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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 :

"I like the idea of mixing something classical because this concerto is very classical, the style is very classical. However, mixing it with something much more modern [the cadenza], and I don't want to say shocking, but a little I know…" 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

"In this class, the master and the student continue to work on Ludwig van Beethoven's Concerto No. 4 for piano and orchestra, more or less in the middle of the first movement. Michel Dalberto makes some indications related to the tempo, highlighting that it's “more easy to conduct from the keyboard rather than to have a conductor, because Beethoven gives very clear instructions for the orchestra; but for the conductor, it's not as clear...""
Then, the master makes some corrections to the dynamics, and suggests the student study the second cadenza, to keep the options open. The master says, ""you should decide which one you will play, according to what you feel.""  In this sense, Michel Dalberto reflects on how sometimes it is very interesting to play more modern cadenzas, for classical concerts.
"

Later, the master and the student work together on several details such as dynamics, phrasing, tempo, etc.

What we learn in this Piano Master class

-Sometimes, it´s interesting to play modern cadenzas in classical concertos

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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