Podcasts about beethoven's piano concerto no

I love the fun and exuberance of this movement from Beethoven's 'first' Piano Concerto.   For Beethoven, playing the piano at the first performance would have been the least of his worries.  Music here: https://youtu.be/BF7pmimzjBs?t=1580. 3rd Movement starts at 26'20" but the whole thing is fab if you have the time. and here on Spotify: https://spoti.fi/3dInLXN Please listen, like, comment, share and subscribe! visit cacophony online.com

On this special episode of Backstage Pass with the Sequoia Symphony we get to hear from pianist and featured soloist, Steven Lin, as we talk about the upcoming concert featuring him performing Beethoven's Piano Concerto No. 1, his hobbies, and much more.Bold BeginningsNovember 16, 2019Brahms: Symphony No. 1Beethoven: Piano Concerto No. 1 featuring Steven LinSponsored by the Tulare County Symphony League and DMI AgencySupport the show (https://tickets.vendini.com/donation-software.html?d=4200d0ce8413b35d771bf234ae4b7c73&t=donation&vqitq=3bfe49c8-2839-4fb4-bd8f-dea3cf77ec1b&vqitp=f3391669-9596-4105-8908-cb902592e266&vqitts=1555458357&vqitc=vendini&vqite=itl&vqitrt=Safetynet&vqith=9f12d02)

In this second episode of Inside the Music: The Reno Phil Podcast, Laura Jackson and Chris Morrison discuss the first concerts of the Reno Phil's 2019-20 season. On October 5 and 6, 2019, Laura Jackson, the Orchestra, and guest pianist Sara Davis Buechner perform Beethoven's Piano Concerto No. 1 and the dramatic Symphony No. 4 by Tchaikovsky.

When asked to estimate how many times he has performed Beethoven's Piano Concerto No. 3 in C min, Op. 37 , Yefim Bronfman leaned back, sighed, and guessed, "Oh... surely at least 100 times."

“If I could but shudder!” With nothing more than his good looks and a fifty dollar donation, a banished youth goes on an adventure to learn the art of fear in ‘The Story of the Youth Who Went Forth To Learn What Fear Was'. Facing demonic cats, maniacal old men and an evening of bowling with skeletons, can our hero survive three nights in a haunted castle and win the princess? We explore what it means to feel fear and uncover a bad case of ichthyophobia, in undoubtedly the most gruesome and also most fun episode we’ve made yet! This episode is ‘Certified Grimm’ for dark themes and potentially upsetting situations and may not be suitable for all listeners. TwitterFacebookInstagram grimmreadingpodcast@gmail.com Theme music: Bicycle Waltz by Goodbye Kumiko Other music: Beethoven's Piano Concerto No. 4 in G major (Op. 58) 2nd & 3rd movements performed by Debbie Hu

By the summer of 1809, Napoleon’s French forces, at war with Austria for the fourth time in eighteen years, reached the suburbs of Vienna. “Nothing but drums, cannons, human misery of every sort!” wrote Beethoven to his publisher in Leipzig. But by year’s end, he had completed his Piano Concerto No. 5, Emperor, a magnificent affirmation made in terrible times.

One of the treasures of the Library's collection of composers' autographs is the manuscript of Ludwig van Beethoven's late E major piano sonata. William Meredith presents a fascinating event with a distinguished collaborator, Malcolm Bilson, as partner. The talk and performance focuses on elements of the creative process visible in Beethoven's manuscript score, and some interesting details it can reveal about what Beethoven does not want the composer to do. Speaker Biography: William Meredith is the founding director of The Ira F. Brilliant Center for Beethoven Studies at San Jose State University, which opened to the public in 1985. He is editor of The Beethoven Journal and the scholarly monograph series American Beethoven Studies. He is currently working with Professors Robin Wallace and Wayne Senner on the German reception history of Beethoven's music. He first studied the autograph of the Sonata Opus 109 when he was writing his dissertation on the compositional process of the work at the University of North Carolina at Chapel Hill. Speaker Biography: A professor at the Music Department at Cornell University since 1968, Malcolm Bilson has distinguished himself as one of the pioneers in historic performance practice, specializing in performance on the fortepiano, the 18th century forerunner of the modern piano. Speaker Biography: Shin Hwang made his public debut as a pianist performing Beethoven's Piano Concerto No. 3 with the Lafayette College Orchestra. He attended Edward Parmentier's harpsichord workshop, where he discovered his affinity for the harpsichord and early music. Since then he has performed both solo programs on the harpsichord and fortepiano and with the University of Michigan's baroque ensembles. For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6187