Photo: Felix Bröde
Among the many traits that Beethoven and Brahms had in common, their ability to convey the intimacy of chamber music in the symphonic space is noteworthy. Beethoven’s fourth concerto is perhaps the most intimate of the five published ones, and the unusual solo piano introduction seems to be setting the tone straight from the first bar.
If the ominous dialogue in the slow movement between the orchestra and the piano really is about Orpheus bidding farewell to Eurydice, we can only speculate. But it inevitable not to be drawn in the poignant music of this short interlude between the first and last movements of this unique concerto.
Much has been written and said about Brahms’s first symphony, what a painstakingly long process it was to bring it to light and the composer’s fear of sounding banal in the footsteps of Beethoven. It will suffice to say that when a contemporary pointed out to Brahms that the main tune of the closing movement had a clear resemblance to Beethoven’s Ode to Joy, the composer’s comment was: “That even an arse can see.”
The pianist Elisabeth Brauß has been praised by Gramophone Magazine for “the maturity and sophistication of her thoughtful interpretations” which “would be the pride of any pianist twice her age”. Born in Hannover in 1995, Elisabeth is quickly establishing herself as one of the most exciting and versatile musicians of her generation.
Providing exciting performance opportunities to the musicians of the future, the Fidelio Orchestra is on a mission to turn the most advanced symphonic works into captivating experiences for players and audiences alike.
L. van Beethoven Piano Concerto No. 4 Op. 58 in G major
J. Brahms Symphony No. 1 Op. 68 in C minor
Fidelio Orchestra
Elisabeth Brauß, piano
Raffaello Morales, conductor
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