Beethoven 4^
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7/28/2019 Beethoven 4^ http://slidepdf.com/reader/full/beethoven-4 1/1 PIANO CONCERTO NO.4 in G Op.58 Composed 1805/6 . Published Aug 1808 by the Bureau d'arts et d'industrie. Dedica ted to Archduke Rudolph. First performed in March 1807 at Lobkowitz palace Vienn a (Beethoven soloist). Background details The previous Piano concertos had belonged to Beethoven's first or early period - with this concerto we are in his 'middle period'. It was written at a time of i ntense creativity for Beethoven, with work on the Symphony no.5 and the Opera Fi delio in progress at the same time. Along with his next and last piano concerto (no.5) it represents the summit of his achievement in this medium. It is one of his most poetic works. The technical requirements of the piano part are quite da unting - Beethoven referred to it himself as being very difficult and it was onl y performed in Vienna twice during his lifetime. Beethoven was the soloist on bo th occasions ! The timpani and trumpets are not used until the last movement, wh ich is unusual for Beethoven. Musical outline The very start of this concerto is remarkable - the piano opens softly and unacc ompanied with a 5 bar phrase of the utmost quality, combining rhythmic and melod ic interest. [Only on one occasion had Mozart attempted such a concerto opening (K.271) but the effect is much less striking]. The orchestra then take up the th eme, not in the tonic key (G major) but a 3rd higher in B major - the effect is magical. The rhythmic cell of 4 repeated quavers is emphasised throughout the ex position on different instruments. The second subject is delightful and constant ly changes key as it is passed to different instruments - in the space of 12 bar s, the music has flirted with six different keys. At the end of the piano exposi tion, there are 4 bars of trills - but instead of the expected tutti, Beethoven delays this a few bars by presenting a beautiful melody on the piano. The develo pment is dramatic with powerful piano figurations - there can be a problem of ba lance here though as the woodwind struggle to be heard above so much that is goi ng on in the orchestra and piano. The movement ends triumphantly with a cascade of scales and arpeggios from the piano. Possibly Liszt was the first to suggest a programmatic basis for the slow movement, at any rate it is obvious that a dia logue is taking place between the piano and strings. The movement is scored for just piano and strings and the strings play in unison a disturbed and striking t heme which is answered by a soothing and tender piano. Gradually the strings are subdued and the calmness of the piano wins the day. The Rondo picks up the last E from the slow movement and begins a lively pianissimo theme in the wrong key - C, only coming round to the tonic G a few bars later. Haydn had done the same in the 'Surprise' symphony and Beethoven began the finale to the Razumovsky quar tet no.2 in the same way. In keeping with the rest of this concerto the Rondo is full of striking inventiveness and originality - it is a thoroughly exhilaratin g and uplifting experience !
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Transcript of Beethoven 4^
7/28/2019 Beethoven 4^
http://slidepdf.com/reader/full/beethoven-4 1/1
PIANO CONCERTO NO.4 in G Op.58
Composed 1805/6 . Published Aug 1808 by the Bureau d'arts et d'industrie. Dedicated to Archduke Rudolph. First performed in March 1807 at Lobkowitz palace Vienna (Beethoven soloist).
Background details
The previous Piano concertos had belonged to Beethoven's first or early period -with this concerto we are in his 'middle period'. It was written at a time of intense creativity for Beethoven, with work on the Symphony no.5 and the Opera Fidelio in progress at the same time. Along with his next and last piano concerto(no.5) it represents the summit of his achievement in this medium. It is one ofhis most poetic works. The technical requirements of the piano part are quite daunting - Beethoven referred to it himself as being very difficult and it was only performed in Vienna twice during his lifetime. Beethoven was the soloist on both occasions ! The timpani and trumpets are not used until the last movement, which is unusual for Beethoven.
Musical outline
The very start of this concerto is remarkable - the piano opens softly and unaccompanied with a 5 bar phrase of the utmost quality, combining rhythmic and melodic interest. [Only on one occasion had Mozart attempted such a concerto opening(K.271) but the effect is much less striking]. The orchestra then take up the theme, not in the tonic key (G major) but a 3rd higher in B major - the effect ismagical. The rhythmic cell of 4 repeated quavers is emphasised throughout the exposition on different instruments. The second subject is delightful and constantly changes key as it is passed to different instruments - in the space of 12 bars, the music has flirted with six different keys. At the end of the piano exposition, there are 4 bars of trills - but instead of the expected tutti, Beethovendelays this a few bars by presenting a beautiful melody on the piano. The development is dramatic with powerful piano figurations - there can be a problem of balance here though as the woodwind struggle to be heard above so much that is goi
ng on in the orchestra and piano. The movement ends triumphantly with a cascadeof scales and arpeggios from the piano. Possibly Liszt was the first to suggesta programmatic basis for the slow movement, at any rate it is obvious that a dialogue is taking place between the piano and strings. The movement is scored forjust piano and strings and the strings play in unison a disturbed and striking theme which is answered by a soothing and tender piano. Gradually the strings aresubdued and the calmness of the piano wins the day. The Rondo picks up the lastE from the slow movement and begins a lively pianissimo theme in the wrong key- C, only coming round to the tonic G a few bars later. Haydn had done the samein the 'Surprise' symphony and Beethoven began the finale to the Razumovsky quartet no.2 in the same way. In keeping with the rest of this concerto the Rondo isfull of striking inventiveness and originality - it is a thoroughly exhilarating and uplifting experience !
