Beethoven Piano Concerto No 2 in B flat major Op 19-The Half Price Concerto

Having wrote two commentaries on Beethoven Piano Concerto No. 1 opus 15 and No. 5 opus 73; his first and last for this genre,  sometime back, I am into his piano concerto again. I shall be chronological at least in terms of the date of publicity based on opus number and write about his second concerto opus 19. The reason why opus number is not a good chronological gauge as it is common for composers to publish their work about a year or so later to ensure that they are the only performer and provide little basis for comparative critique especially when the piano is Beethoven's instrument of choice. In fact Beethoven himself said that musical policy demands that one should keep the best concertos to oneself for a time. Actually after more recent discovery of Beethoven's undoubted first piano concerto that pre-dates opus 15 named Piano Concerto in E flat major WoO 4 as no opus number was assigned as it was not published during his lifetime. Perhaps he considered this work too amateurish or juvenile to be associated with it like the phrase "I would not be caught wearing that dress".

Why half price? In selling this concerto to Hoffmeister, Beethoven only asked for 10 ducats instead of the usual 20 ducats as he remarked that he believe that this is not among his best. From this remark, scholars have argued both ways why it is his first attempt in composing the piano concerto genre. Those arguing why it is the first reasoned that it is likely his first attempt as it is less matured in many ways when compared to his piano concerto No. 1 opus 15. Those on the other side reasoned that after having published his piano concerto No. 1 opus 15, this remark is a comparative statement that it is not as good as the previous opus 15.

The concerto opens with a lively orchestra tutti that some remarked that the beginning is fashioned after  Mozart flamboyant style while others opined that it is much more reflective of Haydn's gallantry especially the ending of the first movement and the most of the third movement. My favorite portion of this movement is the zesty orchestra tutti that launches this concerto as well as the ending where the soloist displays his ability to divorce his left hand from his right hand to execute the rhythmically polarized portions. On this note, I think that Martha Argerich interpretation of this solo part is my favorite as it sounded so effortless like a walk in the park.

Beethoven's imprint and style is so obvious in this lyrical second movement and to me, it could be connected to his sixth symphony. This is the movement to sit back and soaked up the gentile Adagio like a walk in the beautiful black forest of Germany during spring time.

The finale is the movement that Beethoven has done most modifications from differential in the various manuscripts that survived to the extend that one of them believed to be the original finale has actually been named as a standalone Rondo without opus number Wo4 in B flat major due to the large differential with later manuscripts. Barry Cooper of University of Manchester puts technical brilliance as what sets this movement apart from the rest of the concerto. The resolution at the end of this movement actually sums up not only this movement also the entire concerto nicely.

I have listened to 7 versions of this concerto in writing this concerto and tempo wise, it seems a reversal in trend. The later recordings like the version by Pierre-Laurent Aimard with Nikolaus Harnoncourt conducting being the slowest and earlier recordings the version by Alfred Brendel with Heinz Walburg conducting seems a tad hurried. Harnoncourt was a percussionist before taking up conducting and these are the artists that put the most emphasis on the tempo.Here are the versions pictorarily.

Cheers,,,, Pete aka http://lkypeter.blogspot.com

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