ABSTRACT
The concerto as a musical form is a logical reflection of the fact that in any group of musicians gathered under one roof, one or two will outshine the others in technical and musical ability. In the Bach concertos for violin or keyboard, the soloist usually plays with the orchestra at all times, establishing the tempo and generally acting as an orchestral 'leader'. In many concertos the development is an excuse for rhapsodic interludes; showers of notes may fly from the pianist's fingers, weaving delightful patterns that are in fact no more than decorative formulae of little thematic interest. In his first three piano concertos it is fairly clear that Beethoven had exactly the same problem to deal with as had Mozart. Between the composition of his fourth and fifth piano concertos Beethoven apparently came into possession of a new piano.
