![]() When the orchestra finally enters with the principal theme, it is, like so many of Beethoven’s best themes, a simple statement of a tonic triad-again like the beginning of the Eroica. There follows an extensive written-out cadenza punctuated by more chords in the orchestra. The first movement begins with the intense statement of an E-flat chord, harking back to the opening chords of the Eroica Symphony. ![]() 5 could be considered either the last great concerto in the classical style or, because of its immensely powerful gestures, the first of the great 19th-century romantic concertos. ![]() Though they are extraordinarily demanding for the soloist, they leave the listener with the overall impression that the music, rather than the technical display, is all-important.īeethoven’s Piano Concerto No. The last two, however, function less as purely virtuoso displays and more as vehicles for the loftiest musical ideas. The first three of Beethoven’s five piano concertos do, as well. The concertos of Mozart, who was drawn to Vienna by the prospect of supporting himself as a piano soloist, certainly fall into this category. In the hands of a good composer, a concerto displaying technique could also be a significant musical creation. This is not meant to imply that they lacked musical substance. ![]() Johann Philipp Christian Schulz, conductor.ĭuring the classical period, the concerto for piano existed almost solely as a virtuoso display piece for composer-pianists. First performance: November 28, 1811, Gewandhaus, Leipzig, Germany.
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