Beethoven: Piano Concerto No.1 in C, Op.15 (Brendel)

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Ashish Xiangyi Kumar

Ashish Xiangyi Kumar

4 жыл бұрын

The most annoying thing about the Op.15 is how often it gets compared to the concertos of Haydn and Mozart - in its scope and vigour, it is pretty far ahead of what those two produced, and calling it a concerto in the “classical mould” (whatever that means) always comes across as a tiny bit disparaging. For a start, the Op.15 is huge; it is the second-longest of Beethoven’s concertos, falling just shy of the Emperor’s 38+ minutes. It’s also misnamed, as it’s the second concerto proper Beethoven wrote (the Concerto No.2 is the first). But what really stands out about the Op.15 is its sheer energy - there is something approaching a kind of jolly savagery in the outer movements, and the slow movement (the longest among Beethoven’s concertos) is one of Beethoven's most beautiful lyrical outpourings.
The first movement features not just motivic trickery and a bunch of fun modulations, but an absurdly long cadenza that clocks in at just under 5 minutes (Beethoven actually wrote 3 cadenzas for this work, and it’s the longest one that’s usually played). It’s probably no surprise that the cadenza for this was written quite some time after the Op.15 was actually completed, from around the period he was writing the Emperor. The second movement, structured in a kind of compressed sonata form, is an extended showcase of the lyrical possibilities of the piano and clarinet, which engage in several lovely duets. (The clarinet was a relatively new instrument at the time, so it’s easy to see why Beethoven was so temped to show it off - in fact, all the other woodwinds, plus the trumpets/timp, don’t make a single sound in this movement, giving it a rather dark colour despite its sweetness.) The movement also ends with a coda whose massive size is fully justified by all the melodic beauty it’s laden with. The third movement is a full 600 measures of rhythmic joy - from the slippery slurs of the main theme, to the off-kilter accents of the first episode, the Style Hongrois trappings of the second episode, and the little woodwind jabs colouring the whole work - it’s consistently boisterous and propulsive and a little bit drunk. Really not the kind of stuff Mozart would have written.
Brendel (accompanied superbly by the Vienna Phil under Rattle) puts in a performance here so thrillingly buoyant, arresting and natural that it’s actually kind of dangerous - if you listen to only this, you become convinced this is the only way the piece can be performed. Perhaps the nicest thing about this recording is how Brendel understands that the work is supposed to be funny - the slurs of the rondo theme in the 3rd movement are exaggerated so that the first semiquaver almost becomes an acciaccatura (29:31), the upbeat that opens the movement is made to sound like a downbeat (to give you rhythmic whiplash later on), and the first beats in each bar of the 2nd episode get a subtle agogic accent (32:08) to give the music a swagger that’s equal parts dramatic and tongue-in-cheek. And even though Brendel has acquired a reputation as an anti-virtuoso pianist, the playing, especially in the first movement, is lithe and powerful. It's hard not to hear the epic octave glissando at 8:55 and wish that every other pianist opted for the same (rather than breaking the run in the LH to hit the low G). The VPO is superb too - the tuttis are wonderfully balanced, and the strings in particular are very responsive (listen to those jabbing Abs in the rondo - 29:56 and similar).

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@AshishXiangyiKumar
@AshishXiangyiKumar 4 жыл бұрын
MVT I, Allegro con brio Exposition I (Orchestra) 00:00 - T1, opening with a long-short-short rhythmic motif (LSS) that enters every 4 bars. (LSS) will become very important. 00:34 - Transition 1 (Tr 1). The sort of gorgeous connective material B. was so good at. The syncopated rhythmic motif (m.sync) entering at 0:54 will recur in surprising places. 01:07 - A surprising transition to Eb, after which T2 enters. The first bar of T2 is (m.T2). modules to Fm, Gm, 01:45 - Transition 2, building sequentially on (LSS). 02:05 - T3. Too pretty, really, to be called a fanfare. In the third bar of T3 (2:08) a wriggling semiquaver tail is introduced - call this (m.wriggle). At 2:18 T3 closes with a exuberant elaboration of (m.wriggle) into a series of downward scales. 02:24 - (LSS) rounds off the orchestral exposition Exposition II (Piano) 02:35 - This is a really lovely piano entry, because it seems to have wandered accidentally in from a different work. But there’s two really nice tricks being played here. The first is that the opening piano figure is derived from (m.T2). The second has to do with what’s going to happen to the beautiful (but apparently purely decorative) phrase that enters in 2:41 (beginning with the C maj upward arpeggio). Let’s call this phrase (p.random). 02:52 - T1 in the orchestra, but it’s really been reduced to (LSS). The piano does arpeggios, because a piano’s gotta do what a piano’s gotta do. 03:03 - (LSS) in the RH, now spiky, over a dramatic LH. The apparently new material at 3:15 uses (m.sync), and plays a similar structural role. At 3:32, (LSS) moves into the woodwinds. 03:45 - The function of (p.random) is revealed - its opening arpeggio leads to a statement of T2 in the orchestra. And at 4:11, the last two bars of (p.random) are nearly slotted in to become last two bars of T2. So in a rather nice way the whole of T2 becomes wedged in the middle of (p.random). 04:14 - Transition, using (m.T2) in the orchestra. (m.wriggle) is hinted at in the trill at 4:22. 04:26 - T3, underpinned by a busy bassoon. The piano takes up a version of T3 (4:32) that’s infused with the busy chatterbox quality of (m.wriggle). 04:39 - Long transition/closing theme based off a descending scale (m.descent). At 4:50 the LH locks itself into a bunch of descending triplets, while the RH jabs from the above with fat chords (m.trip). 05:18 - A nice set of modulations which fleetingly touches on Ab, the key of the next movement. At 5:31, (m.sync) in the orchestra. 05:48 - Tr 2 returns to close the exposition. Development 06:18 - (LSS), with a lonely oboe above. Moves into Eb. 06:34 - A new developmental sort-of-theme, with 3 parts - arpeggiated LH, rising muted RH arpeggio, and a chromatically coloured melodic tail. 07:00 - (m.descent) in the piano. First as 6/3 chords, then octaves with an accelerating LH beneath. The strings pluck out (LSS) 07:20 - The most magical passage of this movement. (LSS) becomes transformed into a into a lament in the woodwinds. At 7:39 the piano LH uses (m.sync). 07:54 - A variant on the developmental theme, using the arpeggiated LH and the chromatic tail, now lengthened into a long descent. 08:33 - (LSS) in the cellos/horns as the dominant, and in the piano as chromatically descending diminished 7th chords. Recapitulation 08:58 - T1, while Tr 1 (9:09) is now in the piano. 09:33 - T2 10:14 - T3 10:27 - Transition/closing theme. 11:36 - Big tutti elaborating on (LSS), pausing on a 6/4 to prepare for the 11:57 - Cadenza. (LSS) in bass + (m.descent) in RH, followed by a long C#o7 arpeggio. The pattern repeats itself (12:26) in G. at 12:53 (LSS) receives beautiful (and eerie) elaboration featuring some nice deployment of RH dissonances. At 13:06 we get a long transition in Db using a rhythmic retrograde of (LSS) to (SSL), leading to T2 at 13:31, then repeated in C# min. At 14:15, (m.trip) returns from the piano exposition, with the accompanying chords eventually stripped away. At 14:37 (LSS) returns, prefacing a long and dramatic harmonic progression that cheekily segues into T3 (15:19). T3 itself then gets a bit of elaboration before dissolving into a happy mess of quick runs. (As an aside, the trills at 15:54 are a bit reminiscent of the Op.111, which would come many years later.) 16:44 - Final statement of T3, cut short by (LSS), which closes. MVT II, Largo EXPOSITION 17:13 - T1, part 1. Note (LSS) in the bass. Part 2 enters at 18:04 as a tutti. When pt 1 returns at 18:43 the melody takes the form of a lovely clarinet solo. 19:04 - Transition. Note that it uses the same opening as (p.random). 20:09 - T2. Fragmented and improvisatory. 21:17 - A fragment of T2 pt 2 leads into the 21:34 - DEVELOPMENT. As brief as it is dramatic. 22:31 - RECAP. T1 repeated thrice, the second time (24:04) as a cantabile variation, and the third as a duet with the clarinet (25:24). T2 is left out entirely. There then follows the 25:41 - CODA, which is massive but so gorgeous it feels if anything too short. Opens with (SSL = rhythmically displaced LSS) diminished 7th chords (see also 26:25). 27:15 - A new closing theme enters, in the form of another duet with the clarinet. 28:19 - Last recollection of T1, led by the clarinet while the piano provides counterpoint. Note (SSL) in the orchestra’s closing bars. MVT III, Rondo - allegro scherzando 29:31 - Theme 30:04 - Transition (textures at 30:21 borrowed from Mvt 1’s piano exposition) 30:24 - Episode 1. Nice wrongfooted accents. At 30:43 the piano starts to indulge in some wonderfully silly stuff, with some hand-crossing thrown in. 31:17 - Transition. A modulating orchestral variant of the theme, followed by yet another variant in the piano at 31:24. 31:36 - Theme 32:08 - Episode 2 33:19 - Transition. At 33:19 the motif from the theme’s opening is passed around the violins and woodwinds (now rising rather than falling). 33:48 - Theme, in a higher register 34:46 - Episode 1, diverted into a brief piano cadenza at 35:50. At 36:05 B. plays one of his favourite tricks - having the concluding supertonic trill resolve “wrongly”, this time by hitching up a semitone and moving into B major. After the theme is fleetingly stated in this key we modulate back into C. 36:33 - Theme, but now in canon (those spectacular low strings). 36:50 - Coda. The opening motif is passed around between the piano and woodwinds/horn, before the piano takes up a series of busy accent-studded scales. 37:21 - A new closing theme enters. It morphs into a delicate horn-call variant of the theme’s opening motif (37:35). The oboe/horns have a brief lyrical interjection before the orchestra closes.
@KUBADUPAPUPADUMB
@KUBADUPAPUPADUMB 4 жыл бұрын
Awesome as always! Much appreciated!
@gdmoore
@gdmoore 4 жыл бұрын
Fantastic piece of work. Was this also for a thesis?
@AshishXiangyiKumar
@AshishXiangyiKumar 4 жыл бұрын
Moe Since I’m not writing a thesis every time I upload a video, clearly not!
@trblcleft
@trblcleft 3 жыл бұрын
0
@trblcleft
@trblcleft 3 жыл бұрын
0
@mattycarpaccio
@mattycarpaccio 4 жыл бұрын
Thanks Ashish, just made my day and Brendel hasn’t even entered yet.
@davidevans3227
@davidevans3227 9 ай бұрын
the opening, before the piano comes in.. oh i love it.. Like a little overture..
@Barbapippo
@Barbapippo 4 жыл бұрын
"The most annoying thing about the Op.15 is how often it gets compared to the concertos of Haydn and Mozart": that's true for almost all compositions by young Beethoven, and it is almost always a stupid mistake.... Beethoven is BEETHOVEN even at 20 years old.
@arandompianist7371
@arandompianist7371 2 жыл бұрын
He was so carefree… Unaware of what’s about to happen… Oh Beethoven you fucking beauty
@danal81
@danal81 2 жыл бұрын
Retroactively you can hear it’s Beethoven. Bit you can hear it because of the unique style he developed later in life. So you recognize its traces in these early works.
@chrisgreco4249
@chrisgreco4249 2 жыл бұрын
@@arandompianist7371 Is it really necessary to use the "f" word when discussing Beethoven? His is a voice that will shine for eternity. A little humble respect would be apropos.
@arandompianist7371
@arandompianist7371 2 жыл бұрын
@@chrisgreco4249 It’s KZbin. No one cares how you speak. Don’t pretend that composers would frown when they hear someone swear. As long as it’s not intended in an offensive way I don’t see the problem with it.
@chrisgreco4249
@chrisgreco4249 2 жыл бұрын
@@arandompianist7371 Beethoven wrote great works of art inspired by the Enightenment even though he was dependent on royalty for his income. The 9th Symphony is a masterpiece of humanity and pure genius. KZbin is nothing but an app in cyberspace.
@AshishXiangyiKumar
@AshishXiangyiKumar 4 жыл бұрын
00:00 - Mvt 1 17:13 - Mvt 2 29:31 - Mvt 3
@wontonsoupyum
@wontonsoupyum Ай бұрын
Mvt 2 is my favorite one
@canman5060
@canman5060 3 жыл бұрын
Most of the important fundamental piano techniques are found in this concerto.This work will give you a solid foundation for further development on piano virtuosity.
@jameswade2613
@jameswade2613 4 жыл бұрын
This is such a wonderful piano concerto. Its a shame is doesn't get more attention, but i guess the fact that Beethovens, 3,4 & 5 Piano Concertos are such masterpieces they get most of the attention. I personally love all five equally, because i think i can appreciate the uniqueness, in each one individually. This one has alot of youthful exuberance, unlike the Piano Concerto 4 which seems more mature.
@prometheusrex1
@prometheusrex1 Жыл бұрын
"lOvE aLl FiVe EqUaLlY"
@blablablu3081
@blablablu3081 Жыл бұрын
@@prometheusrex1 Seh... La contradicción personificada.
@danielhu9283
@danielhu9283 2 жыл бұрын
I love this performance, and how smooth and shiny the scales are played. The touch is amazing, especially on fast 16th note runs.
@personacrossjones2284
@personacrossjones2284 2 жыл бұрын
This so underrated!!! Can't understand why more ppl don't dig on this big time it's amazing!
@anablancacrosi7391
@anablancacrosi7391 4 жыл бұрын
Me encanta todo en mùsica Clasica, BEETHOVEN sin duda es mi favorito. Gracias.
@traintrambus
@traintrambus 9 ай бұрын
I love that you show some of the sheet music, I learned violin at school and left at the age of 15 but now I love to listen to classical music with the score because it gives you another dimension to the wonderful music. I love all types of music, but classical music is for all. Thank you.
@anirbanmazumder5542
@anirbanmazumder5542 2 жыл бұрын
this is an absolute work of art this concerto was way ahead of its time Beethoven and Bach are my most favourite composers of all time
@DressedForDrowning
@DressedForDrowning 2 ай бұрын
100 % agree.
@quaver1239
@quaver1239 3 жыл бұрын
Enjoyed this more than I can say. Great performance. 🙏🙏
@madogsioux5636
@madogsioux5636 3 жыл бұрын
Brendel just opens a window and in comes a breath of fresh air!
@anthonyc6017
@anthonyc6017 Жыл бұрын
16:40 there is just no way a piano can make that roll sound i have never heard anything like this anywhere else
@newworld6422
@newworld6422 6 ай бұрын
Isn't that exactly what's written there?
@ericreed8113
@ericreed8113 Жыл бұрын
Hey, Ashish! I love your writing style and all the wonderful aspects of the piece you illuminate for me. I love encountering and being able to partake of a love of the music informed by a far higher level of erudition than I can bring to it.
@JVsMusicalSoundscapes
@JVsMusicalSoundscapes 2 жыл бұрын
I confess that I did think this was Mozart when hearing the 2nd movement on the radio ln. But it's clearly Beethoven by the other movements, especially the last. Wonderful modulations!
@prometheusrex1
@prometheusrex1 Жыл бұрын
😳
@seanmcconnell58
@seanmcconnell58 Жыл бұрын
I always forget about this concerto because I always listen to concertos 3-5, but the 2nd movement is just so beautiful whenever I hear it :)
@kyunghwankim47
@kyunghwankim47 4 жыл бұрын
Finally a recording of Alfred Brendel!! ❤️❤️
@AshishXiangyiKumar
@AshishXiangyiKumar 4 жыл бұрын
I really, really, really try to avoid putting up the really big-name pianists on this channel. But Brendel is so stupidly, unnecessarily excellent in the Beethoven PCs I thought I couldn't live without putting at least one of his recordings up on here.
@kyunghwankim47
@kyunghwankim47 4 жыл бұрын
Ashish Xiangyi Kumar Hahaha totaly agree with you. So glad you came to his recording for this piece specifically. Unnecessarily Excellent indeed.
@anotherdepressedmusician
@anotherdepressedmusician 4 жыл бұрын
@@AshishXiangyiKumar Do you have a particular thing about big pianists or just that less known musicians provide more nuanced or interesting perspectives? Which I could totally understand
@pantoleonantonio9653
@pantoleonantonio9653 4 жыл бұрын
@@anotherdepressedmusician He probably just wants to present/highlight lesser known recordings, which are for the mostpart equally musically satisfying as more widely known recordings. Though do correct me if i'm wrong
@AndreiAnghelLiszt
@AndreiAnghelLiszt 4 жыл бұрын
@@AshishXiangyiKumar *"really try to avoid putting up the really big-name pianists"* _puts Trifonov's recordings of the Liszt/Paganini studies_ _puts Kissin often_ _Zimerman_ Ok ;) Not that there's anything wrong with the big-name pianists lol! Sometimes there's a good reason they're so well known..
@gianmariaselleri5080
@gianmariaselleri5080 3 жыл бұрын
32:08 tico tico
@eingooglenutzer1474
@eingooglenutzer1474 4 жыл бұрын
The Cadenza of the first movement often reminds me of his Appassionata piano sonata: especially at parts like this: 12:16 12:36 14:56 15:11
@paulwl3159
@paulwl3159 4 жыл бұрын
Yes, the last movement. Also the opening broken chords of the Emperor Concerto
@broscosmoline
@broscosmoline 4 жыл бұрын
@@paulwl3159 i gather Beethoven transcribed his hitherto improvised cadenzas in 1809 which i think is the year he started writing Emperor
@limesquared
@limesquared 4 жыл бұрын
Love this one!
@eduardoguerraavila8329
@eduardoguerraavila8329 3 жыл бұрын
I've never understood why all critics disdain this masterwork calling it "minor work". For me, this piano concerto is at the same level of Mozart's best works (or above). Clever, full of brightness virtuosism and with daring musical incentive, this piece plays with the borderline of classic style and create a forecast of what's coming. This is indeed a great young masterpiece, courtesy by the greatest composer ever.
@Alix777.
@Alix777. 3 жыл бұрын
"at the same level of Mozart's best works " Maybe you like Beethoven more, but Mozart is much more refined, better orchestrator and better melodician, no doubt about that. Beethoven's art is something else...
@paulwl3159
@paulwl3159 3 жыл бұрын
Sometimes KZbin commentary seem to revert to tribal rivalries - especially Mozart vs Beethoven, each side with its supporters like Manchester City vs Manchester United?
@wolfgang4067
@wolfgang4067 2 жыл бұрын
@@paulwl3159 ashish's dismissal of mozart's and haydn's concertos is pretty annoying tbh
@Zimzamzoom95
@Zimzamzoom95 2 жыл бұрын
@@wolfgang4067 Yeppp 100% agree
@paulwl3159
@paulwl3159 2 жыл бұрын
@@wolfgang4067 don’t fret. All these KZbin commentators usually just copy what they’ve heard and you can take onboard, or not, their secondhand views. Composers get stereotyped because most people just take on others’ views uncritically. Hence Beethoven is the “ponderous bad melodist”. Mozart the “lightweight aristocrat”. Haydn the “uninspired workman”. Bach the “supreme contrapuntist”, well that last one might actually be correct.
@dereksuszko728
@dereksuszko728 3 жыл бұрын
While I take Ashish's point that Beethoven's Op. 15 Concerto should be regarded as a great work in its own right there are some very clear debts to Mozart's K. 503 Piano Concerto in the same key that can't be ignored. The overall march-like contour of the first movement mirrors that of K. 503 right to down to the use of the three eighth note rhythms for the piano introduction of T2 and the insistent timpani beat of T3. The sixteenth runs in the strings are very prominent in both movements. Even the major modulation at 6:18 is from C to Eb which is actually the same in the beginning of the development section of K. 503. While Beethoven's piano part is more virtuosically muscular I think any listener of the two movements would be hard-pressed to deny that Beethoven took substantial inspiration from K. 503 both stylistically and thematically. The Largo of Op. 15 is structured quite blatantly like Mozart's various piano slow movements, and Beethoven utilizes one of Mozart's most frequent accompaniment rhythms (two sets of triplets with a rest on the first beat). This doesn't mean that Mozart "could have written Op. 15" but I think it's hardly a disparagement to recognize that many of Beethoven's early compositional procedures were heavily influenced by masterful models from Mozart. Having watched nearly all of Ashish's videos I definitely sense that he prefers the style of the large Romantic concerto which emerged from Beethoven over the classically proportioned concertos of Mozart. My own opinion is that Beethoven belongs far more firmly in the Classical era alongside Mozart and that the two of them composed essentially "classical" concertos, the best of which were never surpassed by any later Romantic concerto.
@Taniamaratrix
@Taniamaratrix 4 жыл бұрын
Thank you.
@not2tees
@not2tees Жыл бұрын
I'm not happy with Brendel's rhythms occasionally but that's not any condemnation at all. Thank you for putting the score and the recording together, Ashish Xiangyi Kumar. One of the big five piano concerti from the unique Beethoven.
@GIANCARLOCARPINO
@GIANCARLOCARPINO Ай бұрын
L'esecuzione di Alfred Brendel del Concerto No. 1 di Beethoven è una dimostrazione straordinaria di come il virtuosismo tecnico e l'interpretazione emotiva possano convergere in una performance memorabile. Brendel affronta questo concerto con una profondità che va oltre la semplice esecuzione tecnica, esplorando le ricchezze emotive e strutturali dell'opera con una maturità che sfida le frequenti comparazioni con Haydn o Mozart. La sua capacità di far risaltare le peculiarità beethoveniane, come la dinamica audace e le improvvisazioni pianistiche, mostra un chiaro distacco stilistico che pone Beethoven in una luce rivoluzionaria. Le agilità nelle scale e nelle rapide sequenze di note sono gestite con una precisione che non smette mai di sorprendere, rendendo ogni movimento un tessuto di emozioni palpabili e tecnicamente esemplari. Brendel non si limita a suonare note; racconta una storia, quella di un Beethoven giovane ma già pienamente consapevole del suo genio irrequieto.
@user-mr8kr1bb6x
@user-mr8kr1bb6x Ай бұрын
one of the greatest pianists, Alfred Brendel
@andrewkennaugh1065
@andrewkennaugh1065 4 жыл бұрын
Great. Thanks!!😊😊
@manuelolaya3194
@manuelolaya3194 2 жыл бұрын
06:34 Reminds me a lot of the opening of his Concerto no.5 in Eb.
@IbrahimHoldsForth
@IbrahimHoldsForth Жыл бұрын
In Spring 2009-- on a May late Sunday evening -- I was driving on a long strech of road some where from Charlottesville to the DC region. This piece was on the radio. I can't forget this association.
@prometheusrex1
@prometheusrex1 Жыл бұрын
Try to develop a new association and you may condition yourself out of the old association.
@raymondcerv1370
@raymondcerv1370 Ай бұрын
Lovely
@Taniamaratrix
@Taniamaratrix 4 жыл бұрын
Obrigada.
@kguy152000
@kguy152000 4 жыл бұрын
Quality music and analysis as always. Thank you!
@damianc7692
@damianc7692 4 жыл бұрын
Ashish, how wonderful. Thanks so much for Brendel’s performance. Despite his reasonably senior age when recording this, he sounds fresh and the dialogue between him and Rattle is so pure and flowing. I have never found notes as comprehensive as yours. Please if I may, I have a question I’d like to ask you but unfortunately there is no way to contact you. Would you email me per chance using the contact details on my channel, Classical Piano Vault. Thanks so much again.
@jarbaralhut1810
@jarbaralhut1810 6 ай бұрын
This is a fantastic concerto and my favorite of all the Beethoven piano concertos but with all due respect it is not "pretty far ahead of what those two produced" (particularly Mozart). This is just your opinion.
@pengyuzhang9977
@pengyuzhang9977 4 жыл бұрын
Nice video!!! Greetings from China. I didn't quite understand some music terms you use on the comment due to the language. Luckily classical music is human mutual language.
@ruchirrawat8804
@ruchirrawat8804 3 жыл бұрын
it's sad that being inspired by haydn and mozart ended up in his pieces being compared to them more than needed.
@s.y7373
@s.y7373 10 ай бұрын
これを聴くまでは同じウィーンフィルの伴奏によるツィマーマンのピアノ演奏の動画をKZbinで視聴していたが、それでは各演奏者の演奏状況を見られた違いはあるが、曲のテンポなど弾き方は両者はまったく同じ様に私には聞こえた。私の大好きな第2楽章で何度も聴き比べてみたが、その違いはついに分かりませんでした。
@fugueholic
@fugueholic 4 жыл бұрын
Who have called him "being colorless and odorless"? I can smell enough his own scent in my room!
@user-wo5xx9xh2b
@user-wo5xx9xh2b 11 ай бұрын
31:52 🤍🤍🤍
@markito3311
@markito3311 2 жыл бұрын
"...that it’s actually kind of dangerous - if you listen to only this, you become convinced this is the only way the piece can be performed." This.
@sledgemain6230
@sledgemain6230 8 күн бұрын
2:26 start
@dee3cay
@dee3cay 6 күн бұрын
2:30 1st movt entry 32:00 3rd
@isidoraailic
@isidoraailic Жыл бұрын
I 00:00 II 17:13 III 29:31
@IbrahimHoldsForth
@IbrahimHoldsForth Жыл бұрын
The cadenza of 1st mvt = 😳😳😳😳...here from Emannual Ax gushing about it. 😁
@sneffels_
@sneffels_ 3 жыл бұрын
Fabulous recordings with scores, thank you! But Brendel has recorded the concertos several times - which one? With which conductor? (The info under "Listen ad-free with KZbin Premium" is unreliable -- it's usually other recordings chosen for advertising by KZbin or Naxos or whatever.)
@davidevans3227
@davidevans3227 9 ай бұрын
the speed on this is good i really like this concerto but too often for me it lacks the energy fun and joy it can have.. thankyou for sharing this 🙂 who is the conductor please...
@naplau344
@naplau344 6 ай бұрын
The first theme is so magical. It eneds with an authentic cadence but it doesn't create a sense of resolution. Instead, the music continues and smoothly connects to another phrase.
@Boshy666
@Boshy666 Жыл бұрын
6:34 22:31
@riccardo6232
@riccardo6232 3 жыл бұрын
2:36
@ClassicalMusic-ds9yt
@ClassicalMusic-ds9yt Жыл бұрын
32:09
@pedrolacipolla3862
@pedrolacipolla3862 3 жыл бұрын
31:52
@Kurremkarmerruk1
@Kurremkarmerruk1 2 жыл бұрын
When and where was this recorded?
@marcocaputo1549
@marcocaputo1549 4 ай бұрын
An alternative approach: Weissenberg/Karajan,,,
@user-bk6hz5zu8m
@user-bk6hz5zu8m Жыл бұрын
22:30
@wodzimierzwosimieta2758
@wodzimierzwosimieta2758 4 жыл бұрын
Will you upload all 5 piano concertos?
@florisende8015
@florisende8015 4 жыл бұрын
he said he will!
@user-my7rh3kt7c
@user-my7rh3kt7c 2 жыл бұрын
6:21
@YogSoth
@YogSoth 2 жыл бұрын
Argerich played this in her debut public performance- at 8 years old.
@nilsholgersson6893
@nilsholgersson6893 2 жыл бұрын
Hurra
@prometheusrex1
@prometheusrex1 Жыл бұрын
😈🤪
@nickroosh9407
@nickroosh9407 3 жыл бұрын
12:20 there's no way this wasn't inspirded by B's Appassionata's 1st movement. It has the *exact* same diminuita arpeggio.
@user-si3qi4xf7b
@user-si3qi4xf7b 3 ай бұрын
i love 32:38〜
@FredrickTheMoose2007
@FredrickTheMoose2007 2 жыл бұрын
Only true 1790s kids remember this
@user-ut5ys7bf1x
@user-ut5ys7bf1x 9 ай бұрын
Maybe...
@danal81
@danal81 2 жыл бұрын
It’s unmistakably Beethoven, but a Beethoven that’s influenced by Mozart and Haydn.
@sgwinenoob2115
@sgwinenoob2115 4 жыл бұрын
Its funny how so much of the thematic development occurs in the exposition and cadenza, while the actual development is relatively less inspiring
@christianwouters6764
@christianwouters6764 3 жыл бұрын
I remarked this also. The development is weak, just a row of banal I-V figurations. But I wouldn't be surprised this was consciously done by B to highlight the stunning octave glissando even more.
@vadim4252
@vadim4252 2 ай бұрын
we have a ghost in this recording !! 32:38
@matthewsims9469
@matthewsims9469 Жыл бұрын
I've listened to Beethoven's 5 piano concertos many times over and this one still my favourite, number 4 in G major probably my least favorite. Just my 0.2 cents worth.
@markito3311
@markito3311 2 жыл бұрын
The Brendel's recording of the 2th PC (Op. 19) feels so dull, maybe too respectful towards the concerto, it even seems taken from another album, compared to this recording (Op. 15).
@claudioparrella183
@claudioparrella183 3 жыл бұрын
Beethoven - Brendel: OK
@MargaretGeorgila
@MargaretGeorgila 4 жыл бұрын
Л. Ван Бетховен. Что красивый композитор как это он!!
@MrTortugaa
@MrTortugaa 2 жыл бұрын
charlie parker plays bossa nova...
@happy2space
@happy2space 4 жыл бұрын
first : hummm.. mozart before : ...? beethoven?
@damiangonzalez_esp
@damiangonzalez_esp 4 жыл бұрын
I had never heard this cadenza before, and honestly I disliked it. Obviously it's genious, but it's too much for the concerto. You almost forget everything that happened before.
@giorgioscriabin8725
@giorgioscriabin8725 4 жыл бұрын
Please see michelangeli giulini vienna 1987 .. live . May you gould appreciate cadenza 1st mov. Michelangeli sound is fantastic
@ironmaz1
@ironmaz1 4 жыл бұрын
exactly my thoughts haha!
@anthonyc6017
@anthonyc6017 4 жыл бұрын
Who wrote this cadenza?
@otakuxgirl6
@otakuxgirl6 3 жыл бұрын
@@anthonyc6017 Beethoven himself wrote it.
@leo32190
@leo32190 4 жыл бұрын
How can you criticize Mozart when Beethoven upon hearing Mozart’s 24th concerto, turned to his colleague and said”We can never write something like that”?
@philipcai9499
@philipcai9499 4 жыл бұрын
maybe he listens to glenn gould a little too much
@leo32190
@leo32190 4 жыл бұрын
I hope not. That would be listening to pure bias since Gould’s Mozart was mediocre, and he knew it.
@linyuan9288
@linyuan9288 Жыл бұрын
We can never write something as bad as that?
@teresagardiner153
@teresagardiner153 3 ай бұрын
@@linyuan9288 Disgusting comment. What is wrong with you?
@gretareinarsson7461
@gretareinarsson7461 11 ай бұрын
There are obvious Mozart elements but it’s unmistakable Beethoven and unmistakably not Mozart. My favourite recording so far this century is LOA.
@666Tagada
@666Tagada 3 жыл бұрын
Fucking adds!!!!!!
@lukasmiller486
@lukasmiller486 4 жыл бұрын
The second movement sounds like 'My Father's Favorite' from Sense and Sensibility. (1994)
@alejandrom.4680
@alejandrom.4680 3 жыл бұрын
I would rather say that "My Father's Favorite" sounds like the second movement of the piano concerto, hahaha.
@GabrielSouza-tb9rl
@GabrielSouza-tb9rl 3 жыл бұрын
@@alejandrom.4680 Oww yesss hahahah
@RobertOrgRobert
@RobertOrgRobert 3 жыл бұрын
Glissando 8:57 & semiquavers 29:32 are out of place here !
@justadude641
@justadude641 2 жыл бұрын
Yes, truly awful...
@GUILLOM
@GUILLOM Жыл бұрын
Yes, truly amazing!
@cadenzalien4554
@cadenzalien4554 Жыл бұрын
That octave glissando is amazing
@daffyduck4195
@daffyduck4195 Жыл бұрын
Brendel plays Beethoven like a soft, delicate Austrian, not like a central German.
@BG-yj9pr
@BG-yj9pr 13 күн бұрын
I don’t hear the piano for like 90% of the song
@copleysq
@copleysq 4 жыл бұрын
conductor? Brendel? The only great recording is by Munch and Richter.
@Cuteo05
@Cuteo05 4 жыл бұрын
Simon Rattle
@piano-music
@piano-music 6 ай бұрын
I hate the solo beginning, I think all performers do not understand it.
@timothyboelke8234
@timothyboelke8234 3 ай бұрын
Beethoven is such a jerk. They all start off so easy, like I'm all, "yeah, I can play that" and by the next page I give up.
@gattafuffa4354
@gattafuffa4354 4 жыл бұрын
too fast!!!!!!!!
@Kurremkarmerruk1
@Kurremkarmerruk1 2 жыл бұрын
Too slow!!!!!!!! Especially the second movement, considerably spoiled by the wrong tempo. Nevertheless, this may be the best performance of this concerto I've heard.
@GUILLOM
@GUILLOM Жыл бұрын
Kids
@vittoriomarano8230
@vittoriomarano8230 Жыл бұрын
The most annoying thing is what you have written in your introduction. Mozart Piano Concertos remain unbeatable and are absolutely perfect. This Concerto of Beethoven can't surpass the K.467 or K.503. The 3rd in c minor can't surpass K.491. The 4th in G major can't surpass K.453.
@cadenzalien4554
@cadenzalien4554 Жыл бұрын
Both Beethoven's and Mozart's concerti are good.
@vittoriomarano8230
@vittoriomarano8230 Жыл бұрын
@@cadenzalien4554 Mozart Concertos are more refined.
@ShutUpZewenThisIsNotBased
@ShutUpZewenThisIsNotBased Жыл бұрын
@@vittoriomarano8230 in your opinion
@thoreauvisual6660
@thoreauvisual6660 Жыл бұрын
​@@vittoriomarano8230 Beethoven Concerti are objectively better than Motrash's. Cry about it.
@OliverXur
@OliverXur 7 ай бұрын
​@@thoreauvisual6660 there is no "objectively better" in any art form let alone music, how about you learn to not vilify an opposing argument and appreciate different composers from different eras?
@FLAMMAXZXfz3kw9zh4v
@FLAMMAXZXfz3kw9zh4v 3 ай бұрын
7:55 that part is an eyesore 💪🏼
@Boshy666
@Boshy666 Жыл бұрын
6:34 22:31
@user-si3qi4xf7b
@user-si3qi4xf7b 3 ай бұрын
32:08
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