Haydn, Beethoven spent the next decade establishing an enviable reputation as a virtuoso pianist and composer. He published an increasing number of works and enjoyed the patronage of Prince Lichnowsky and the Esterházys among others.

His gradual loss of hearing, though, threatened the course of his career. Realising that his condition was both incurable and permanent, Beethoven shunned social occasions to avoid revealing his potentially damaging secret. By 1818 he was virtually deaf and had to use conversation books to communicate.

Upon learning of his deafness, Beethoven suffered a period of fluctuating moods, powerfully voicing his despair in an 1802 letter to his brothers, the 'Heiligenstadt testament'. Managing to pull himself out of his malaise, Beethoven threw himself into the work that was now spreading his fame all over Europe.  

With financial stability finally achieved through the patronage of Beethoven's supporters, Archduke Rudolph, Prince Lobkowitz and Prince Kinsky, Beethoven's professional life reached a peak. His personal life, in contrast, was still in turmoil.

In 1812 he wrote a passionate love-letter to an unknown 'immortal beloved', now thought to be Antoine Brentano, a married and, hence, unavailable woman. This was the culmination of a series of unrequited or doomed love affairs and marked a turning point in the composer's life.

From this point on, Beethoven seems to have accepted the impossibility of marriage and, after a long period of diminished creativity, decided to dedicate his energies to composition. His recovery began in 1817 with the Hammerklavier sonata and continued with the Missa Solemnis, but further conflict with his sister-in-law over custody of his nephew, Karl, kept his personal life turbulent.

After the monumental Ninth Symphony of 1823-4, Beethoven dedicated his last years to the string quartet, though illness began to increasingly disrupt his compositional activities. Beethoven's relationship with his nephew also deteriorated and Karl's attempted suicide in August 1826 shattered the ailing composer. In late 1826 he developed jaundice and, after a lengthy illness, died on 26 March 1827; an estimated 10,000 people attended the funeral three days later.

Beethoven's influence, as both a composer and romantic artist, has proved enormous. His compelling private life and wonderful music ensured that his perceived 'heroic' struggle over personal obstacles became the idealised view of the composer in the romantic era. Similarly, there can be few composers born since that have escaped the shadow of his immense creativity and musicianship. He stands above virtually all others as one of  the most admired composers of all time.

Related Composers: Schubert, Mendelssohn, Weber

- MIDI FILE - Piano Sonata op.2 no.1: 1 Mov. (2'32'')

- MIDI FILE - Piano Sonata op.2 no.1: 2 Mov. (5'21'')

- MIDI FILE - Piano Sonata op.2 no.1: 3 Mov. (2'21'')

- MIDI FILE - Piano Sonata op.2 no.1: 4 Mov. (4'25'')

- MIDI FILE - Piano Sonata op.2 no.2: 1 Mov. (4'52'')

- MIDI FILE - Piano Sonata op.2 no.2: 2 Mov. (4'40'')

- MIDI FILE - Piano Sonata op.2 no.2: 3 Mov. (2'46'')

- MIDI FILE - Piano Sonata op.2 no.2: 4 Mov. (5'50'')

- MIDI FILE - Piano Sonata op.2 no.3: 1 Mov. (7'02'')

- MIDI FILE - Piano Sonata op.2 no.3: 2 Mov. (7'05'')

- MIDI FILE - Piano Sonata op.2 no.3: 3 Mov. (3'20'')

- MIDI FILE - Piano Sonata op.2 no.3: 4 Mov. (4'30'')

- MIDI FILE - from 5th Piano Concerto: Allegro (18'50'')

- MIDI FILE - from "Moonlight Sonata" op.27 n.2: 1th mov. (5'47'')

- MIDI FILE - Piano Sonata "Waldstein" (complete) (21'52'')

Track listing

  • Allegro 16:35 min
  • Largo 4:32 min
  • Rondo alla polacca 12:14 min

Notes

The idea of writing a concerto for a group of instruments was nothing new. Early Classical composers had done it decades before and even Mozart had been tempted by the fashionable genre. Beethoven's Triple Concerto for Piano, Violin, and Cello was his only 'Sinfonia Concertante', though it wasn't referred to by that term, and is not as successful as his solo concertos.

Composed in 1803-4 at the same time as the Eroica Symphony, the Triple Concerto was dedicated to Prince Lobkowitz and probably privately performed at his palace in the summer of 1804. The first public performances took place in Leipzig and Vienna in 1808, the difficult cello part possibly taken by Anton Kraft, a member of the Lobkowitz orchestra.

A lengthy opening movement is followed by a brief Largo that features a single cello-dominated melody. The famous polonaise finale grows out of the Largo and is perhaps the most satisfying movement; its lively dancelike qualities allow the three soloists to converse in animated fashion.