{"id":17852,"date":"2021-02-01T09:24:52","date_gmt":"2021-02-01T08:24:52","guid":{"rendered":"https:\/\/filharmoniapoznanska.pl\/?p=17852"},"modified":"2021-02-02T10:22:54","modified_gmt":"2021-02-02T09:22:54","slug":"beethoven-our-contemporary-second-though-first","status":"publish","type":"post","link":"https:\/\/filharmoniapoznanska.pl\/en\/beethoven-our-contemporary-second-though-first\/","title":{"rendered":"BEETHOVEN OUR CONTEMPORARY. SECOND, THOUGH\u2026 FIRST"},"content":{"rendered":"\n
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Piano Concerto No. 2 in B-flat major by Ludwig van Beethoven will be heard during the next Internet Concert on Friday, the 5th of February at 7 p.m<\/strong>. The solo part will be performed by the German pianist Martin Stadtfelt, well-known to the Poznan audience, while the Poznan Philharmonic Orchestra will be led by \u0141ukasz Borowicz.<\/p>\n

The preserved first drafts and the subsequent versions of the work indicate that Beethoven\u2019s Piano Concerto No. 2 might have been written before his Piano Concerto No. 1. Its premiere performance also occurred earlier \u2013 it was held in Vienna on the 29th of March 1795. While the Concerto No. 1 was introduced to the world by Beethoven on the 18th of December 1795, also in Vienna. During both these events the composer himself performed the piano part.<\/p>\n

This is what Ryszard Daniel Golianek wrote about the Piano Concerto No. 2 by the Maestro from Bonn in the Poznan Philharmonic concert programme from the 24th of April 2017 (the soloist then was also Martin Stadtfeld):<\/p>\n

Piano Concerto No. 2 in B-flat major, Op. 19, is a typical example of absolute music, in which the crucial composition categories stem from the disposal of sound material and creation of relations between the solo piano part and the orchestra. The long period of writing the piece (1788-1795, and after that a series of revisions till year 1801) results from the fact that it was actually the first time the composer dealt with this classical genre brought to perfection by his predecessor, Wolfgang Amadeus Mozart (Beethoven\u2019s Piano Concerto in C major, denoted No. 1, was written in the period of 1795-1801). <\/em><\/p>\n

In accordance with the principles of a classical concerto, Beethoven arranged the work into three movements which contrast in tempo (Allegro con brio \u2013 Adagio \u2013 Rondo: allegro molto). The formal structure of particular movements (sonata form, variations, rondo) corresponds with the Mozartean model, just as the type of phrasing, figurations and the chromatics \u2013 these elements show the apparent influence of the Maestro from Salzburg. At the same time some individual traits of Beethoven\u2019s style emerge, for instance the main theme of rondo which features a somewhat teasing, syncopated rhythm.<\/em><\/p>\n

For the evening\u2019s dessert \u2013 the 3rd movement of Piano Sonata No. 23 in F minor, Op. 57 by Ludwig van Beethoven, known as Appassionata. It is one of the most important piano sonatas written by the composer and also one of the most famous in the history of music.<\/p>\n

PERFORMERS <\/strong><\/p>\n

Martin STADTFELD \u2013 piano
\u0141ukasz BOROWICZ \u2013 conductor
Poznan Philharmonic Orchestra<\/p>\n

PROGRAM <\/strong><\/p>\n