The Harrisburg Symphony Orchestra will present the first concert of the 2014-2015 Masterworks season on October 18 (8pm) and October 19 (3pm). Pianist Alon Goldstein will join the Symphony in a performance of Beethoven's Piano Concerto no. 4, which is one of my favorite piano concerti--if not my all-time favorite! The piano opens the piece (an unusual feature for a concerto written just over 200 years ago) with a rich and lyrical motif--and difficult, I might add, to get it to come out just right! If you don't know the piece, the orchestra's first chord will be a surprise, though not in the way you would expect. The opening sets the tone for the whole first movement--bright, happy, contented, and hopeful spring to mind--and I would contend that the hardest part of this concerto is getting the mood right. It has its share of brilliance, but it should never sound difficult, despite the significant technical demands placed on the soloist (the orchestra part is tricky too). The first movement, despite a few turns to the minor mode, never really loses its hopeful outlook.
The second movement is often described in terms of the story of Orpheus. The pianist, as Orpheus, pleads for the release of his beloved Eurydice, and is continually rebuffed by the orchestra--NO. NO. NO. After each "no" the piano comes back with an even more tender plea. Eventually, the movement ends, but I don't think it's a happy ending. I'm not going to say any more than that--Beethoven can speak for himself here!
The third and last movement turns immediately to the fun, brilliant side again, and is a lot of fun to play and to hear. This movement, however, begins in the "wrong" key--the concerto is in G, but the finale begins in C! It's a little disconcerting at first, but once you embrace Beethoven's quirkiness, it makes for a charming finale. Like the first movement, it has significant technical demands, but it must always sound brilliant and fun, never difficult.
Alon Goldstein has performed with the Harrisburg Symphony before, and I'm really looking forward to his performance this month. And if that's not enough, the program will conclude with Beethoven's revolutionary "Eroica" symphony, another wonderful work.
Details and tickets: http://www.harrisburgsymphony.org/
The second movement is often described in terms of the story of Orpheus. The pianist, as Orpheus, pleads for the release of his beloved Eurydice, and is continually rebuffed by the orchestra--NO. NO. NO. After each "no" the piano comes back with an even more tender plea. Eventually, the movement ends, but I don't think it's a happy ending. I'm not going to say any more than that--Beethoven can speak for himself here!
The third and last movement turns immediately to the fun, brilliant side again, and is a lot of fun to play and to hear. This movement, however, begins in the "wrong" key--the concerto is in G, but the finale begins in C! It's a little disconcerting at first, but once you embrace Beethoven's quirkiness, it makes for a charming finale. Like the first movement, it has significant technical demands, but it must always sound brilliant and fun, never difficult.
Alon Goldstein has performed with the Harrisburg Symphony before, and I'm really looking forward to his performance this month. And if that's not enough, the program will conclude with Beethoven's revolutionary "Eroica" symphony, another wonderful work.
Details and tickets: http://www.harrisburgsymphony.org/