Piano Concerto No. 4 in G major Ludwig van Beethoven
Beethoven composed his Fourth Piano Concerto in 1805-06 and
dedicated it to his friend, student and patron the Archduke Rudolph. It was
premiered a year later in 1807 at a private concert, which also featured the
Fourth Symphony and the Coriolan Overture, at the home of Prince Lobkowitz. Its
public premiere took place at the famous marathon concert Beethoven gave the
next year which also included the Fifth and Sixth Symphonies as well as the
Choral Fantasy. This concert was Beethoven's last appearance as a soloist.
Though the Concerto was well-received immediately after its premiere, it was
largely neglected until 1836 when it was revived by Felix Mendelssohn. Since
then, it has been a popular and important concerto in the literature.
As is expected of a Classical concerto, it is in three
movements. It opens with the piano alone with the orchestra following later,
not in the tonic key of G major, but instead in B major. This tonal
relationship of a third becomes a prominent feature of the first movement.
Making its way back to G major through the circle of fifths, the orchestra
introduces the main theme and later a subsidiary idea in B minor, before the
soloist returns to the scene.
The second movement, in E minor, has been described by Owen
Jander as Orpheus taming the Furies at the gates of Hades. It begins with a
dramatic theme played in unison by the strings followed by a consoling lyrical
tune in the piano. The dialogue between the two continues with the piano
answering each outburst of the strings with its sympathizing song. The movement
concludes with a solo cadenza before a final shadowy return of the opening.
The finale begins in the "wrong" key of C major
(a technique Beethoven used in several works), but quickly corrects itself to
cadence in G major. It is a lively rondo full of optimism and joviality. The
lyrical second subject presents a brief melody in D major, written in imitation
in the strings, which subtly presages the spirit of the Ninth Symphony. The
concerto comes to a close with a dazzling display of trills and arpeggios in
the piano.
Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.
Classical Music | Piano Music
Ludwig van Beethoven
Concerto for Piano and Orchestra No. 4, Op. 58 (Rondo Vivace) Play
Recorded on 08/20/2009, uploaded on 08/20/2009
Musician's or Publisher's Notes
Piano Concerto No. 4 in G major Ludwig van Beethoven
Beethoven composed his Fourth Piano Concerto in 1805-06 and dedicated it to his friend, student and patron the Archduke Rudolph. It was premiered a year later in 1807 at a private concert, which also featured the Fourth Symphony and the Coriolan Overture, at the home of Prince Lobkowitz. Its public premiere took place at the famous marathon concert Beethoven gave the next year which also included the Fifth and Sixth Symphonies as well as the Choral Fantasy. This concert was Beethoven's last appearance as a soloist. Though the Concerto was well-received immediately after its premiere, it was largely neglected until 1836 when it was revived by Felix Mendelssohn. Since then, it has been a popular and important concerto in the literature.
As is expected of a Classical concerto, it is in three movements. It opens with the piano alone with the orchestra following later, not in the tonic key of G major, but instead in B major. This tonal relationship of a third becomes a prominent feature of the first movement. Making its way back to G major through the circle of fifths, the orchestra introduces the main theme and later a subsidiary idea in B minor, before the soloist returns to the scene.
The second movement, in E minor, has been described by Owen Jander as Orpheus taming the Furies at the gates of Hades. It begins with a dramatic theme played in unison by the strings followed by a consoling lyrical tune in the piano. The dialogue between the two continues with the piano answering each outburst of the strings with its sympathizing song. The movement concludes with a solo cadenza before a final shadowy return of the opening.
The finale begins in the "wrong" key of C major (a technique Beethoven used in several works), but quickly corrects itself to cadence in G major. It is a lively rondo full of optimism and joviality. The lyrical second subject presents a brief melody in D major, written in imitation in the strings, which subtly presages the spirit of the Ninth Symphony. The concerto comes to a close with a dazzling display of trills and arpeggios in the piano.
More music by Ludwig van Beethoven
Piano Concerto No 2 in B-flat Major, Op. 19, Third Movement (Rondo: Allegro molto)
Bagatelle N° 25 "Für Elise"
Sonata No. 32 in c minor, Op. 111
Piano Sonata No. 28 in A Major, Op. 101
Sonata No. 32 in c minor, Op. 111
33 Variations on a Waltz by Anton Diabelli, Op. 120
Fantasie in g minor, Op. 77
String Quartet Op. 131
String Quartet No. 11 in f minor, Op. 95, Serioso
Sonata for cello and piano in g minor, Op 5, No. 2
Performances by same musician(s)
Piano Concerto No. 5 in E-flat major, Op. 73
Rhapsody on a Theme of Paganini, in a minor, opus 43
Piano Concerto No. 1 in b-flat minor, Op. 23
Piano Concerto No. 2 in g minor, Op. 22
Piano Quintet in g minor, op. 57
Concerto for Piano and Orchestra (Canzone)
Piano Quintet No. 1 in d minor, Op. 89
Rhapsody on a Theme of Paganini, Op.43 (Variation 18)
Classical Music for the Internet Era™
Courtesy of The International Festival-Institute at Round Top
Located in historic Round Top, Texas, The James Dick Foundation for the Performing Arts and its sole project, The International Festival-Institute at Round Top, were founded in 1971 by world-renowned concert pianist James Dick. Begun with a handful of gifted young pianists in rented space on the town square, the project is now an internationally acclaimed European-styled music institute for aspiring young musicians and distinguished faculty. Over a thirty eight year period and with the help of its patrons and friends, The James Dick Foundation for the Performing Arts has developed superb year round education and performance programs.