If Beethoven's first works in the concerto genre are indebted to Mozart, the composer had definitely found his own feet by the time of Piano Concerto No.4 in G major. This is evident from the very beginning of the work where, instead of the expected orchestral introduction, the solo piano enters, signalling the intimate and lyrical quality of the work. No less innovative is Piano Concerto No. 5 in E flat major - by many considered the finest of all piano concertos. Giving the timpani an unusually prominent and crucial role, this work is majestic and at times even martial in character, something which in English-speaking countries has earned it the nickname ‘Emperor'.