"I have heard nothing except good comments concerning the Emperor Concerto, but the reviews point to little else than the unique structural departure from previous concerti and the moods of the movements as robust and calm. Beethoven's intention, I feel, was primarily to produce a point/counterpoint study of that remarkable melody created with a few notes in the upper range by the right hand. It appears approximately five minutes into the first movement and again ten minutes later. The robust themes preceding and following those appearances are in themselves a study in power; a series of rich chords expressing, in effect when held against the crystalline theme, the contrast between masculine and feminine.
The second movement thoroughly searches parameters, contemplating every aspect of the two extremely different themes, gradually and eventually deciding what to do with them.
The third and final movement picks up one theme and the other, mixes and matches, hybridizes, marries them, and creates a blend of the best of both themes. It ends with a feeling of fulfillment and majestic purpose never before or since achieved in a work designed for the piano. It may have all been a subliminal expression of Beethoven's concept of finding his ultimate soul mate.
This concerto, appreciated as it is by so many, deserves to be better understood and appreciated by many times its current fans; in the meantime we can only feel blessed by its existence."
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