(Little note: even more than the other piano concerti, and mostly because of its formal inventiveness, the 4th can be broken down in lots of different ways -- the stuff below reflects how I hear this work, but you may understand things differently!) MVT I, Allegro moderato Exposition I 00:00 - T1 enters like a prayer in the piano, containing a 4-repeated-note motif (with rhythmic emphasis on the last note) that will pervade the whole work. Call this (m.repeat). T1 is immediately repeated in B in the strings, modulating quickly around the circle of 5ths to return to G. The orchestra then takes up T1 in the form of (m.repeat) in stretto at 0:37, creating some gorgeous counterpoint and passing dissonances between the woodwinds and lower strings. The passage climaxes at 0:58, followed immediately by the most dissonant-sounding set of root position tonic/dominant chords ever written (1:00). 01:11 - T2. This modulating theme has a clever harmonic structure. It contains 3 phrases in Em, Bm, and F♯m, but each begins very deceptively - the first with the iv chord (Am) and the second and third on the Neapolitan (C and G). 01:36 - Transition, using (m.repeat). 01:58 - T3. Soaring. Very slyly based on mm.3-5. 02:21 - T4. Cadential theme. Recollection of T1/(m.repeat) at 2:40. Exposition II 02:54 - Piano enters with what is nearly an improvisation, using (m.repeat). 03:27 - T1, shared between orchestra and piano. Bursts into brilliant passagework at 3:44, with (m.repeat) in the orchestra. 04:02 - A new theme appears in B♭, a aching gulf between the long arc of its melody and the subterranean rumble of the bass, before disappearing like a vision. Call this (T.magic). More sparking filigree in the piano, leading into 04:36 - T5 in D (you can view this as the first real entry of the second theme group, which was left incomplete in the opening ritornello). At 4:45, a gently dissonant variant enters - this is very cleverly orchestrated so that the bassoon sounds like it’s resolving the dissonance of the (lower) chromatic neighbour tone in the piano as soon as it enters. 04:54 - Transition, with (m.repeat) in orchestra, and glowing passagework in the piano. 05:10 - T2, with the piano entering the provide lovely counterpoint to the oboe. Then, while the piano continues with its semiquavers, (m.repeat) sneaks in in the orchestra (5:36). 06:02 - T3 stated climactically in the orchestra. At 6:34 a quieter, lyrical variant enters in the piano. 06:59 - T4 Development 07:28 - Piano enters eerily as it did in Expo II, now in Fm. 07:39 - A mysterious series of falling scales, written to sound rhythmically free. Based off 3:12 (!). Call this (m.descent). 08:02 - Dramatic sequential development, combining (m.repeat) and (m.descent) in the orchestra, while the piano takes on a rising arpeggio. (The piano here reminds me a bit of the Appassionata, actually.) This sequence climaxes at 8:28 in a triplet semiquaver passage recalling 5:03. 09:05 - Having arrived in the distant land of C♯m, the piano plays a rapt descending figure, while (m.repeat) is plucked out in the cellos. Modulates to E. 09:25 - Transition, featuring scales reminiscent of T4. At 9:47 the dominant preparation is reached. The climactic bar at 9:56 uses the same rhythm as T3. Recapitulation 9:59 - T1 in the piano, now vast, warm, encompassing. Moves into B again, while the piano provides delicate triplet semiquaver accompaniment. After this, we get another statement of T1, but now in the form used by Exposition II. We suddenly move in E♭, wherein 10:54 - (T.magic) re-appears for the second and last time, collapsing eventually into a cascade of violent thirds. 11:23 - T5, now in G. 11:57 - T2 12:49 - T3, including the triplet variant. 13:48 - Cadenza. Opens with an extended improvisation on (m.repeat). At 14:25, T5 enters in B♭, and unspools into a sunny variation before (m.repeat) returns at 15:13 in a more regimented form, developing into an ecstatic climax (with strong Waldstein vibes T3 enters in A♭ at 16:05, moving into G. At 16:40 - we reach an unbearably intense trill on the supertonic, which relaxes into a scale. 17:18 - T3, with the piano RH especially free. 17:46 - Final recollection of T1, before (m.repeat) closes. MVT II, Andante con moto Part I 18:32 - Orchestral statement. Brutal, clipped. There’s a kind of gravitational pull to it, always pulling the line down. 18:46 - Piano answer. Meek, subdued. 19:13 - The call/response pattern continues. The orchestra always harsh, the piano some mixture of consoling/tender/grieving. Part II 20:57 - Piano enters with a high lyrical line that drops gradually. 21:27 - A trill enters, rising by thirds and growing more desperate. The LH enters with bitter chromaticism (the RH answering with a pointed appoggiatura) before it joints with RH in a double trill. 22:26 - The final set of calls/responses, the orchestra playing its only quiet passages and chords in the movement. MVT III, Rondo: vivace (Exposition) 23:22 - Theme, entering on the deceptive IV chord. The orchestral statement comprises 3 motifs in rapid succession - the opening rhythm (m.rhythm) in mm.1-2, a rising arpeggio (m.arpegg) in mm.3-4, and a fall (m.fall) in mm.5-6. The piano takes the orchestra’s deceptive entre a step further by actually entering in the wrong key of C (swapping its role as IV for I), accompanied by a single lyrical cello. 24:00 - Transition 1 24:29 - Episode 1. Luminous 2-part counterpoint. 24:57 - Transition 2. At 25:15 the dominant of C enters and sticks around for a longish bit, because this is _Beethoven_, goddammit. 25:47 - Theme 26:26 - Transition 1, moving via Gm into E♭. (Development = Episode 2) 26:36 - Dramatic arpeggios in the piano, while the woodwinds interrupt with snatches of the theme (m.fall). The big arching arpeggios in the strings are derived from (m.arpegg). 27:07 - Triplet thirds in the piano outlining dim7 chords, with the orchestra supplying yet more material from the theme (m.rhythm + m.arpegg). 27:46 - Recollection of episode 1 in G. 28:13 - Transition 2. At 28:45 the cellos/violas play a beautifully muted variant of the theme. At 29:24, there is a cadenza “ad libitum” - so some space for improvisation! (Recapitulation) 29:49 - Theme, now taken first by the piano in delicate broken octaves in (m.rhythm). 30:08 - Transition 1, diverted into a lovely modulation to F♯. 30:26 - Episode 1. After the melody’s first phrase is stated, the oboe and bassoon hitch an F♯ up a semitone to G, which then becomes the dominant of C - one of the nicest tritone modulations I’ve heard. The second phrase is interrupted by the woodwinds playing a highly compressed variant of the theme (30:38), after which Episode 1’s melody transfers to the cellos, which pass it gradually upward, while the piano burbles scales above. 31:06 - Cadenza. Begins with a propulsive extension of the preceding orchestral phrase, before developing Episode 1’s material. At 31:34, Transition 2 makes an entry and is diverted into two climactic rising arpeggios. 31:50 - An upward explosion of trills, recalling the series of 3 rising trills heard in Mvt II. As is typical for Beethoven, the final triple trill on the F♯ refuses to resolve correctly, moving to an F♮ underpinned by dim7 harmony. This invites an orchestra phrase which gradually steers us back to the G, which heralds to (Coda) 32:07 - Theme, now taken by the clarinets/bassoons before being handed to the piano (which starts a nice stretto with the woodwinds). 32:29 - Some pretty scalar material harmonised as Beethoven’s favourite 6/3 chords, leading to 32:40 - Yet another exhilarating set of 3 rising trills, slowing into measured triplets, then quavers. Takes a violent swerve into C via a G7 chord, which revs the orchestra up for one final triumphant statement of the theme. A G/A/B oscillation in the piano closes.
I dont mean to be so off topic but does anyone know of a method to get back into an instagram account?? I stupidly forgot the login password. I would appreciate any tips you can offer me!
man, Beethoven had a hell of a run when he got into the Opus Fifties. Check this out: op. 53: Waldstein sonata (#21) op. 54: Sonata #22 (well, that's a miss, although a lot of people like it more than I do) op. 55: Eroica symphony op. 56: Triple Concerto op. 57: Appassionata sonata (#23) op. 58: this masterwork op. 59: the 3 Razumovsky quartets op. 60: 4th symphony op. 61: Violin Concerto That's quite a sequence.
@@russellstinson3414 true, although I'm not that familiar with it. He also wrote the 32 Variations in C minor, my favorite variation set of his, in that same span of time, although he didn't see fit to assign it an opus number.
Today I realized I can't even recall Betthoven's piano concerti apart from No. 5, so I went through all of them. The first accords all snapped entire memory boxes open.. It feels like seeing long lost friends and reliving a ton of old memories together... It's an ethereal experience... And indeed, nothing compares to the 4th... now I remember the very first time listened to it 25 years ago...
This is by far my favorite Beethoven concerto, and a lot of it is due to its - I'm not sure if it's a word - lyricism. It feels like the entire piece sings tales of ancient times.
❤All Beethoven's concertos are beautiful! The orchestration is wonderful. I particularly love the way the 'motif' travels from one type of instrument to another. Beethoven was great! He still is. He is immortal in his music.
The best accolade I ever heard about Beethoven, who agonized after every note he ever wrote, "It's like God came down and said , 'This is the perfect note here.'"
Utterly breathtaking. I had the most intense tingles in my head it was so moving. Only Beethoven’s music can do that to me. Thank you Big Beet. The world is a better place because of you.
Beethoven must be the only composer that can sound like Haydn, Mozart, Schubert, Prokofiev, Sibelius and Shostakovich within the same piece. I will never forget having the privilege to perform the complete Beethoven concertos with Paul Lewis at the piano.
Such breadth to this one. The middle movement is the most dire music I can think of from Beethoven, then the rondo is so playful, with lots of build-ups to climaxes that don't happen, or do happen on a chord I wasn't expecting.
I have a problem wirh this concerto: it was my most impactful music impression in my life, like 10 years ago (the orchestral intro after the piano entrance especifically), but i can't enjoy it now. The same goes for the 5th concerto, wich, thankfully, i started to enjoy again after your last uploads (and i have heard like 20 more interpretations within these days). PD: I borrowed "most impactful musical impression" (more or less) quote from an Argerich interview, in wich she says that about this concerto: especifically "those trills!".
"You’re probably not allowed to say this is the best concerto ever written, but if you did, who would actually bother to seriously contest that claim?" Of course you are right. But interestingly, I come across a lot of wannabe-edgy music students who unironically claim that Beethoven is totally overrated and all of these bizzare obscure composers (mostly 20th century) are much "musically better", "more complex" or whatever. I have even heard this kind of people claim that Hummel's concerti are superior to Beethoven's etc. Not that these statements would matter much, I just wanted to mention that some students are apparently frustrated and fed up with the standard repertoire enough to completely shit talk it.
This. But the comments asking for a Rach/Proko upload instead are inevitable. Don't get me wrong, I certainly don't think the pieces are bad, they just happen to benefit more from youtube snippeting and low attention spans.
@@ZbynekPilbauer Well, I honestly love Rachmaninov's concerti almost as much as Beethoven's, I certainly didn't mean to call him bizzare or obscure. I was talking about composers like Ligeti, Xenakis, Rautavaara, Lutoslawski, Howells and other names that even musicians hear rarely and for some reasons, a certain group of people worships them as much better than masters like Beethoven.
@@sgwinenoob2115 Yeah, and I'd also say that one shouldn't rate pieces based on how formally developed they are, but rather how they fulfill their aesthetic purpose. There will always be someone who can take the musical form and push it a little bit further, invent something new, but it doesn't mean that all of the preceeding music written in the same form becomes outdated or less interesting or less beautiful.
While I agree on the fact that a lot of 20th Century composers are neglected and I listen mostly to 20th Century classical music, nobody and I say _nobody_ not even Mozart perhaps compares to Beethoven imo
I would not really call the Brandenburg 5 a concerto in the traditional sense though even though it's named that way. It's very different in structure from most regular concertos in that there's no leading instrument except when the harpsichord gets its massive cadenza. That makes it closer in structure to a sextet or something like that. It's also notably different in structure from all of Bach's actual Keyboard concerti which give the Keyboard a clear leading role beyond just working with the other instruments
@@Kris9kris His approval makes no difference in me thinking he is my favorite composer. Ashish has a great mind for writing about music and picking out nice recordings, so it'd be nice to see some Mozart (or Haydn) considering he covers most very major composers with keyboard music except for them. If it's not his thing whatever, his channel his rules
hm. to much "admitation of okd masters". in my mind some parrts of the music is much more fun and party downright silly! (in a good sense). But somehow noone dares to bring forth this..
