Beethoven's magnificent Emperor Concerto (1st Movement)

This last-completed piano concerto of Beethoven’s is also the largest in scale – a dazzling display of full chordal textures with a virtuosity that looks forward to the pianism of Liszt and the like. The nickname “Emperor” was not given by Beethoven (anyone familiar with the story of the Eroica Symphony would know how Napoleon’s ratings in Beethoven’s eyes had dropped drastically after he proclaimed himself emperor of France); but different sources cite various reasons as to how the concerto came to be called “Emperor”.

The first movement opens with loud chords from the orchestra, answered by the piano in quasi-cadenzas before the main theme is introduced by the violins. A rich array of material is introduced, and the development section which ensues has “the fury of a hail-storm”, in musicologist Sir Donald Tovey’s words.

At the point the cadenza is supposed to begin, Beethoven scribbled “do not play a cadenza, but begin immediately what follows”, and supplied a written-out piano part that leads to the coda. This was Beethoven’s way of getting full control over what was played and not letting the soloist improvise (as was the usual practice), setting the trend that was to become a standard later on. (Natalie Ng)

Paul Lewis, piano
Singapore Symphony Orchestra
Pierre Bleuse, conductor

Recorded live at the Esplanade Concert Hall, Singapore, on 1 June 2024.
Video & audio: msm productions (Singapore)

Cover Photo: Jack Yam