Max Derrickson

Ludwig van Beethoven

Concerto for Violin, Cello and Piano in C-Major, Op.56

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The subjection of the Triple Concerto to such judgement is a musing solely reserved for a composer of such genius as Beethoven. Had the Concerto been written by anyone else, or had Beethoven never climbed such ethereal heights in his other works, the Triple Concerto would be anyone’s masterpiece.

The Concerto is a marvelous work of distinctive inventiveness. Technically, the problem of a concerto for three instruments is a difficult one. Beethoven handled this challenge by treating the three soloists as a trio solo,  [. . .]

The second movement Largo is a beautiful cantabile which foreshadows the heavenly slow movement of the Emperor Piano Concerto, a melody of reserve and simplicity, yet speaking volumes with its muted violins. The movement is developed into an intense pianissimo that would seem to prepare us for a grand central section of the main theme, but cleverly leads into the finale.

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