Famed pianist Anton Nel described the 5 piano concertos by Beethoven as gifts to us all, gifts that he is “eternally grateful for.” He displayed the utmost virtuosity here in Austin last weekend by playing all 5 along with the Austin Symphony Orchestra.
Since this was a most unusual two-night offering by our wonderful Symphony, I’m going to offer here a more comprehensive analysis than usual. First, a survey of the concertos, followed by Nel’s own commentary on them which he imparted to audience members in Friday and Saturday-night pre-talks (pictured above).
Survey of the Concertos
Beethoven’s Piano Concerto No. 1 in C major, Op. 15, was composed between 1796 and 1797. Although it was labeled as his first piano concerto, it was actually composed after his Piano Concerto No. 2; the first, however, was published earlier. The concerto reflects Beethoven’s early style, still heavily influenced by the Classical traditions of Mozart and Haydn, particularly in its structural clarity, its median emotionality, and elegance. Beethoven’s emerging individualism is just emerging, with bolder harmonic explorations and more dynamic contrasts than found in the works of his predecessors. The C major key lends the concerto an overall bright character, which Beethoven uses to great effect. The first movement, Allegro con brio, is exuberant and showcases virtuosic piano writing typical of the concerto, while the second movement, Largo, stands out for its lyricism and contemplative mood. The final movement, a playful and energetic Rondo, makes use of a sort of humor and rhythmic vitality. Overall, the concerto blends the charm of the Classical style with glimpses of the more dramatic and innovative approaches that would characterize his later work. Beethoven’s Piano Concerto No. 2 in B-flat major, Op. 19, was composed primarily between 1787 and 1789, though Beethoven revised it before its premiere in 1795. This concerto, similar to the first, reflects Beethoven’s early period and is influenced by the Classical tradition more than his later works. Its aesthetic draws heavily from Mozart and Haydn, characterized by the same balanced structure, phrasing, conventional chord resolutions, and lightness of texture, as its predecessor. Written in B-flat major, the concerto has a buoyancy. The first movement, Allegro con brio, has a sparkling energy and is reminiscent of Mozart’s style in its dialogue between the piano and orchestra. The second movement, Adagio, offers a more introspective character, foreshadowing the expressive innovations that Beethoven would later develop. The final movement, Rondo, is lively and full of humor, with a playful, quicksilver quality that showcases the soloist’s virtuosity (Beethoven was especially legendary for his keyboard skills). While it may not reach the complexity of his later works, it demonstrates Beethoven’s mastery of classical forms and his confidence as a creative force. Beethoven’s Piano Concerto No. 3 in C minor, Op. 37, was composed in 1800 and premiered in 1803, marking a significant shift in Beethoven’s compositional style. This concerto is often seen as a bridge between Beethoven’s early and middle periods, showing the composer’s growing departure from the Classical models of Mozart and Haydn toward a more personal and dramatic voice. Its aesthetic is darker and more intense than his previous concertos, with a heightened sense of contrast and dynamic range that reflects the emotional depth typical of Beethoven’s works in C minor—a key he often used for more turbulent and passionate compositions. The first movement, Allegro con brio, opens with a powerful and foreboding orchestral introduction, setting a serious tone. The piano enters with bold, assertive statements, creating an unusually dramatic dialogue with the orchestra. The second movement, Largo, contrasts this intensity with a sedate and peaceful theme in E major, offering momentary tranquility. The final movement, a Rondo, returns to the stormy character of the opening, yet it also incorporates lively, almost playful elements, balancing tension with lightness. Overall, this concerto showcases Beethoven’s emerging maturity, blending Classical structure with Romantic expressiveness, making it a pivotal work in his concerto repertoire. Beethoven’s Piano Concerto No. 4 in G major, Op. 58, was composed in 1805–1806 and premiered in 1808 with Beethoven himself as the soloist. This concerto is notable for its innovation and lyricism, representing a departure from the dramatic intensity of his earlier works. It introduces a more introspective, poetic quality, especially in the use of delicate, flowing melodies and refined orchestration. Unlike the conventional practice where the orchestra presents the main theme before the soloist, this concerto opens uniquely with the piano introducing the gentle, lyrical theme, which the orchestra soon picks up and expands upon. Written in G major, the concerto has an overall serene and graceful character, though it also incorporates moments of tension and drama. The second movement, Andante con moto, is particularly famous for its stark contrast between the piano and orchestra, with the piano’s serene response to the orchestra’s imposing, almost tragic statements, often interpreted as a dialogue between Orpheus and the Furies. The final movement, a lively Rondo, balances the concerto’s introspective qualities with joyousness and technical brilliance. This work is a hallmark of Beethoven’s middle period, reflecting both his fusion of classical form with his evolving Romantic sensibility. The 4th and 5th concertos are very important works in the history of music, because they are essentially founding documents of the Romantic school of music, instrumental (pun intended) in the invention of the style. Beethoven’s Piano Concerto No. 5 in E-flat major, Op. 73, known as the “Emperor” Concerto, was composed between 1809 and 1811 and premiered in 1811. This concerto stands as one of Beethoven’s most majestic and heroic works, often regarded as the pinnacle of his piano concertos. Composed during a time of political turmoil while Napoleon’s forces occupied Vienna, the work reflects both the grandeur and defiance of Beethoven’s artistic vision. The E-flat major key, commonly associated with nobility and heroism in Beethoven’s works, reinforces the sensibility of the work. The first movement, Allegro, is famous for its dramatic opening, where the piano bursts in with virtuosic flourishes after brief orchestral chords—a bold and innovative approach. Throughout the movement, Beethoven explores a rich interplay between soloist and orchestra, balancing power with lyrical beauty. The second movement, Adagio un poco mosso, is contrastingly serene, with a hymn-like quality, creating an ethereal and contemplative quality. The final movement, a spirited Rondo, returns to the bold, triumphant mood of the opening, culminating in a jubilant finale. This concerto’s fusion of grandeur, emotional depth, and technical brilliance marks it as a landmark in Beethoven’s mature style, not only showcasing his unparalleled command of the concerto form, but expanding the possibility of what this musical form could express emotionally.
In a certain sense, Beethoven’s concertos uniquely valuable to the listener of his music. They are a musical history of his artistic evolution; in it, we see Beethoven emerge from imitator to innovator to grandmaster of the human soul and the way it speaks of itself through music.
Commentary by Anton Nel
On the 1st and 2nd Concerto: What I find funny and sweet about this is that in the first and the second, and even the fourth concert too: the last movements are funny. They’re humorous and charming and sweet. Beethoven had a sense of humour. In the second concerto there is a monster cadenza, which Beethoven only wrote down much later in his life.
On the 3rd Concerto: Cadenzas are improvisations for the soloist. In the first movement there is an astonishing cadenza. Following that is an amazing conclusion.
On the 4th Concerto: In the 4th we get something completely different from the 1st and 2nd. It is light years away from anything else he has written, but is on a more subtle level. It’s more showy and extroverted. The piano starts the piece alone – it’s such a unique and beautiful way to begin, and then the orchestra responds in kind. It sets the stage for something that is just spine-tingling. It’s just amazing, and very, very, very difficult to play: if you sound flashy in the fourth, you have really failed as a pianist. Beethoven played it twice in his lifetime, but it was by far too difficult for any other pianists to play. We have to remember that Beethoven was an incredible pianist.
The second movement of the 4th is also very unusual and it’s like a little drama that happens… it’s been sort of likened to the legend of Orpheus taming the beasts or the furies. The orchestra’s starts very strongly and the piano is incredibly soft, and it goes back and forth and back and forth until finally the orchestra gets softer and softer, and the piano gets a little bit narrower, and so by the end the two sort of meet in the middle. And then there’s very peaceful things that happens: it’s really amazing. It’s probably my favourite piece of music.
The 5th Concerto: It’s the most popular, of course, the most famous and the biggest. It was given the moniker Emperor, but not by Beethoven. If you want to sort of think of Napoleon and all the other things that were going on at that time (it premiered in 1811). I mean, there is a sort of military quality to some of it, but the name, for me, suits it in terms of its sort of grandeur and elegance.
He breaks with tradition rather than having this kind of cadenza or improvisation at the end of the first movement. The orchestra plays a chord and the pianist plays a cadenza. And then there is a second chord and there’s another cadenza, and a third chord and another. And finally the orchestra plays the standard introduction. Just the first movement is more than 20 minutes long which is longer than some symphonies you’ve heard. This is a very big concerto.
Following this giant first movement, he has an absolutely gorgeous, again gorgeous, sort of movement, which he said like the chorale with some variations on it. Later on in his life on the score he wrote this the German word “demurm” in the music which means “twilight”: it really describes it perfectly.
And then also one of the most wonderful things in the whole set happens at the end of the second movement where he sort of makes this transition from the second movement to the third. It goes without a break. Finally, it bursts forward into this rollicking, celebratory festive joyous thing that is a wonderful way to conclude the set.
So it’s great to get all five of together. I don’t think there’s anyone that is less than the others. They just sort of kept greater and greater and greater.
The Concerts
Both concerts at the Long Center were very nearly sold out – this was an event. Here are a few impressions from the performances.
The 1st concerto evoked a sense of a great, searching vision. The search meanders over hill and dale but lands on a sylvan plain. The notes of the 2nd are so delicate that Nal’s hands floated above the keys more than they actually touched the keys. Very tender music, with a quiet dignity emanating from the keyboard. It concludes on a very different note, with lively, stately music. A veritable steeple-chase compared to the earlier part of the concerto.
The 3rd is a tale of enchantment and trepidation. The 2nd movement begins in an achingly beautiful way, very calm and peaceful. The third movement, by contrast, is frothy and frolicksome.
The 4th is my favourite. It beings with incredibly fast keystrokes, like the fluttering of bird wings. This first movement, which expands into slow, measured notes, feels like an exploration of the unconscious. The second movement, likened to the myth of Orpheus, evoked for me visions conjured up by William Blake in his Dante illustrations. In the third movement, the orchestra sets a sparkling table that the piano feeds on with a malleable melody of great complexity. It all ends in a flash of tungsten. The 5th is dominated by stately, strident strings. A bucolic second movement becomes downright somnabulent. Overall, the found it meandering and over-long.
These marvellous concerts marked the 20th time Artistic Director Peter Bay has teamed up with Nel, who is head of the Division of Keyboard Studies at the University of Texas, Austin. In 2025 he will also join the faculty of the Glenn Gould School in Toronto. The second photo shows Nel, in a red shirt, with Bay.
Visit www.austinsymphony.org for tickets to future concerts.
Survey of the concertos written especially for SunNewsAustin.com by Conlan Salgado of Roosevelt University.
Photos by C Cunningham