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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 :

"If you keep the same tempo, it becomes slightly boring" 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

"This is the third class in which Michel Dalberto works together with the student on Ludwig van Beethoven's Piano Concerto number 4. In this case, the master proposes to play the second Cadenza, which he spoke about in the previous class.
Then, they begin to work on the second movement, which is “andante con moto."" Michel Dalberto highlights the importance of taking into account the “con moto”, not simply “andante."" The problem highlighted by the master is that the student plays it very slowly and the theme cannot be heard clearly.
"

Later, the master talks about the use of the pedal, and a certain contradictory use that he discusses with the student. Also, they work on the tempo and on the relationship between the piano and the orchestra during this movement.

What we learn in this Piano Master class

- Correct use of the pedal
- Appoggiatura must be expressive
- Importance of changes of tempo

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. "
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