Uploaded October 2022 | Updated September 2026, 2 weeks ago
O.RESPIGHI: Piano Concerto
Geoffrey Tozer, pianoforte
BBC Philharmonic diretta da Sir Edward Downes.
Photos: ITALY
From Wikipedia, the free encyclopedia
The Piano Concerto in A minor by Ottorino Respighi is a concerto for piano and orchestra written in 1902 and published in 1941.
Structure
The concerto is in three movements:
Moderato
Adagio molto
Presto
Scoring
The concerto is scored for piano, pairs of flutes, oboes, clarinets in B♭, bassoons, horns in F, trumpets in B♭, and timpani and strings.
O.RESPIGHI: Piano Concerto
Geoffrey Tozer, pianoforte
BBC Philharmonic diretta da Sir Edward Downes.
Photos: ITALY
From Wikipedia, the free encyclopedia
The Piano Concerto in A minor by Ottorino Respighi is a concerto for piano and orchestra written in 1902 and published in 1941.
Structure
The concerto is in three movements:
Moderato
Adagio molto
Presto
Scoring
The concerto is scored for piano, pairs of flutes, oboes, clarinets in B♭, bassoons, horns in F, trumpets in B♭, and timpani and strings.



![L.V.BEETHOVEN: piano concerto no.4 K.ZIMERMAN;L. BERNSTEIN;Wiener Philharmoniker
L.V.BEETHOVEN: piano concerto no.4 K.ZIMERMAN;L. BERNSTEIN
Photos:Germany
From Wikipedia, the free encyclopedia
Ludwig van Beethovens 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 Viennas Theater an der Wien.
Orchestration
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.
Premiere and reception
It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the Fourth Symphony were premiered in that same concert.[1] However, the public premiere was not until a concert on 22 December 1808 at Viennas Theater an der Wien. Beethoven again took the stage as soloist. The marathon concert saw Beethovens last appearance as a soloist with orchestra, as well as the premieres of the Choral Fantasy and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.
A review in the May 1809 edition of the Allgemeine musikalische Zeitung states that [this concerto] is the most admirable, singular, artistic and complex Beethoven concerto ever.[2] However, after its first performance, the piece was neglected until 1836, when it was revived by Felix Mendelssohn. Today, the work is widely performed and recorded, and is considered to be one of the central works of the piano concerto literature.[3][4]
I. Allegro moderato
The first movement opens with the solo piano,[a] playing simple chords in the tonic key before coming to rest on a dominant chord. The orchestra then enters with the same theme, in B major, the major mediant key, which is in a chromatic mediant relationship to the tonic. Thus enters the first theme.
The orchestra states the main theme in B major, dropping through the circle of fifths to a cadence in the tonic, G major. The theme is then stated again, this time in stretto between upper and lower voices. A very strong cadence in the tonic, withering away within one bar, introduces a transitional, modulatory theme with restless triplet accompaniment, also containing hints of stretto. The music moves to the minor mediant key, B minor, while its dynamic is reduced to pianissimo, at which point material from the opening theme returns. Through a rising bass line and sequential harmonies, the music regains the tonic key (on a dominant pedal) with a new theme derived from bars 3, 4, and 5. The final cadence is delayed for several bars before the material from the opening bar resurfaces as the movements closing theme, accompanied by a tonic pedal over forte dominant chords.
Felix Salzer says the following about this opening, [It is] one of the most fascinating substitutions of the entire literature...The whole passage appears as a most imaginative prolongation of interruption, the post-interruption phrase starting with a B-Major chord boldly substituting for the tonic. In addition, this post-interruption phrase introduces a very interesting melodic parallelism in form of an augmentation of the end of the pre-interruption phrase one step higher.[5]
The pianos entrance resembles an Eingang, an improvisatory passage from Mozarts day that would have occurred after the orchestras last unresolved dominant chord, but before the piano played the main theme. Beethoven captures this improvisatory style by accelerating the rhythm in the piano part, from eighth notes, to triplets, to sixteenth notes, and finally in a scale that rushes downward in sixteenth-note sextuplets. A long preparation is then made before a tonic cadence duly arrives, and the orchestra once again takes up the main theme.
II. Andante con moto
The second movement has been associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades, a suggestion of Beethovens 1859 biographer Adolf Bernhard Marx.[6] The movements quiet E minor ending leads without pause into the C major chords that open the finale.
III. Rondo (Vivace)
In contrast to the preceding movements, the third movement, in traditional rondo form, is simpler, characterized by a very rhythmic theme. The main theme begins in the subdominant key of C major before correcting itself to reach a cadence in the tonic G major.
Cadenzas for the Fourth Piano Concerto have been written by a number of pianists and composers throughout its history; these include Beethoven himself (two separate sets of cadenzas), Johannes Brahms, Clara Schumann, Ferruccio Busoni, Hans von Bülow, Ignaz Moscheles, Camille Saint-Saëns, Anton Rubinstein, Wilhelm Kempff, Nikolai Medtner, Eugen dAlbert, Leopold Godowsky, Wilhelm Backhaus, Samuil Feinberg, Manuel M. Ponce, etc.
Referenc L.V.BEETHOVEN: piano concerto no.4 K.ZIMERMAN;L. BERNSTEIN;Wiener Philharmoniker](https://i.ytimg.com/vi/rKLjCn1vvbs/mqdefault.jpg)

![RHAPSODY OF FIRE: The magic of the wizards dream (ita & eng version)
RHAPSODY OF FIRE: The magic of the wizards dream (ita & eng version)
Nella grigia oscurita
io la trovero
stella amata senza eta
verso luna e sol
Rivelami la via
tra leggenda e mito
sacra immensita
contro lantico malPianto or lava il mio rancor
FIAMMA ETERNA
FIERA ARDI NEL MIO CUOR
ASTRO CELESTE
CHE RISPLENDI DI DIVINO AMOR
Oltre il fiume danime
mistica realta
nell etereo cosmico
vago con pieta
Rivelami la via
tra leggenda e mito
sacra immensita
contro lantico mal
Pianto or lava il mio rancor
FIAMMA ETERNA
FIERA ARDI NEL MIO CUORASTRO CELESTE
CHE RISPLENDI DI DIVINO AMOR
In those silent shades of grey
I will find a place
To escape the endless night
To find a new sun
[Pre-Chorus]
I know which is my fate
Bond to Erians old tale
Ill be always there
Fighting the ancient sin
Moon shine in this eternal night
[Chorus]
ANGELS ARE CALLING
FROM DIVINE LOST CRYSTAL REALMS
RIDING FROM HEAVEN
FOR THE MAGIC OF THE WIZARDS DREAM
[Verse 2]
In the misty lights of dawn
Between heart and soul
Elgards calling for new hope
To avoid our fall
[Pre-Chorus]
I know which is my fate
Bond to Erians old tale
Ill be always there
Fighting the ancient sin
Moon shine in this eternal night
[Chorus]
ANGELS ARE CALLING
FROM DIVINE LOST CRYSTAL REALMS
RIDING FROM HEAVEN
FOR THE MAGIC OF THE WIZARDS DREAM
ANGELS ARE CALLING
FROM DIVINE LOST CRYSTAL REALMS
RIDING FROM HEAVEN
FOR THE MAGIC OF THE WIZARDS DREAM
THE WIZARDS DREAM
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ANGELS ARE CALLING
FROM DIVINE LOST CRYSTAL REALMS
RIDING FROM HEAVEN
FOR THE MAGIC OF THE WIZARDS DREAM
ANGELS ARE CALLING
FROM DIVINE LOST CRYSTAL REALMS RHAPSODY OF FIRE: The magic of the wizards dream (ita & eng version)](https://i.ytimg.com/vi/rgBha9em3A0/mqdefault.jpg)




