Beethoven: Piano Concerto No. 4, Op. 58 / Remastered (reference recording: Arthur Rubinstein)

Full album available // Beethoven: The 5 Piano Concertos by Arthur Rubinstein 🎧 Qobuz (Hi-Res/flac) https://cutt.ly/QevujKCF Tidal (Hi-Res/flac) https://cutt.ly/WevuklTK 🎧 Deezer (Hi-Fi) https://cutt.ly/XevukY9G Spotify (mp3) https://cutt.ly/9evuzguD 🎧 Amazon Music (Hi-Res/flac) https://cutt.ly/pevukX9B Idagio (Hi-Fi) https://cutt.ly/LevuxNbI 🎧 Apple Music (off) Youtube Music (mp4) https://cutt.ly/ZevulWUI 🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** https://cutt.ly/Classical-Music-Reference-Recording-Website-Beethoven-Rubinstrein Ludwig van Beethoven (1770-1827) Piano Concerto No. 4 in G Major, Op. 58 00:00 I. Allegro moderato (2024 Remastered, New York 1956) 18:53 II. Andante con moto (2024 Remastered, New York 1956) 23:33 III. Rondo. Vivace (2024 Remastered, New York 1956) Piano: Arthur Runbinstein Symphony of the Air Conductor: Josef Krips Recorded in 1956, at New York New mastering in 2024 by AB for https://classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): https://cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: https://cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: https://cutt.ly/ceatjtlB ❤️ Support us on Patreon https://cutt.ly/ZezaldhI Concerto No. 4 in G major, Opus 58 // This concerto was composed between 1805 and 1806 and was first performed on December 22, 1808, in Vienna, with Beethoven as the soloist. This concerto has been called "the lyrical lady of piano concertos." Initially, it did not achieve the success of Concertos No. 3 and 5. It was perhaps Mendelssohn who saved it from obscurity by performing it in Leipzig in 1836. Following this performance, Schumann wrote: "It gave me a joy such as I had never felt before. I remained motionless in my seat, without moving a muscle, without breathing. I feared making the slightest noise..." I. Allegro moderato It begins with a piano solo. The orchestra then takes up this theme and, after developing it somewhat, seamlessly transitions to the second subject, which has the character of a march. In this first movement, Beethoven adheres to the traditional sonata form. However, he slightly alters the established rules and innovates by introducing the theme directly through the soloist rather than the orchestra. This theme is reminiscent of a motif heard in the Fifth Symphony. He then introduces a second theme, marked by dotted rhythms. Several secondary motifs follow, somewhat darkening the prevailing lyricism. During the development, the main theme dominates, with bold piano interventions leading the orchestra in its wake. II. Andante con moto Though brief, this is one of the most famous of all concerto movements. The dialogue between the unison strings and the plaintive piano melody is particularly moving. It has been said that this movement was inspired by a painting depicting Orpheus invoking the powers of the underworld. Written in the relative key of E minor, this movement features a very austere theme. Imperious and somewhat harsh, it is introduced by the orchestra. Opposing this is a plaintive and tender melody. Like two characters, these musical elements struggle and confront each other. Gradually, the piano softens until a cadence is reached. Then, the initial theme begins to fragment. After one last reprise, Beethoven seamlessly transitions into the final Rondo without any pause or transition. In this movement, Beethoven reaches one of the pinnacles of his pianistic art: the dialogue between the piano and the orchestra attains a level of gravity never before heard in any other concerto. III. Rondo, Vivace This movement radiates confidence and joy of life. The dialogue between the piano and the orchestra continues in a completely different spirit. In the development section, the pianist has ample opportunity to showcase their technical skill. The movement, however, retains its symphonic character. The main theme of this Rondo is lively and syncopated, written in C major. Initially stated by the orchestra, it then transitions smoothly to the piano. Unlike the previous movements, there is harmony here between the orchestral tutti and the soloist. While thematic freedom is a novelty in this movement, Beethoven then remains faithful to tradition, with a structure based on an ABABAB form. A soloist's cadenza precedes the final coda, written in the main key of G major. Other Album available // Chopin: Piano Concertos Nos. 1 & 2 by Arthur Rubinstein 🎧 Qobuz (Hi-Res) https://cutt.ly/5ebZczsa Tidal (Hi-Res) https://cutt.ly/HebZcHr9 🎧 Deezer (Hi-Fi) https://cutt.ly/VebZc6gH Amazon Music (Hi-Res) https://cutt.ly/RebZvOwZ 🎧 Spotify (mp3) https://cutt.ly/8ebZbqUK Youtube Music (mp4) https://cutt.ly/4ebZbWsh 🎧 SoundCloud (aac) https://cutt.ly/RebZbHjV Ludwig Van Beethoven PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxOhkdci2M8WKMSVaf9WiF8x