A Disconcerting Concerto - Animus & Anima in Beethoven’s Emperor Concerto, by Guido Mina di Sospiro

Archduke Rudolf of Austria (1788–1831)
Said to be the inspiration for
Beethoven's Piano Concerto No. 5

Musicologists maintain that, in the history of classical music, the symphony and the sonata are the more ambitious form of composition. In effect, the concerto for one or more instruments and orchestra is inevitably more theatrical, often promoting, rather than music per se, vacuous virtuosity. But Beethoven’s “Emperor” concerto for piano and orchestra elevates the generally facile juxtaposition between soloist and orchestra to an accomplished integration of Animus and Anima, sun and moon, the two opposing elements of the universe.

The following should encourage the reader to go back to the source, i.e., the concerto itself, whether it be the first time you listen to it, or the umpteenth. The tone throughout is impetuously passionate—and so be it!

Beethoven’s Klavierkonzert No. 5 [Piano Concerto No. 5 in E flat major Op. 73 (“Emperor”)] is the prototype of concerting perfection. The orchestra being the woman; the piano, the man; their music together, lovemaking.

What does concert mean anyway? From Italian concerto, from Old Italian, agreement, harmony, possibly from Late Latin concertus, past participle of con-cernere, to mingle together. Later attempts of less gifted composers pale in comparison; some are actually laughable, especially Tchaikovsky’s first, swashbuckling but histrionic and hollow. The solo instrument struggling against the orchestra; the orchestra trying to drown the soloist in jumbled fortissimi. Male and female at odds with one another, brawling in public!

To return to the Emperor...