This manuscript was discovered in 1890 in the archives of the Artaria Foundation and was transferred to the Berlin State Library. It was published that same year by Breitkopf und Härtel. Beethoven researcher Willy Hess later restored the orchestral parts on the basis of the preserved material. The first outing of this careful, accurate work was given in 1934 by the pianist Walter Frey in Oslo (first part only), and the complete reconstruction was performed in 1968 at London’s Queen Elizabeth Hall.

Despite being one of Beethoven’s most “youthful” compositions, which are generally written in the style of classical composers of the late 18th century, it already contains a number of original features characteristic of the composer’s work. Still, the whole work is steeped in youthful enthusiasm and optimism. In the absence of original cadenzas, which are not extant, Litvintseva created her own, guided by her knowledge, performing experience and, of course, the Concerto’s style.

Recorded April 2021, Reutlingen, Germany

Booklet contains notes on the concertos by musicologist Werner Pfister and pianist Ekaterina Litvintseva, along with biographies of the artists

Lusiné Harutyunyan plays a Giuseppe Ceruti violin

Benedict Kloeckner plays the F. Rugeri “ex Maurice Gendron” cello (1680)

Trio RoVerde:
- Ekaterina Litvintseva (piano)
- Lusiné Harutyunyan (violin)
- Benedict Kloeckner (cello)