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Dalberto Michel, Beethoven, 4th Piano Concerto

Sequence published on 12/10/21
Composer : Ludwig van Beethoven
Year of composition : 1806
Artistic period : 19th century
Musical category : Concerto
Academy : Academy Oct 25 - Nov 1, 2020
Master(s) : Michel Dalberto
Student : Virgile Roche
Instrument(s) played :

"Writing simply or simple is the most difficult, but it's also through through the simplicity that you can get to the most, the deepest." Michel Dalberto

About the Piano class of Ludwig van Beethoven's work on the 4th_Piano_Concerto op. 58

Master class de Piano, Ludwig van Beethoven | Concerto_Pour_Piano_n°4 op. 58

"At the beginning of the class, the master begins by talking about the importance of this Ludwig van Beethoven concert, highlighting that it is a piece that he composed while he was beginning to go deaf. Beyond this, he says it is not a sad or tragic piece.
After listening to the student play the beginning, Michel Dalberto talks about the difficulty of this part, since it is a very special theme, one where the interpreter must be very clear about what he wants, and how he intends to do it: ""It's up to you to inspire yourself with this first chord"".

"The master talks about certain details, such as the grace notes that “should be always from the upper note, rather than just on the bunny and hyphens."" At times, Michel Dalberto tells the student that “it's a string quartet,"" so he must work on the sound thinking about those instruments.
Another indication that Michel Dalberto repeats a few times in this class is linked to the influence of Italian music in this Concerto, in relation to the need to “sing” with the piano.

What we learn in this Piano Master class

-The beginning of this Concerto is really hard
-Sometimes, it's a string quartet writing
-There is a influence of the Italian music.

About Ludwig van Beethoven work

"It was first played by Beethoven himself in 1807, in a private performance. The public premiere was in 1808, again with the composer as the soloist, as part of an extense program, which included the premieres of the Choral Fantasia, the Fifth Symphony, and the Sixth Symphony. The piece was long neglected after this, until it was revived by Felix Mendelssohn in 1836. Most unusually, the concerto begins with solo piano, with the opening phrase then answered by the orchestra. The rest of the movement is in the standard first-movement form, but the start signals that the relationship between soloist and orchestra will be unusually close. The second movement takes up this idea, with angry unison outbursts from the orchestra answered by gentle chords in the piano, with soft pedal (the first time Beethoven had indicated this). Gradually, the anger of the orchestra is placated, and the movement ends peacefully. "
The finale actually begins out of key, in C major, to suit the trumpets and drums, but works its way convincingly to the home key before the end, passing through several others on the way.
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