Meeting the Emperor in Beethoven's Piano Concerto No 5
II. Adagio un poco mosso
Piano Concerto No. 5 in E-flat major, Op. 73
I'm Ludwig van Beethoven, and I'm about to explain the II. Adagio un poco mosso of my Piano Concerto No 5. This is a quiet, nocturne-like movement in B major, and it flows straight into the finale without a break, so the calm gives way to the energy of the finale with no pause between them. Should you want to recognize a piece when you meet it, this site lets my fellow composers and me teach you how, so take a turn in the Trainer .
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Turn Down the Lights Before You Press Play
Listen to this movement the way you'd watch the sky after sunset: nothing happens quickly, and that's the whole point. Start with the strings, because I asked them to play with mutes, which gives their sound a soft, veiled glow. Then notice who is missing: the second flute, the second clarinet, the trumpets and the timpani all rest here, so the orchestra feels smaller and closer than in the first movement. When the piano arrives, simply follow its voice as it floats above the hush, and let everything else be the dark blue background.Why It's Called What It's Called
Adagio is the Italian word for slow, and I wanted you to feel time stretching out like a long evening. "Un poco mosso" means a little moved, so I'm asking for a slow pace that still flows gently instead of standing still. The story goes that my own handwritten score says "moto" while the printed editions say "mosso", a small mismatch that has followed the movement around. Either way the idea is the same: a nocturne-like night piece that breathes slowly and never drags.Choosing a Shape for the Night
Choosing the form was an adventure, because a quiet night piece doesn't need the machinery of a sonata or a rondo, and I'd already given those shapes to the first movement and the finale. Instead I made it a song-like nocturne in B major and in 4/4, one long, calm thought that never raises its voice. I hear it in three stretches: the muted opening, the entrance of the piano, and the passage that slips into the finale. I'll take them one at a time, so you'll always know where you are in the evening.Section 1: The Lights Dim
The movement begins with the muted strings, and the tempo is slow enough that every chord has room to settle. We are in B major now, which feels a long way from the E-flat major of the first movement, as if we've walked out of the concert hall and into a quiet garden. There's no drama here and no hurry, only a meditative, tranquil mood. If you do nothing else, let this opening slow your breathing down to its pace.Section 2: The Piano Clears Its Throat, Very Quietly
Now the piano makes its first entry, and I marked it "dämmernd", which is the German word for twilight. Its melody spins out gently and unhurried, while the orchestra answers in soft murmurs rather than big statements. The mood is dreamy and a little private, as if the soloist were thinking aloud rather than performing for anyone. This is the heart of the movement, so it's the place to listen for the tiny shifts of colour between the piano and the strings.Section 3: Sneaking Into the Next Room
As the movement draws toward its end, the music grows even quieter and seems to hold its breath. I don't let it finish with a neat stop, because this movement leads directly into the finale without a break. So listen for the moment when the stillness gathers itself and the mood begins to brighten. Then we're in E-flat major and in 6/8, and the energy comes rushing back as if someone has opened the curtains.Your Turn: Press Play and Stay a While
Now it's your turn to hear this movement for yourself. Press play, let the room go quiet, and let the music carry you along at its own slow pace. While you listen, keep in mind the muted strings, the instruments that rest, and the piano's twilight entrance. I hope you find the journey through this movement as moving as I found it when I wrote it.---
I hope the quiet glow of this slow movement stayed with you after the last note. Did you enjoy learning about the listen guide of Piano Concerto No 5's II. Adagio un poco mosso? I like to think that a movement this hushed rewards a second listening, because the more calmly you sit with it, the more you notice. There is still plenty more to explore in this concerto, from the story of how it came to be to the moments that audiences have loved ever since. Remember that this movement doesn't end with a full stop, since it slips straight into the finale, and that is a good reason to keep listening beyond it. So please click on the links provided here and continue your journey through my Piano Concerto No 5.