Ludwig van Beethoven: Concerto for Piano and Orchestra in E flat major, WoO4

Ludwig van Beethoven

 Concerto for Piano and Orchestra in E flat major, WoO4

(reconstructed from the piano part by Willy Hess - 12 October 1906 – 9 May 1997-, a Swiss musicologist and composer)
Performers: Lidia Grychtołówna, piano, Folkwang-Kammerorchester, Heinz Dressel (conductor)

I. Allegro moderato – 00:00
II. Larghetto – 10:37
III. Rondo. (Allegretto) – 19:49

A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time.
Beethoven's piano concertos often reflect his ability to produce music spontaneously, as a skilled orator would improvise a speech. Like Mozart before him, Beethoven was a master improviser whose piano concertos served as both a showcase for virtuosity and a dramatic medium. All five of these concertos show Beethoven's musical mind in motion, conveying a powerful profile of the performer's personality.

„Piano Concerto in E flat, WoO 4, sometimes referred to as Beethoven’s ‘Concerto No.0’ : It was not long before Beethoven began to compose, and his earliest published efforts appeared in 1782 — 83. Shortly afterwards he composed his first known concerto, which survives in a manuscript copy that describes him as aged twelve. (He later admitted, however, that as a child he never knew his age, and as he was described as aged six rather than seven at his 1778 performance when he made his first known public appearance, entertaining the audience with 'various clavier concertos' at a concert in Cologne, he was probably not twelve but thirteen when he composed this concerto).
The concerto was not published at the time and therefore did not acquire an opus number; hence it is now known as WoO 4 (WoO = Werk ohne Opuszahl, or work Without Opus number, following the numbering in Georg Kinsky's Beethoven catalogue of 1955). Unfortunately, the surviving manuscript contains just the keyboard part, with occasional indications of orchestration, incorporating directions showing that the original orchestra consisted of two flutes, two horns, and strings. The main interest, lies in the piano part, which impresses particularly through its tremendous energy. Its technical demands indicate that, even at such an early age, Beethoven possessed a formidable keyboard technique, especially in the right hand, which predominates almost throughout.” (Barry Cooper University of Manchester)