Beethoven: Piano Concerto No. 5, Op. 73 Emperor, Remastered (reference record.: Arthur Rubinstein)

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Ludwig van Beethoven (1770-1827) Piano Concerto No. 5 in E-flat Major, Op. 73 "Emperor"
00:00 I. Allegro (2024 Remastered, New York 1956)
20:17 II. Adagio un poco mosso (2024 Remastered, New York 1956)
28:43 III. Rondo. Allegro ma non troppo (2024 Remastered, New York 1956)

Piano: Arthur Runbinstein
Symphony of the Air
Conductor: Josef Krips
Recorded in 1956, at New York
New mastering in 2024 by AB for https://classicalmusicreference.com/
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Concerto No. 5 in E-flat major, Opus 73 // This is the last and most famous of Beethoven's concertos. Composed in Vienna in 1809, it is dedicated to Archduke Rudolph, Beethoven's student and patron. The first performance took place in Leipzig in December 1810. However, by that time, Beethoven was too deaf to dare to play the solo part himself.

This concerto was long referred to as "The Emperor." Although Beethoven no longer admired Napoleon at that time, the thematic material is so bold, vibrant, and triumphant, and its development so magnificent, that the origin of this title is easily understood (Marion M. Scott).

1809! This was a "cursed" year for Austria. The invasion of Napoleonic troops, the occupation of Vienna for the second time by French forces, and the trauma of the bombings on May 11 and 12, 1809, left a lasting impact on the Austrians. The exhortations to revolt that can be found in the manuscripts of Beethoven's new Concerto in E-flat major are unmistakable: Angriff! Sieg! (Attack! Victory!).

I. Allegro
The heroic atmosphere is established right from the main theme. The symphonic orchestra (without trombones but with horns and timpani) bursts forth with jubilant and aggressive energy. What a contrast with the introduction of the second theme, more mysterious and alternating between major and minor keys, yet maintaining the same atmosphere! Three brief cadenzas appear at the beginning of the concerto, which are all the more original given that there is no other cadenza at the end of the movement. The great virtuosity of the writing is carried by rhythmic patterns that evoke both the march and the echoes of revolutionary and military music.

II. Adagio un poco mosso
Here, contrast appears first and foremost. The main theme has often been compared to a pilgrim's song. In an expressive pianissimo, the piano enters with the melody, maintaining the atmosphere with delicate triplet motifs. The Adagio un poco mosso flows directly from the first movement. It opens with a sort of chorale played by the strings alone. Beethoven sought multiple variations here to offer the most natural "embellishments" for the keyboard in its dialogue with the horns. The simplicity of the writing and the almost religious atmosphere, suspended on the note "B" of the piano, prepare the entrance of the finale.

III. Rondo. Allegro
Bekker wrote about this movement: "A bold harmonic crescendo is heard along with the gentle diminuendo of the conclusion, leading, without interruption, to the joyful rondo, where the solo voice first dreamily suggests the theme, then, inspired, makes it vibrate triumphantly." The finale, a rondo Allegro ma non troppo, evokes a folk dance with a simple motif developed over an E-flat arpeggio. The sense of improvisation prevails, just as at the beginning of the concerto. The soloist makes several attempts to better launch the triumphant finale. The dialogue with the horns, and even more so with the timpani, is particularly intense.

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