Beethoven Piano Concertos are amongst the most often performed and recorded works in the repertoire. However, the arrangement for string orchestra by Vincenz Lachner is a surprisingly rare find in recording history, even more so on period instruments.

What is lost in terms of orchestral colours is gained in clarity of texture, chamber-music like dialogue and perhaps more importantly an occasion to showcase aspects of string playing (articulation, portamento) as described by the likes of Louis Spohr, who closely worked with Beethoven. It is also the perfect medium to accompany the wonderful instruments generously put at our disposal by Robert A. Brown. Often discussed and a subject of many controversies when tackling the Baroque repertoire, the debate regarding temperament is often cut short in Classical and Early Romantic performance. We do know of Beethoven’s preference for Kirnberger III, which we have used for the Fourth Concerto, whilst Young proved a better fit for the tonal discrepancies in the Third Concerto.

One of the leading historical keyboard instruments specialists of her generation, Tzu-Yu Yang has extensively performed around Europe and Asia. She was a finalist in the prestigious Bruges Fortepiano Competition. She currently works as a collaborative fortepianist at the University of Music and Performing Arts Vienna. A graduate of the University Mozarteum Salzburg and the Hochschule für Musik, Theater und Medien Hannover, Tzu-Yu is a much sought after accompanist and chamber music partner.