EMIL GILELS HEETHOYEN: Piano Concerto IVo. 3 in C Minor, Opus 37

1. Allegro con brio 2. Largo 3. Rondo: Allegro

ORCHESTRE DE LA SOCIETE DES CONCERTS DU CONSERVATOIRE

Conductor:

ANDRE CLUYTENS

(Recorded 1954 at the Theatre des Champs Elysees, Paris)

1st performance: April 5, 1803, at the Theateran-der-Wien, I ienna. at a concert devoted to Beethovens music, with the com¬ poser as soloist in the piano concerto.

The Largo (in E Major) opens with the soloist stating a thoroughly romantic phrase. The first period is sweet and thoughtful:

4methodical analysis of Beethoven’s nine symphonies and five great piano concertos discloses a curious anomaly.

' Tracing Iris development in these two forms of compo¬ sition reveals that his ideal technique developed more slowly in the pure orchestral medium than when he was writing for the kevboard. It is difficult to believe that this dramatic Third Concerto and the First Symphony, still so timid and respectfu of the traditions of Mozart and Haydn, were both composed

in the year 1800. The Third Concerto is marked by strokes of audacity in

both structure and form which correspond to the much later Fifth Symphony. The concerto is permeated with a surprising atmosphere of authority and conviction, which is established in the first measure of the long orchestra introduction preced¬

ing the soloist’s entrance. The first movement opens with the C minor triad played by

the strings in unison and octaves:

Allegro con bno Q j Strings

#>

The music then develops broadly in what appears to be, by itself, an independent symphonic work. The orchestra seems to ignore the fact that there is a piano on the scene which will demand its turn to speak. The instrumental tutti presents the two major themes, which then compete for attention; the first strong and vigorous (see Ex. 1) ; the second, pleasant

and pastoral:

1st Violin*, Clarinet

The themes, handled with interesting rhythmic and melodic variety, are treated exhaustively before the orchestral pas¬ sage is brought to a close.

The piano now enters, giving the impression of having awaited its cue witli impatience. The orchestra has said every¬ thing, and the contrast of the two themes is already estab¬ lished. How then can repetitiousness be avoided? Beethoven accomplishes this by making use of the characteristic re¬ sources of the piano. The soloist takes the first theme as his point of departure. He makes it more graceful and elegant by use of trills and embellishments, playing with it in a gentler fashion than his powerful rival. The themes are handed back and forth betwen the two with much humor and inge¬ nuity. The entire Allegro is handled with a mastery and assurance unexpected from the composer of Symphony No. 1.

At the eighth measure, where one might anticipate a return to the beginning the melody halts on its dominant and then modulates up a minor third to the key of G major.

This second period is filled with such tenderness that Charles Gounod—unconsciously, no doubt—recalls it in a famous aria in the garden scene from Faust. The long, flow¬ ing melody is answered by the orchestra after which a new theme is stated by the piano alone.

The piano then improvises freely in a long passage accom¬ panied by the strings and a discussion between the flute and bassoon. The movement ends with an expressive coda.

A N G E L R E C O R I) S

The Finale is an Allegro in the form of a free rondo. The first theme is so gay, so carefree and so light that one forgets that it is written in a minor key (the original, c minor):

The entrance of a second jaunty theme (in E flat major) is hardly noticed, so skillfully is it brought into the conversation.

The expressive third theme is first stated by the clarinet:

This is developed by the soloist and then interrupted by a fugato on the first theme. This does not last long; at the approach of the coda, after a brief cadenza by the soloist, the 2/4 abruptly changes to 6/8,

Presto __

Piano

bringing the work to a brilliant conclusion with an almost Mozartian insouciance.

from notes of EMILE VUILLERMUZ

35131

Manufactured in U S.A. (XlX-X-244) 33'/,

Recorded in Europe

BEETHOVEN CONCERTO NO. 3 IN C MINOR, OP. 37 First Mov.: Allegro con brio-Codenza-Tempo 1

EMIL GIL ELS ■ (Pianoforte)

& ORCHESTRE DE LA SOCIGtE DES

CONCERTS DU CONSERVATOIRE

conducted by ANDR6 ClUYTENS

(Recorded in the Theatre det

Champs Elysees)

BEETHOVEN CONCERTO NQ. 3 IN C M;N0R, OP. 37 Band 1-Second Mov.: Largo-Cadenza-Tempo I

Band 2-Third Mov.; Rondo (Allegro Cadenza-Tempo 1-Preito)

EMIL GILELS (Pianoforte) & ORCHESTRE DE LA SOCI&TE DES CONCERTS DU CONSERVATOIRE conducted by ANDRf: CLUVTENS

(Recorded in the Th6fitre des Champs-Elysees)