Baroque Elements and Specific Orchestral Functions in Beethoven’s Triple Concerto Op. 56

Abstract

This paper discusses the uniqueness, in style and genre, of Beethoven’s use of the orchestra in the Triple Concerto. The orchestration of the Triple Concerto is characterised by its reliance on tutti, the limited role of orchestral soloists (unlike in Beethoven’s other concertos), and infrequent alternations between instrumental groups. This is closely linked to an element of the Baroque (indicated through the concept of the concerto, which derives from the Italian verb concertare “to agree”, the triple concerto model, and the choice of soloists) in the Classical concerto (indicated through the use of sonata form, the manner of presenting the material, and the instrumentation). The orchestra acts as a genre-creating factor as a result of the undisclosed competition between the Baroque concerto grosso, the Classical solo concerto, and chamber trio models. The orchestra becomes a form-defining factor thanks to its use to mark the boundaries between the sections of sonata form, here smaller than is usual in the Classical sonata, a fact which occasionally makes the succession of episodes similar to ritornello form; furthermore, it is the orchestra that is significantly associated with a surprising synergy of Classical and Baroque elements to form a hybrid model of the concerto.