Page 3 - UM0027-Concerto in A major for piano and orchestra
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and atmosphere. The piano part necessarily deserved a lot of attention; the proper harmonies were added, as well as dynamic signs
               and phrasing arches. Furthermore, the size of the then pianoforte was taken into account and a cadenza was inserted in the right
               place. At that time, the cadenza was still the place in the composition where the soloist could improvise freely, although Beethoven
               later wrote out the cadenzas more and more.

               Beethoven clearly indicates that the piece starts with solo piano. The atmosphere is strongly reminiscent of the Piano Concerto No.3
               in C minor Opus 37 . The reconstructed part could thus be seen as a forerunner of the slow movement of this third concert. Why
               Beethoven never used the sketch is unknown, but perhaps he did have this sketch in his ear when writing the largo from his third

               With the above-mentioned motives and strained desire, I accepted the challenge to reconstruct the Adagio in D major  for piano and
               orchestra based on Beethovenꞌs sketches. With such initiatives, it is important to adopt a respectful attitude towards the given
               material. In addition, as a composer you have to give an account of your own abilities and to take a step back in the creative sense,
               in the service of Beethovenꞌs idea.

               This reconstruction enables the general public not only to form a picture of Beethovenꞌs development, but also offers a suggestion
               by presenting his authentic idea as a completed second movement, with the use of sparingly added material, taking into account the
               development period of the young Beethoven. With this effort the piece has been made accessible to the public and everyone,
               colleagues and other enthusiasts can form their own opinion. I make no pretensions of having discovered a lost masterpiece, but
               place Beethovenꞌs idea with this completion in a chronologically logical place on the line of his musical development.
               I have had great pleasure working with the original material of the young Beethoven. You crawl into his skin and hope to catch a
               reflection of the young genius, so that when the music speaks, the story seems to be told from one mouth. I realize that in part it
               has become my story. Nevertheless, the end result meets my expectations and I think it is justified to let this unknown Adagio in D
               major  be heard in the world.

               Cees Nieuwenhuizen, 2005

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