Beethoven: Piano Concertos (Remastered) Vladimir Ashkenazy

• Ludwig van Beethoven (1770-1827): Piano Concerto No.1 in C major, Op.15:
• 1 Piano Concerto No. 1 in C Major, Op. 15: 1. Allegro con brio 15:09
• 2 Piano Concerto No. 1 in C Major, Op. 15: 2. Largo 12:09
• 3 Piano Concerto No. 1 in C Major, Op. 15: 3. Rondo (Allegro scherzando) 09:07
• Piano Concerto No.2 in B flat major, Op.19:
• 4 Piano Concerto No. 2 in B-Flat Major, Op. 19: 1. Allegro con brio 13:22
• 5 Piano Concerto No. 2 in B-Flat Major, Op. 19: 2. Adagio 09:50
• 6 Piano Concerto No. 2 in B-Flat Major, Op. 19: 3. Rondo (Molto allegro) 06:12
• Piano Concerto No.3 in C minor, Op.37:
• 7 Piano Concerto No. 3 in C Minor, Op. 37: 1. Allegro con brio 16:27
• 8 Piano Concerto No. 3 in C Minor, Op. 37: 2. Largo 10:42
• 9 Piano Concerto No. 3 in C Minor, Op. 37: 3. Rondo (Allegro) 09:10
• Piano Concerto No.4 in G, Op.58:
• 10 Piano Concerto No. 4 in G Major, Op. 58: 1. Allegro moderato 19:02
• 11 Piano Concerto No. 4 in G Major, Op. 58: 2. Andante con moto 06:14
• 12 Piano Concerto No. 4 in G Major, Op. 58: 3. Rondo (Vivace) 09:26
• Piano Concerto No.5 in E flat major Op.73 -Emperor:
• 13 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": 1. Allegro 20:44
• 14 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": 2. Adagio un poco mosso 08:49
• 15 Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": 3. Rondo (Allegro) 10:38
• Total Runtime 02:57:01

Info zu Beethoven: Piano Concertos (Remastered)

The great Viennese Classical period in music, which embraces roughly the last third of the eighteenth century and the first quarter of the nineteenth (very roughly, for artistic periods or eras seldom arrange themselves neatly for the benefit of critics and commentators) centred on the major figures of Haydn, Mozart and Beethoven. Haydn emerged out of the transitional period following late Baroque — some of his works, notably his organ concertos, have definite Baroque elements; while Beethoven stood upon the threshold of, and in many ways inaugurated, the succeeding age of Romanticism. In between, and contemporary with the maturity of Haydn, came the short but miraculously productive life of Mozart. On the other hand, although the classical period and style is determined by these three great composers, in no sense were they anything but superficially alike, either as men or as artists. Indeed, the internal intimate correspondences and differences between Mozart, Haydn and Beethoven is one of the most endlessly fascinating and ultimately inexhaustible studies in musical history. Much of what they had in common was a matter primarily of historical conjunction, of the contemporary currents of thought and feeling, and of artistic evolution; most of what differentiates them was personal and individual. And in the concept of the classical concerto form both these factors had specific relevance.

For Mozart the piano concerto represented the epitome of instrumental music, the synthesis born out of dramatic conflict within perfectly balanced and blended structures. In a sense, the concerto brought for Mozart the ideal fusion of operatic drama and abstract instrumental forms through which he reached some of the highest points of his art. He composed other concertos — for violin or for various wind soloists or groups with orchestra; but the concerto for piano was for him above all the perfect vessel for his particular genius, and represents, as Einstein justly observed, “the peak of all his achievements at least in orchestral music”.

Vladimir Ashkenazy, piano
Chicago Symphony Orchestra
Sir Georg Solti, conductor

Digitally remastered

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Booklet für Beethoven: Piano Concertos (Remastered)