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For its second-to-last concert series in the Lyric Theatre, the Kansas City Symphony brings pianist Markus Groh to the stage for one of the great piano concertos of all time, Beethoven's Piano Concerto No. 3.

When Ludwig van Beethoven came upon the scene, beginning with his musical maturity in the 1790’s, he was determined to set much of the classical music world on its head. As a brilliant solo pianist, one of the greatest of his day in Vienna, he certainly knew how to perform piano concertos in a spectacular way. But the whole idea of teamwork and cooperation, inherent in the concerto form, came to him fitfully, if at all.

It is to Beethoven’s Piano Concerto No. 3 that many music historians trace an idea quite opposed to that of traditional concerto composition, namely that the concerto can be a musical “battlefield.” Rather than have the orchestra accompany and support the soloist, Beethoven dared to have the two square-off in a kind of musical contest. In the Piano Concerto No. 3, therefore, the pianist ventures off into muscular and individual musical territory, daring the orchestra to compete. The orchestral part is less accompaniment than counterpoint and challenge, and the two forces toss musical phrases back and forth, like an aural tennis game, before finally coming to resolution just at the end.

One of today’s most sought-after piano soloists, Markus Groh has performed with the orchestras of Cleveland, Baltimore, Colorado, Detroit, Florida, Milwaukee, New Orleans, New York, Philadelphia, San Francisco and Seattle. He has recorded the works of Liszt, Brahms, Debussy and Prokofiev, and has been praised by The New York Times for “offering the music’s bravura as well as its sensitivity.”

Also on this program is Schumann’s Symphony No. 4 and the Lyric Pieces of Norwegian composer Edvard Grieg. These two composers, both champions of 19^th-century Romanticism, are in many ways quite different.

Robert Schumann, born seven years after the premiere of Beethoven’s concerto, was a close friend of Brahms and wrote in many different compositional forms. His output includes only four symphonies, including this one, written in 1841 and then substantially revised a decade later. Performed in four movements without pause, the symphony is a product of Schumann’s maturity as a composer and contains some of his most lyrical moments.

Schumann lived a life beset by mental problems and died at age 46, after having earlier attempted suicide. Although he was well regarded in music circles throughout his life, he was, by the time of his death, little thought of by the public.  His widespread fame came mostly after his sad death, primarily through the championing of his talented widow Clara, a fine composer in her own right.

At the opposite end of this spectrum, at least from the standpoint of public recognition, was Edvard Grieg.  Born in 1843, Grieg quickly rose to northern European fame and became a friend of the great pianist Franz Liszt who helped promote his career.  Among his most popular compositions are the Piano Concerto (he wrote only one, but what a great one it is), his incidental music to the Ibsen play Peer Gynt, turned into the two Peer Gynt Suites, the Symphonic Dances, a number of sonatas for piano and other solo instruments, and his sixty-six small and charming piano works called the Lyric Pieces.  Four of these were later orchestrated and turned into the Lyric Suite which the Symphony will perform during its concerts.

Where Grieg went, public adulation shortly followed.  This might be because he was one of the few popular northern European composers during a time dominated by the Germans, French and Italians.  The Norwegian government thought so highly of this native genius that in 1903 they voted him a generous pension which supported him for the rest of his life.  Can you imagine a modern government doing such a thing?

From the musical battlefield of Beethoven to the more peaceful sweep of Schumann to the understated grace and eloquence of Grieg, this weekend’s Symphony concert covers the gamut of 19^th century musical experiences. Juanjo Mena is the guest conductor for this weekend’s concerts.

PREVIEW:
Kansas City Symphony
Beethoven’s Third Piano Concerto
Friday, June 3 at 8:00 p.m.
Saturday, June 4 at 8:00 p.m.
Lyric Theatre
11th and Central Streets, Kansas City, Missouri
Sunday, June 5 at 2:00 p.m.
Yardley Hall at Carlsen Center
Johnson County Community College
12345 College Boulevard, Overland Park, Kansas

For tickets call 816-471-0400, or purchase tickets online at www.kcsymphony.org.

By Don Dagenais

City Classics Music and Dance Columnist; Classical Contributor

A lifelong classical music fan, Don Dagenais is a frequent preview speaker for the Lyric Opera of Kansas City and has taught classical music and opera courses at several Kansas City venues. He has served on the boards of directors of a number of performing arts organizations including the Lyric Opera of Kansas City, the Lyric Opera Guild, UMKC Conservatory of Music and Dance, Opera Volunteers International, the Civic Opera Theater of Kansas City, Inspiration Point Fine Arts Colony, Octarium, and the Friends of the Symphony.  He has been the past president of most of these organizations and is current the president of the Friends of the Symphony. 

Dagenais co-authored a history of the Lyric Opera of Kansas City, published on the occasion of its 50th anniversary (2007) and has written books on the histories of both the Lyric Opera Guild and Opera Volunteers International, as well as an introductory book for opera novices (Your Passport to the Opera).  He has received several local and national awards for outstanding volunteer work for the arts, including a lifetime achievement award from The Coterie Theatre in 2000, the Kansas City Musical Club's annual award in 2001, a Partners in Excellence Award from Opera Volunteers International in 2002, a Bravo Award from Opera Volunteers International in 2004 and a community service award from the Daughter of the American Revolution in 2008 honoring him for his community service to the arts.

In addition to his music interests, Don is president of the board of directors for the Metropolitan Ensemble Theater and has served on the boards of The Coterie Theatre and the Heart of America Shakespeare Festival, serving as president of each organization.  He publishes newsletters for seven arts organizations.  When not involved in the performing arts, Don is a senior real estate attorney with Lathrop & Gage LLP in Kansas City, Missouri, where he has practiced law since 1976 after graduating from the Cornell Law School.