Join us on Sunday, Nov. 17 at 1 p.m. on WRTI 90.1, and Monday, Nov. 18 at 7 p.m. on WRTI HD-2 when the Philadelphia Orchestra in Concert series brings you an all-Beethoven program from the 2023/2024 season.
The Philadelphia Orchestra, its principal guest conductor Nathalie Stutzmann, and celebrated pianist Haochen Zhang reunite to perform Beethoven’s Piano Concerto No. 5 in E-flat Major, known as the “Emperor” Concerto, having recorded it together as part of their complete set of the Beethoven piano concertos on Bis Records. After intermission, Maestra Stutzmann leads Beethoven’s grand and spacious Symphony No. 7 in A Major.
Ludwig van Beethoven wrote his final piano concerto in 1809. By this time he was widely recognized as the greatest living composer in Europe, a renown propelled in large part by his first six symphonies, and by his first four piano concertos, which he had premiered as soloist. He was a formidable virtuoso, and made a great case for his masterful concertos.
But the composer’s growing deafness had forced him to retire from public performances at the piano, and the Emperor was the only one of his concertos that he did not introduce himself. It is the largest in scale and introduces a number of fascinating innovations. The nickname “Emperor” is not the composer’s name for the piece – it’s thought a publisher invented it. In fact, Beethoven probably would have disliked it, since he disapproved of the conquests and imperial ambitions of the leading political figure of the time, the Emperor Napoleon Bonaparte.
A few years later, in 1813, the tide was turning in the Napoleonic wars as Beethoven led the premiere of his Seventh Symphony in Vienna. In the same concert he unveiled Wellington’s Victory, written to commemorate a famous battle in which the Duke of Wellington soundly defeated Napoleon’s brother, Joseph Bonaparte. In short, there was a triumphant spirit in the air, which the Seventh Symphony brilliantly captured. The work met an ecstatic reception, and the second movement Allegretto was encored.
Richard Wagner famously called this symphony “the apotheosis of the dance,” referring to a dancelike energy throughout the work, even in that solemn Allegretto. After the expansive and slow introduction establishes a sense of expectation, each of the four movements is dominated by its very own compact, recurrent rhythmic figure, building a compelling drive even as Beethoven unfurls a seemingly limitless variety of ideas. There are inspired melodies and countermelodies, harmonic and dynamic surprises, and masterful touches of orchestration.
PROGRAM:
Beethoven: Piano Concerto No. 5 in E-flat Major, Op. 73
Beethoven: Symphony No. 7 in A Major, Op. 92
The Philadelphia Orchestra
Nathalie Stutzmann, conductor
Haochen Zhang, piano
WRTI PRODUCTION TEAM:
Melinda Whiting: Host
Alex Ariff: Senior Producer
Joseph Patti: Broadcast Engineer
Listen to The Philadelphia Orchestra in Concert broadcasts, every Sunday at 1 PM on WRTI 90.1, streaming at WRTI.org, on the WRTI mobile app, and on your favorite smart speaker. Listen again on Mondays at 7 PM on WRTI HD-2. Listen for up to two weeks after broadcast on WRTI Replay.
