beethoven concerto 2

Bezuidenhout excels in the extended solo passages. Beethoven himself apparently did not rate this work particularly highly, remarking to the publisher Franz Anton Hoffmeister that, along with the Piano Concerto No. All rights reserved. More significantly, the improvisatory elements of the performance come through in the subtleties, in added or ignored staccatos and sforzandos. To be very picky: the color palette of the Freiburg players feels a bit limited compared to Bezuidenhout’s, and that holds this recording back from being absolutely spectacular. The development wanders in key and ends on a long B-flat major scale. The second exposition is in F major. Beethoven – Piano Concerto No. 2 in B-Flat Major, Op. This movement is in E-flat major, the subdominant key. One senses alternations between sublime, grand views and detailed miniatures, perhaps paintings or sculptures. Heras-Casado matches him from the podium, encouraging the orchestra to bring a chamber feel to what is otherwise a very symphonic concerto. Average performances last from thirteen to fourteen minutes. In the 2nd concerto’s Adagio, for example, their swells to sforzando and back feel compulsory. The Rondo is alternatingly humorous and insistent. Beethoven: Violin Concerto & Romances Nos 1 & 2 Midori Warner Classics 2020/10/16 (P) 2020 Midori Goto under exclusive license to Parlophone Records Limited, a Warner Music Group Company このエルマークは、レコード会社 [1] Prior to that, he had performed only in the private salons of the Viennese nobility. The heroic, concluding Rondo feels a bit bland in places for the same reasons — the macrostructure of the movement is occasionally lost — but the soloist / orchestral dialogue is intact, making for some exciting moments nonetheless. "[2] The version that he premiered in 1795 is the version that is performed and recorded today. The first movement begins with a triumphant orchestral opening on the tonic chord, and maintains a playfulness while using chromatic passages to show off the soloist's technique. Beethoven applies this melody to the cadenza in several different ways, changing its character each time and displaying the innumerable ways that a musical theme can be used and felt. 1, it was "not one of my best. 【Beethoven's World - Eberl, Dussek: Concertos for 2 Pianos/Tal & Groethuysen, Frankfurt Radio Symphony, Reinhard Goebel/ハイレゾ】 1 Reinhard Goebel[Conductor] , Reinhard Goebel[MainArtist] , Ludwig van Beethoven[Composer] , Frankfurt Radio Symphony[AssociatedPerformer] The C section is also highly contrasting with the others, being that it is in a minor key and more forceful and stern in meaning. Beethoven's playfulness of his early period can be heard here. This rondo is the one that Beethoven wrote in 1795 and premiered in Vienna that year. 33 – Doric String Quartet, Review: Niklas Sivelöv – Piano Concertos – Composer, Malmö Symphony Orchestra, Review: Franz Schmidt – Complete Symphonies – Frankfurt Radio Symphony Orchestra, Paavo Järvi, Read of the latest news in classical music, Looking for the best version of a classical music piece? Once again, Bezuidenhout is a master of the small-scale, for example the appoggiaturas in the first movement that wilt just the right amount. While the work as a whole is very much in the concerto style of Mozart, there is a sense of drama and contrast that would be present in many of Beethoven's later works. Grace notes are impish, important chords are stung or delicately wafted, perhaps as decided in the spur of the moment. Stylistically, the cadenza is very different from the concerto, but it makes use of the first opening theme. Bezuidenhout and the Freiburg ensemble both perform on period instruments, carrying the historically-informed resurgence well into its third generation of artists. 1, it was "not one of my best." This movement takes the form of a Rondo (ABACABA). It covers classical music reviews, as well as in-depth guides and classical music news. Indeed, Bezuidenhout and co. craft a compelling narrative together. Compare 3’00” to 3’30” in both recordings, and feel how in Brautigan’s, the entire weight of the world rests on that unexpected downward step at 3’12”. This musical joke can be seen in many of Beethoven's subsequent compositions.[4]. This movement was written between 1787 and 1789 in Bonn. 2 in B-Flat Major, Op. In the finale of the 5th, there could have been more drastic swings between martial and dreamy passages. Bezuidenhout takes this literally in a few places, adding flourishes to the ends of phrases or accompanying the orchestra in tutti passages, but for the most part the execution of the notes is as written. The work is scored for solo piano, flute, two oboes, two bassoons, two horns and strings; it is the only one of Beethoven's completed piano concertos that omits clarinets. This disc adds a new dimension to the available period performances of Beethoven, and contrasts quite interestingly with Ronald Brautigan’s recent, similarly pleasing Beethoven cycle (reviewed here). Here we get the first two of a full cycle of Beethoven, beginning with concertos two and five, with Pablo Heras-Casado at the helm. Bezuidenhout plays with a delicate touch on his copy of a fortepiano after a Conrad Graf (1824), and the instrument shows off its advantages here, its leather-covered hammers floating out softer, rounder tones than a modern piano. Bezuidenhout’s playing began to feel micromanaged, the orchestra’s interjections began to disconnect from each other. Listen, in his version, how just a hair’s-width increase in tempo in the introduction sets up the suddenly sublime descending scales when he enters. One images it would be entirely different if he recorded it again. He was the soloist at its premiere on 29 March 1795, at Vienna's Burgtheater in a concert marking his public debut. The Piano Concerto No. With that said, the overall quality of orchestral playing is excellent. This album will be at home on any Beethoven lover’s shelf. The first movement, clocking in just under 20’00”, is a mammoth not-quite-sonata form, with short and long episodes interwoven throughout. Average performances last from eight to nine minutes. The concerto is in three movements:[3]. Beethoven restricts much of the thematic presentation to the orchestra, leaving the magic to arise from the interplay between soloist and the orchestra. This movement is in the concerto variant of sonata form (double-exposition sonata form). No part of this publication may be reproduced, distributed, or transmitted in any form or by any means. 19: I. Allegro con brio 0:14:02 アルバム販売のみ Ludwig van Beethoven[Composer], Olli Mustonen[piano], Tapiola Sinfonietta[Orchestra] 5 Piano Concerto No. He takes to heart the assertion by many musicologists that Beethoven improvised some of the solo part when he performed his own concertos. The recapitulation is similar to the exposition and is in B-flat major. 2 and 5 (“Emperor”) Kristian Bezuidenhout – Fortepiano Freiburger Barockorchestrer Pablo Heras-Casado – Conductor Harmonia Mundi, CD HMM 902411 Purchase on Amazon The Classic Review was launched in 2018 for classical music lovers around the globe. Read our Best Of guides for classical music. Brautigan is an informative contrast here, and he is preferable even in the moments where micromanagement is appropriate. The whole movement never had coherent structure beyond a few measures in length. There is a constant angular feel within the 6/8 melody itself that Beethoven plays on with each return of the rondo theme. Heras-Casado runs a tight ship, fanfares have momentum, accompaniment passages are beautifully in tune and hushed. Get our periodic classical music newsletter with our recent reviews, news and beginners guides. In the concerto’s Adagio, on the other hand, I found myself unmoved by the same sorts of musical choices.

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