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Sep 13, 2021 · No. 4: Tchaikovsky’s Piano Concerto No. 1 (186 performances) With the possible exception of the opening notes of Beethoven’s Fifth Symphony, the powerful beginning of Tchaikovsky ’s Piano Concerto No. 1—with its heroic horns and thundering piano octaves—may be the most famous in music. Speaking of famous openings, the concerto was one ...
This time, we're on it with the piano concertos. Drop your list below and if possible, mention what it is about the concerto that made you place it there. My list: Number 5 "Emperor" in E flat - Incredible opening cadenza, achingly haunting second movement, powerfully rambunctious third movement. Number 3 in Cm - Brilliant theme, awesome first ...
A guide to Beethoven's piano concerto no.4 and its best ...
- Beethoven’s Five (or So) Piano Concertos
- Beethoven’s Piano Concerto No. 1
- Beethoven’s Piano Concerto No. 2
- Beethoven’s Piano Concerto No. 3
- Beethoven’s Piano Concerto No. 4
- Beethoven’s Piano Concerto No. 5
- Recommended Recording
Beethoven’s five piano concertos are all in three movements. Here their similarities end. The wonderful thing about Beethoven – OK, one of many wonderful things – is that he never repeats himself. The earliest of Beethoven’s piano concertos that we generally hear, No. 2, was first drafted in the late 1780s and the last completed in 1809-10, by whic...
The C major concerto, the official No. 1, was a case in point. Beethoven premiered it in 1795 in his first public concert in Vienna, having written the finale only two days earlier. His friend Franz Wegeler recalled him racing against the clock to finish it, handing over the sheets of manuscript page by fresh page to four copyists waiting outside. ...
Of No. 2 in B flat major, Beethoven wrote self-deprecatingly to his publisher: “This concerto I only value at 10 ducats… I do not give it out as one of my best.” Yet if he hadn’t written anymore, we would still love him for this work. Genial, warm, sometimes ridiculously funny – try those off-beat loping rhythms in the finale – the B flat piano con...
If there’s a key in Beethoven associated with high drama, it is C minor: he used it for the Symphony No. 5, the ‘Pathétique’ Sonata, much later his last piano sonata, Op. 111, and the Piano Concerto No. 3. This was written as the 19th century was taking wing; its first performance, given by the composer himself, was on 5 April 1803. Only six months...
In the Piano Concerto No. 4in G major, Beethoven inhabits new worlds that are both brave and breathtaking. It is brave, for a start, to begin a concerto with the soloist playing alone, very quietly. The piano’s initial phrase – a soft G major chord that pulses, then expands towards a questioning cadence – poses a challenge to the orchestra, which r...
The last concerto, subtitled the ‘Emperor’, is in Beethoven’s old favorite key of E flat major, and it lives up to its nickname in terms of grandeur, poise, and scale of conception. This is the only one of Beethoven’s piano concertos that the composer did not perform himself: by the time of its premiere in January 1811, his hearing loss was making ...
Krystian Zimerman and Sir Simon Rattle’s landmark recording of Beethoven’s Complete Piano Concertos with the London Symphony Orchestra was a major highlight of the celebrations to mark the 250th anniversary of Beethoven’s birth. Their outstanding performances, streamed on DG Stage from LSO St Luke’s and recorded live by Deutsche Grammophon in Decem...
- Jessica Duchen
- 11 min
Dec 29, 2020 · In 1806, Beethoven wrote his Violin Concerto in D major, op. 61. In 1807, he took the work that was clearly more pianistic than violinistic and rewrote it for piano as Op. 61a. Ludwig van Beethoven: Piano Concerto in D Major, Op. 61a – III. Rondo (Daniel Barenboim, piano; English Chamber Orchestra; Daniel Barenboim, cond.)
Recorded live in 1976, Emil Gilels’ solo work in Beethoven’s “Emperor” concerto veers between aggressive pounding in the outer movements and hauntingly sustained phrasing in the slow movement. However, the same composer’s C minor concerto finds Gilels on his best form.
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i. c. a. Antonín Dvořák composed the Symphony “From the New World”, the “American” Suite, the “American” Quartet and many other works during his two-and-a-half-year stay in America. It was an ambivalent time for the composer: characterized by triumphs, enthusiasm about new impressions, but also yearning for his Bohemian homeland.
