15 Beethoven composed the C major piano concerto in 1795 and was the soloist in the first performance on December 18, 1795, in … 20. Concerto No. Ludwig van Beethoven. It is also, with its two sections of violas, given to outrageously lush sounds—one more surprise in this most subtle, suggestive, and multi‑faceted of Beethoven’s concertos. Nicholas McGegan, conductor. The trio section particularly shows off the agility of both the horn and clarinet. But if the Fifth is an emperor, the Piano Concerto No. —Michael Steinberg. 4 in G Major for Piano and Orchestra, Op. A detailed guide that analyzes the structural, harmonic and thematic frame. Community. The Many Faces of the Classical Era. 4 in Bb, op. The brief haze that accumulates in the slow introduction to the Finale clears immediately with the entrance of the ebullient main theme. Its opening, In 1807, when this music was first heard, any reasonably informed member of a Viennese audience ... and was reading also the notes of the piano … Even earlier than that Beethoven’s pupil Carl Czerny had suggested that “in this movement (which, like the entire concerto, belongs to the finest and most poetical of Beethoven’s creations) one cannot help thinking of an antique dramatic and tragic scene, and the player must feel with what movingly lamenting expression his solo must be played in order to contrast with the powerful and austere orchestral passages.”. Print Program Notes . Piano Trio No. SCHUBERT Symphony No. WILLIAM GRANT STILL: Mother and Child. Two unique features precede his recapitulation—a chorale-like episode and a virtuoso violin cadenza. Beethoven, an experienced and commanding pianist, had a keen feeling for that, and his first three mature piano concertos and his Violin Concerto, all of which had been heard in Vienna by the spring of 1807, make something striking of the first solo entrance. 4 in G major for Piano and Orchestra, Opus 58, BORN: Beethoven’s baptismal certificate is dated December 17, 1770. 5 in B-flat major, D. 485. Died March 26, 1827, Vienna, Austria. The rhythmic elasticity of the first solo‑and‑orchestra statement‑and-response foreshadows an uncommon range of pace. 4 in G major, Op. Vivace An audience in the early nineteenth century needed stamina; the concert at which Beethoven first presented his fourth piano concerto to the public in 1808 also included the premieres of his fifth and sixth symphonies, his Choral Fantasia, and parts of his Mass in C major. The fourth movement, a set of five charming variations plus coda, showcases individual instruments. It is a move without precedent. 11, “Gassenhauer-Trio”. The third movement, also a rondo, is based on a hunting theme, in swingy 6/8 measure. They were annoyed, and the oboist even enraged. Serenades typically contained two minuets, but here Beethoven includes a minuet and a scherzo. Program Notes Beethoven Chamber Series: Concert 4. In the Violin Concerto, the solo arises spaciously from the receding orchestra; after that comes the Emperor Concerto, where right at the beginning three plain chords provoke three grand fountains of broken chords, trills, and scales. Beethoven’s “Gassenhauer” Trio derives its name from the last movement’s melody.  This well-known tune from Josef Weigl’s opera The Corsair was wildly popular with Viennese vagabonds, thus earning the nickname “Gassenhauer,” or “Street Song.”  Originally written for clarinet, cello, and piano, violin sometimes substitutes for the clarinet: this version will be played today. 58 NIELSEN Symphony No. Rondo. Beethoven’s debt to the music of Mozart is evident in his early works and has been analyzed in some detail by scholars of the two composers. The trio allows the cello to shine. The three … Saturday, Febuary 29, 2020, at 8:00PM Sunday, March 1, 2020, at 3:00PM. Concerto No. Quintet for Piano and Winds in Eb, op. Beethoven’s young friend and piano pupil Ferdinand Ries reported on a gathering at which the piano quintet was performed: “In the last Allegro a pause occurs several times before the theme returns; on one of these occasions Beethoven began to improvise, taking the Rondo as his theme, pleasing himself and those listening for a considerable time, but not pleasing the other players. By continuing to browse the site you are agreeing to our use of cookies. Mozart’s Quintet K. 452, in the same key as this Beethoven quintet, was the inspiration for the structure of Beethoven’s work:  a slow introduction to a sonata-form first movement, a slow second movement, and a rondo finale.  That, however, is about as far as the similarities go.  Where Mozart treated the five voices as equals, Beethoven has written more of a mini-concerto for piano with wind accompaniment.  Beethoven admired Mozart, and had intended to study with his idol, whose death, in 1791, put an end to that plan. The second theme is no less lively and Beethoven keeps contrapuntal suggestions to a minimum in the development. 49, no. Piano Trio No. Its comparison to Orpheus taming the wild beasts with his music was for years attributed to Liszt, though we have since learned that Adolph Bernard Marx first floated the idea in his Beethoven biography of 1859. 1. Not that this movement is in any way grand; rather, it is lyrical and witty. The older Beethoven grew, the more imaginative he became. 4 in G … By Marianne Williams Tobias The Marianne Williams Tobias Program Note Annotator Chair. Beethoven composed Piano Concerto No. He did give the violin a particularly prominent role, knowing it would be played by Ignaz Schuppanzigh, one of Vienna’s foremost violinists. 58 Ludwig van Beethoven was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna on March 26, 1827. The piano then launches into the “Allegro ma non troppo”, in sonata form. Allegro Molto E Con Brio 2. Piano Concerto No.4 in G major, Op.58; Piano Concerto No.5 in E ♭ major, Op.73 ("Emperor") Fantasia in C minor, Op.80 ("Choral Fantasia") Triple Concerto in C major, Op.56; Violin Concerto in D major, Op.61; Romance for Violin and Orchestra No.1 in G major, Op.40; Romance for Violin and Orchestra No.2 in … At the end, after a truly Orphic cadenza—and Beethoven almost persuades us that he invented the trill expressly for this moment—the orchestra has learned the piano’s way.

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