Alfred Brendel - Beethoven Piano Concerto No. 4 G Major Op. 58; 10 Variations on Salieri's Air flac album

Piano Concerto No. 4 in G major; Klavierkonzert Nr. 4; Klavierkonzert G-Dur; Klavierkonzert in G-Dur; Concierto para piano . 4 (Beethoven). Opus/Catalogue NumberOp. I-Catalogue NumberI-Cat. No. ILB 156. Key. G major.

Ludwig van Beethoven's Piano Concerto No. 4 in G major, Op. 58, was composed in 1805–1806. Beethoven was the soloist in the public premiere as part of the concert on 22 December 1808 at Vienna's Theater an der Wien. It is scored for solo piano and an orchestra consisting of a flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Beethoven: Piano Concerto N. in G, O. 8 - 2. Andante con moto. 6. 30. Beethoven: Piano Concerto N. 8 - 3. Rondo (Vivace). in E flat major O. 3 -"Emperor" - 3. Rondo (Allegro). I came to Brendel in a roundabout way, through his brilliant interpretation of the Diabelli Variations in the Phillips Great Pianists of the 20th Century series. Here was a Beethoven intepreter I could get behind: intelligent, consistent, insightful. I know his performances are often dismissed as "cerebral," but I think that's what I enjoy most about them.

Album · 2009 · 6 Songs. Czech Radio Symphony Orchestra Pilsen, Jiri Malat & Peter Schmalfuss. Vienna Volksoper Orchestra, Alfred Brendel & Heinz Wallberg. Tchaikovsky: Symphony No. 4. USSR State Symphony Orchestra & Evgeny Svetlanov.

10 Variations On Salieri's Air "La Stessa, Ia Stessissima", In B Major (Grove's Listing 185). F2. 6 Easy Variations On A Swiss Air, In F Major (Grove's Listing 183). F3. 9 Variations On Paisiello's Air "Quant' E Piu Bello", In A Major, (Grove's Listing 179). F4. 6 Easy Variations On An Original Theme, In G Major (Grove's Listing 188). F5. 8 Variations On Gretry's Air "Une Fievre Brulante", In C Major (Grove's Listing 184). VBX 416. Alfred Brendel. Beethoven Piano Music, Vo. ‎(LP, Album, Mono + Box).

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Piano Concerto No. 5. This concerto was finalized in 1809, about the same time as the famous sonata Appasionata op. 57. The powerful themes and heroic note of the composition, lead to the name Emperor for this concerto. The name Emperor dates from Beethoven’s time but was not given by Beethoven himself. Only later, the orchestra presents the first theme. After the introduction of the second theme, a dialogue is built up between the orchestra and the piano regarding the presented themes. The ending of the first movement renders the atmosphere given by the powerful rhythms and the ample sonorities of the ending of the first allegro in Symphony No. 3. Part II – Adagio un poco mosso – starts with a silent presentation by the string instruments of an expressive theme, of great openness, and is followed by the piano with an extraordinarily melodic segment.