Wydawnictwo: Challenge Classics
Seria: Beethoven Complete Piano Concertos
Nr katalogowy: CC 72672
Nośnik: 1 SACD
Data wydania: marzec 2015
EAN: 608917267228
Seria: Beethoven Complete Piano Concertos
Nr katalogowy: CC 72672
Nośnik: 1 SACD
Data wydania: marzec 2015
EAN: 608917267228
Hybrydowy format płyty umożliwia odtwarzanie w napędach CD!Beethoven: Piano Concertos 4 & 5: Complete Piano Concertos Vol 1
Challenge Classics - CC 72672
Kompozytor
Ludwig van Beethoven (1770-1827)
Ludwig van Beethoven (1770-1827)
Utwory na płycie:
Piano Concerto no. 4 op. 58 in G major
Piano Concerto no. 5 op. 73 in E flat major (‘Emperor’)
Piano Concerto no. 5 op. 73 in E flat major (‘Emperor’)
Beethoven wrote five concertos for piano and orchestra. It doesn’t sound like much; his near-contemporary Mozart composed 27. But although it may be a bit smaller, Beethoven’s contribution is a true monument in the history of music. He used the first two concertos to move away from his example, Mozart (whose last piano concerto was from 1791, while Beethoven completed his first in 1795); in Concerto No. 3 Beethoven carved out new dimensions for the genre’s dramatic possibilities. And Concertos No. 4 and 5 have proved to be unmatched in their genre: the radiant Concerto No. 4 is worshipped by experts and aficionados alike, while No. 5 is the all-time favourite of the public at large.
Once he had accepted the fact that he was inevitably going completely deaf, the only thing he had that could counter the forces of fate was his music. And in the first years after he had accepted his fate, his music was a source of huge joy to him. It emanates an optimism that is as beneficent as it is powerful. Take Piano Concerto No. 4, written in 1806: here we become aware of a sort of latent energy, music articulated in rays of sunlight, the deeply effusive light of the month of September. This absolute masterpiece premiered on 22 December 1808 in the Theater an der Wien. It was a concert never to be forgotten. And it was truly gigantic, because in addition to this piece, Symphonies No. 5 and 6, the Choral Fantasy, the aria Ah! Perfido and two parts of the Mass in C Major were also premiered. In 1809, the year that he wrote his Piano Concerto No. 5, Beethoven lived in Vienna, which was occupied by the armies of the Emperor Napoleon. Heavy cannon fire had caused much destruction; entire families had been reduced to beggary. Beethoven’s house was next to the city walls and when Napoleon issued the order to demolish the wall, his house was left quite unprotected. It was a very lonely time. His noble patrons left the city. Friends, weakened by the conditions of war, died. Beethoven’s mood was sombre. Some hear in Piano Concerto No. 5 Beethoven’s response to the suffering of war and the rising tide of Napoleonic victories. But Beethoven certainly does not sit back and watch; this work was not written from the point of view of a victim. When it premiered on 28 November 1811, not in Vienna but in the Gewandhaus in Leipzig, it was immediately very well received on account of its martial character and the huge strength it emanates.
Once he had accepted the fact that he was inevitably going completely deaf, the only thing he had that could counter the forces of fate was his music. And in the first years after he had accepted his fate, his music was a source of huge joy to him. It emanates an optimism that is as beneficent as it is powerful. Take Piano Concerto No. 4, written in 1806: here we become aware of a sort of latent energy, music articulated in rays of sunlight, the deeply effusive light of the month of September. This absolute masterpiece premiered on 22 December 1808 in the Theater an der Wien. It was a concert never to be forgotten. And it was truly gigantic, because in addition to this piece, Symphonies No. 5 and 6, the Choral Fantasy, the aria Ah! Perfido and two parts of the Mass in C Major were also premiered. In 1809, the year that he wrote his Piano Concerto No. 5, Beethoven lived in Vienna, which was occupied by the armies of the Emperor Napoleon. Heavy cannon fire had caused much destruction; entire families had been reduced to beggary. Beethoven’s house was next to the city walls and when Napoleon issued the order to demolish the wall, his house was left quite unprotected. It was a very lonely time. His noble patrons left the city. Friends, weakened by the conditions of war, died. Beethoven’s mood was sombre. Some hear in Piano Concerto No. 5 Beethoven’s response to the suffering of war and the rising tide of Napoleonic victories. But Beethoven certainly does not sit back and watch; this work was not written from the point of view of a victim. When it premiered on 28 November 1811, not in Vienna but in the Gewandhaus in Leipzig, it was immediately very well received on account of its martial character and the huge strength it emanates.
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