Some concertos for piano are legendary. Those written by Franz Liszt are the work of the most revered virtuoso in the history of the instrument. Francesco Piemontesi is measured by Concerto No. 2: a single musical arc, where sometimes the piano struggles to impose itself on the orchestra, sometimes it gently approaches it to hide in its sonic fabric. Gianandrea Noseda juxtaposes it with another masterpiece of Romanticism, offering an orchestral selection from Hector Berlioz's Roméo et Juliette, a "dramatic symphony" dedicated to Niccolò Paganini. Even in the original symphony-which features singers and chorus-it is to the orchestra alone that Berlioz entrusts his favorite Scène d'amour, because, in his words, the instrumental one is "a richer, less determined and therefore incomparably more powerful language." A language as rich as Luigi Dallapiccola's, whose two cameos for orchestra open the program.