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IGOR LEVIT XIAOHAN WANG Piano Concertos Nos IGOR LEVIT XIAOHAN WANG Piano Concertos Nos. 1 & 2 Ludwig van Beethoven Kölner Kammerorchester Helmut Müller-Brühl LUDWIG VAN BEETHOVEN (1770–1827) Klavierkonzert Nr. 1 op. 15 in C-Dur Piano Concerto No.1 Op.15 in C Major 1 I Allegro con brio 14:29 2 II Largo 11:13 3 III Rondo. Allegro scherzando 8:35 Igor Levit Klavierkonzert Nr. 2 op. 19 in B-Dur Piano Concerto No.2 Op.19 in B flat Major 4 I Allegro con brio 14:13 5 II Adagio 8:41 6 III Rondo. Molto allegro 5:45 Xiaohan Wang Kölner Kammerorchester • Helmut Müller-Brühl Total Time 63:16 26.05.2007 4–6 & 10.06.2007 1–3, Kölner Philharmonie, Konzertmitschnitt | live recordings 8.551447 2 „Noch hörte ich einen der größten Spieler spiel die Erwartung auf den Einsatz des Solisten auf dem Klavier, den lieben guten Bethofen. zu wecken, räumte diesem mit Zwischenspielen Zwar ließ er sich nicht im öffentlichen Konzert kurze Erholungsphasen ein und akklamierte dem hören, [...] indessen, was mir unendlich lieber virtuosen Spiel abschließend mit einem affirma- war, hörte ich ihn phantasiren ... Man kann die tiven Nachspiel. Eine grundlegende Vertiefung Virtuosengröße dieses lieben, leise gestimmten erfuhr das Verhältnis zwischen Soloklavier und Mannes, wie ich glaube, sicher berechnen nach Tutti in Mozarts großen Klavierkonzerten der dem unerschöpflichen Reichtum seiner Ideen, 1780er Jahre. Sie wurden für Beethoven ein Vor- nach der ganz eigenen Manier des Ausdrucks bild, dem die beiden ersten Konzerte deutlich zu seines Spiels und nach der Fertigkeit, mit folgen bestrebt sind. welcher er spielt.“ Das Wissen, dass das B-Dur-Konzert trotz der [nach Kerst I, 17] Bezeichnung „Deuxième Concert“ das früheste Werk der Fünfer-Gruppe war, ist inzwischen Für den Kaplan Karl Ludwig Junker, der die Bon- Allgemeingut. Seine Orchesterbesetzung mit ner Hofkapelle 1791 anlässlich ihres Aufenthalts nur einer Flöte und ohne Klarinetten, Trompeten in Mergentheim kennen gelernt hatte, war der und Pauken entspricht dem Mozartschen „liebe Beethoven“ vor allem Klaviervirtuose, al- Standard-Modell. Das Kopfthema lässt – wie lerdings mit einer außergewöhnlichen schöpferi- auch oft bei Mozart – in Rhythmus und Melodik schen Phantasie begabt, und genau so schätzte an den in der damaligen Konzertmusik beliebten man ihn auch in seinen ersten Wiener Jahren Typus des „Concerto militare“ denken, der auch ein. Es galt als selbstverständlich, dass sich die in die übrigen Klavierkonzerte Beethovens virtuosen Instrumentalisten in den kunstlieben- hineintönt. Die Rolle des Orchesters ist die eines den Adelskreisen mit Werken eigener Produk- souveränen, diskret agierenden Begleiters; tion präsentierten, wenn nicht gerade mit einem es lässt den anspruchsvollen, aber nie zum „Concert“, dann doch mindestens mit einem artistischen Schaueffekt gesteigerten Solopart „Air varié“ oder einer „Romance“. Beethovens voll zur Geltung kommen. Beethoven hat an Klavierkompositionen der ersten Wiener Jahre diesem Konzert, dessen Anfänge in die Bonner (ab 1792) sind denn auch durchaus für den Zeit zurückreichen, lange gefeilt. Ein schlichtes eigenen Gebrauch geschrieben. Dies gilt ins- Rondo als Finalsatz aus dem Jahr 1792 besondere für die Konzerte, mit denen das (Werk ohne Opuszahl Nr. 18) hat Beethoven junge Genie sich der bürgerlichen Öffentlich- aufbewahrt, aber nie verwendet, stattdessen keit vorstellte. Herkömmlicherweise diente die hat er in den Wiener Jahren das B-Dur-Konzert Gattung des Instrumentalkonzerts in erster Linie durch ein geistreich spritziges Final-Rondo dazu, die besonderen virtuosen Fähigkeiten des ergänzt. Nach mehreren Aufführungen in Wien „Konzertgebers“ ins rechte Licht zu rücken. Das und bei Gastspielen in Prag und anderen Orchester bildete die Folie, es hatte mit dem Vor- Städten hat er den Solopart, den er bei seinen 3 8.551447 Auftritten zu großen Teilen improvisiert hatte, gewissen Schwierigkeiten der Entwicklung (ein definitiv niedergeschrieben und als Opus 19 Finalsatz musste erneuert werden) doch etwas veröffentlicht. Ordentliches geworden ist. Op. 37 (Nr. 3, in Das C-Dur-Konzert stellt zwar in gewisser c-Moll) ist der erwachsene ältere Bruder, der Hinsicht eine Weiterentwicklung dar, war aller- die Schläge des Schicksals schon zu spüren dings neun Monate zuvor schon im Druck veröf- bekam, der sich dagegen aber kämpferisch zu fentlicht worden und wurde auch von Beethoven behaupten suchte („ . ganz niederbeugen soll als „das Erste“ angesehen. Einen Schritt weiter es mich gewiss nicht“) und der allen Widrigkeiten in Richtung auf das „sinfonische Konzert“ bedeu- zum Trotz selbstbewusst in die Zukunft sieht. tet schon die zum großbesetzten Orchesterwerk Schließlich die Eltern, jeder Partner gereift nach erweiterte Instrumentierung mit vollständigem seiner eigenen Wesensart: die liebenswerte Holzbläsersatz, Hörnern, Trompeten und Pau- Mutter (Nr. 4, op. 58 in G-Dur), ein warmherziges, ken. Aber auch in der Setzweise des Kopfsatzes kluges, nach innen gerichtetes Wesen und der hat das Orchester nun eine gewichtigere Rolle: Vater (Nr. 5, op. 73, in Es-Dur), das Oberhaupt es darf hier, im Gegensatz zum B-Dur-Konzert – der Familie, eine energische, großdenkende, als Erster das Gesangsthema präsentieren und eloquente und selbstbewusste Persönlichkeit steuert zu den motorisch-virtuosen Passagen mit großer Ausstrahlung. Alle fünf können und Arpeggien des Soloinstruments strukturell aber auch nach Lage der Dinge neben dem wichtige Motive bei. Die Finalsätze repräsen- Ernst des Lebens durchaus einmal vergnügt tieren die für Konzerte typische Kombination oder sogar ausgelassen sein. Es könnte sein, der Form des Rondos mit dem Charakter des dass eine solche Betrachtungsweise, ernsthaft Scherzos, ein geistreiches Spiel mit Motiven und durchgespielt, manchem Zuhörer mehr über Rhythmen in übersichtlicher Gliederung. die Werke vermittelt, als eine tieflotende historisch-analytische oder musiksoziologische Der Pianist Alfred Brendel, sicher einer Abhandlung. der profundesten Kenner der Gattung, hat gesprächsweise einmal geäußert, für ihn seien die fünf Klavierkonzerte Beethovens eine [dem Lebensalter nach] „auf den Kopf gestellte Familie“. Da seien „zwei Teenager, sehr muntere Gesellen, dann ein junger Mann in c-Moll, und die Eltern: die Mutter in G-Dur, der Vater in Es-Dur.“ Es wäre reizvoll, diesen humorvollen Vergleich spielerisch ein wenig auszuspinnen: Op. 15 und 19, die auf diesem Album zu hören sind, wären die beiden Halbwüchsigen, aus denen nach 8.551447 4 “And I also heard one of the greatest pianists, considerably consolidated in Mozart’s great dear Bethofen. However, it wasn’t a public piano concertos of the 1780s. They provided concert […] instead, and much more to my taste, Beethoven with a model and his first two I heard him improvise … I think the enormous concertos clearly show that he had aimed at virtuosity of this dear, quiet man can be easily following Mozart’s prime examples. judged from the inexhaustible wealth of his Meanwhile it has become general knowledge ideas, the characteristic expressiveness of his that the Concerto in B flat Major was the first playing and from his brilliant skills at the piano.” within a group of five concertos, despite its title [according to Kerst I, 17] “Deuxième Concert”. Its orchestration with just one flute and without clarinets, trumpets and For Chaplain Karl Ludwig Junker, who got to kettledrums corresponds to Mozart’s standard know the Bonn Hofkapelle in 1791 while he was model. As regards rhythm and melody the head staying in Mergentheim, “dear Beethoven” was theme is reminiscent of a “concerto militare”, a first of all a piano virtuoso and characterised by quite popular type of concert music at that time, an extremely creative imagination – a judgement which is also discernible in Beethoven’s piano that exactly corresponds to how he was appraised concertos. The role of the orchestra is that of in his early Viennese years. At that time it was an independent, discreetly acting accompanist. customary for virtuoso instrumentalists to present It highlights the demanding solo part – which themselves to the circles of art-loving aristocrats is never just for show – to its full advantage. It with own compositions – not necessarily with took Beethoven quite some time to polish up this a “concerto” but at least with an “air varié” or concerto, whose beginnings date back to his time a “romance”. Beethoven’s piano compositions in Bonn. Beethoven always kept a simple rondo of his early Viennese years (as of 1792) were from 1792 as a final movement (work without also intended for personal use. This particularly opus number, No.18) even though he never used applies to the concertos with which the young it. Instead he completed the Concerto in B flat genius presented himself to the bourgeois public. Major in Vienna with a witty and lively final rondo. Traditionally, instrumental concertos as a genre After several performances in Prague and other were mainly intended to put the virtuoso skills cities Beethoven noted down the final version of of the performer into a favourable light whereas the solo part – which up to then he had mostly the orchestra served as a foil: with the prelude improvised while performing – and published it the orchestra was supposed to fill the audience as Op.19. with excited anticipation as to the performance The Concerto in C Major is, in a way, a further of the soloist, to grant him short respites during development but had already been published in the interludes and to finally applaud the virtuoso print nine months before and was considered performance
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