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Beethoven Piano Concerto 1 ♫
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♫ Movements of the Concerto for piano No. 1 ♫ • I. Allegro con brio - [0:00] • II. Largo - [17:30] • III. Rondo. Allegro scherzando - [29:00] • ♫ History and analysis of the concert ♫ • His early work, for their own use are sonatas for solo and Chamber pieces, but even I was starting to write music for piano and Orchestra. • Beethoven moved to Vienna in 1792 and then began a career as a spectacular success as a pianist. As it came with a letter of introduction from Count Waldstein and an invitation to study composition with Haydn, went smoothly in musical circles. Soon enough with notice that benefited with a new exciting character virtuoso. However, with respect to composition, Beethoven was considered only as a disciple of Haydn. • In Vienna, there were about three hundred pianists, who competed with one another to stand out and also all made a living teaching over 6,000 city piano students. The rivalry was fierce pianists. Has spoken of his desire to Beethoven in embarrassment his opponents, referring to his enemies . I was afraid that some of his rivals were copying the peculiarities of my style and they steal their retractable with pride . He said that he would avenge of these pianists. • Pianists competed as Gladiators and most successful were a large number of followers. In fact, were considered virtuous, as rarity as artists (child prodigy were displayed publicly along with jugglers and acrobats). Whereas most pianists played resembled duels. Beethoven, who soon rose to the top in each duel, was supported by a large number of aristocratic families. They overpowered the young performer with money and gifts in order to secure its high social level. So great was this attention that Beethoven often felt embarrassed by excessive generosity. • In mid-1790, Beethoven's fame had spread beyond Vienna and failed to carry out visits to other countries. He played his first piano concert in Prague in 1798. His reputation as a composer began to escalate with repeated performances of his compositions. His early work, for their own use are sonatas for solo and Chamber pieces, but even I was starting to write music for piano and Orchestra. • His first piano concerto, was not, in fact, his first work of this type. His concert 14:0 b-number plate was two years earlier, but was posted in concert in c major and, therefore, was numbered first. There is also a concerto in e flat that Beethoven wrote at the age of fourteen years, long before reaching Vienna. There is also a Concerto in d and a Rondo in b flat for piano and Orchestra, dating, about 1795. • Beethoven has tried to keep the so-called first concert for a particular application and prevented its publication until 1801. At that time, already beginning to leave his career as soloist and wanting to dedicate himself exclusively to the composer. • The model of Beethoven was Mozart, pianist and composer who had written a long series of concerts for their own use. Mozart had become (ironically, just after his death) in Vienna, the pride. The most powerful competitor of Beethoven was a memory. The piano concertos of Mozart, Beethoven took their concepts of balanced opposition between soloist and Orchestra, the clarity of forms and keyboard virtuosity to poke the soloist. This first concert was the last where Beethoven is fast for your models. Later, at the third concert expanded the scope and emotional range. This process reached its culmination with the Emperor concerto. • Dramatic opposition to the core of the first concert appears immediately when the strings of a powerful theme with a quick stopover in contrast, both separated by silences. Another source of contrast is the large number of different themes presented during the exhibition. When he finally enters the piano, it does so as a catalyst to reconcile the extremes. The stairs become the source of piano virtuosity, to fill the silences. The transition to the recapitulation is particularly dominant: piano and horns alternating repetitions of the initial theme, which is gradually reduced to the basics. • The second movement explores a florida score for piano. Despite the extremely slow, the piano is moving in fast and elegant figures. However, this sophistication designed soon fades to the carefree innocence of the main theme, introduced by the piano of rondo. The first secondary theme is also fascinating, especially because of their weak points. The second secondary theme is also attractive: it is in a lower tone and is considered a miniature of rondo itself complete until secondary ideas. In the end, the music stops gradually while repeating the initial motive. A small cadenza in a string of high wire reduces the time before an adagio for solo oboe. We could not suspect, but piano was already permanently and the concert near the end. Ends six bars later, a sudden return of joyful time. Absolutely delightful end to an absolutely delightful gesture!
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