Ludwig van Beethoven (1770-1827)
Triple Concerto in C major Op.56
for piano, violin, cello and orchestra

This piece, written in 1804 for Prince Franz Joseph Lobkowitz, Beethoven’s pupil and patron, is a peculiar one. The three solo instruments play their concerts individually at times, at times in duets, and often simply as a piano trio. All this is done in collaboration with the orchestra in its ever-changing roles.
This means that the soloists must be both veteran chamber musicians and experienced concert performers. And even if, as has often been said, the piano part is devoid of fireworks of virtuosity, Beethoven’s aristocratic student for whom this has been written, must have been quite skilled. Yet neither the pianist nor the violinist have much to say in this concerto in comparison with the cellist. His or her part is not only the most difficult one; it also carries the greatest meaning in the general colour of the piece and elevates it with its singing quality.
This is no exaggeration: Triple Concerto has been written in the time of Eroica and Appassionata, and does almost nothing to breach the conventions.
∙ The first movement (Allegro) is filled by themes with sober, marching rhythms, very much in the type of a classic concerto militare. Yet the moment this is taken over by the cello, all this glitter becomes gold. Now since this movement is imposing in its outline, emanating with energy, to the point of rapture – especially when the full trio plays in concert, the audience have reasons to be satisfied.
∙ It will have reasons for admiration, too, in the very short Movement Two (Largo), for the parts of the cello and the violin combine in a beautiful duet over a background of strings, clarinets, and bassoons.
∙ The third movement comes attacca (Rondo alla polacca) to obscure all that is the best about this Concerto – the singing, the humour, the glow of the virtuoso. It is above all real, energetic, ceremonial, and lordly. This pageant enters a merry gallop for only a short while; it returns, among cheers, bowing to one and all.

Maciej Negrey