In this piano concerto no.3, especially the first movement, he takes us back to earlier musics. Strong comparisons are drawn between Beethoven's first movement and that of Mozart's Piano Concerto in C minor K. 491. Beethoven's form is almost identical to Mozart's, however, Beethoven's mood is more an extension of his own Stormy Pathetic Sonata. As might be expected, the master uses his themes in a novel way, adding a particularly Beethovenian power to the end of the movement. The Largo, on the other hand, looks to the future because this charming and contemplative movement has a romantic flavor. The central section even anticipates the novelistic practice of having the solo instrument accompanying the instruments of the orchestra, here the flute and the bassoon. To soften the shock of returning to the original key, Beethoven designed the first three notes of the finale to be common to both keys. The most striking feature of this living music and welded fits well into the movement. Here the main theme transforms into a brief statement that is a fleeting, sunny memory of the slow movement. Then again there's a change of key for the final section of the Presto, which calls for some piano pyrotechnics and a tumultuous finale in the orchestra. Music is the language of emotions. *Lucien*
Büyüleyici nota ve besteler harika sanatçılarla buluşunca böyle eşsiz akıcı bir dinleti oluyor..Hepinize teşekkürler
The Largo is played with such a feeling!
Una obra de arte maravillosa, una belleza ❤🎼🎶
Brilliant Performance. I think he should also perform the Triple Concerto. He has an album with all 5 of Beethoven Piano Concertos. 🎉
What the world needs now is more catgirls!
In this piano concerto no.3, especially the first movement, he takes us back to earlier musics. Strong comparisons are drawn between Beethoven's first movement and that of Mozart's Piano Concerto in C minor K. 491. Beethoven's form is almost identical to Mozart's, however, Beethoven's mood is more an extension of his own Stormy Pathetic Sonata. As might be expected, the master uses his themes in a novel way, adding a particularly Beethovenian power to the end of the movement. The Largo, on the other hand, looks to the future because this charming and contemplative movement has a romantic flavor. The central section even anticipates the novelistic practice of having the solo instrument accompanying the instruments of the orchestra, here the flute and the bassoon. To soften the shock of returning to the original key, Beethoven designed the first three notes of the finale to be common to both keys. The most striking feature of this living music and welded fits well into the movement. Here the main theme transforms into a brief statement that is a fleeting, sunny memory of the slow movement. Then again there's a change of key for the final section of the Presto, which calls for some piano pyrotechnics and a tumultuous finale in the orchestra. Music is the language of emotions. *Lucien*
The best