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Piano Concerto No. 5 (Beethoven)

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Piano Concerto in E-flat major
No. 5 (Emperor)
by Ludwig van Beethoven
Beethoven Mähler 1815.jpg

Beethoven in 1815, portrayed by Joseph Willibrord Mähler
Catalogue Op. 73
Composed1809 (1809)–11
Dedication Archduke Rudolph
Performed28 November 1811 (1811-11-28): Gewandhaus , Leipzig
Movements
  • Allegro
  • Adagio un poco mosso
  • Rondo : Allegro

The Piano Concerto No. 5 in E major , Op. 73, by Ludwig van Beethoven , popularly known as the Emperor Concerto, was his last completed piano concerto . It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf , Beethoven’s patron and pupil. The first performance took place on 13 January 1811 at the Palace of Prince Joseph Lobkowitz in Vienna, with Archduke Rudolf as the soloist, [1] followed by a public concert on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz , the soloist being Friedrich Schneider . [2] [3] On 12 February 1812, Carl Czerny , another student of Beethoven’s, gave the Vienna debut of this work.

The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer , the English publisher of the concerto. [4] Its duration is approximately forty minutes.

Contents

  • 1 Instrumentation
  • 2 Movements
    • 2.1 I. Allegro
    • 2.2 II. Adagio un poco mosso
    • 2.3 III. Rondo: Allegro
  • 3 Recordings
  • 4 References
  • 5 External links

Instrumentation[ edit ]

The concerto is scored for solo piano , two flutes , two oboes , two clarinets in B (clarinet I playing in A in movement 2), two bassoons , two horns , two trumpets , timpani in E and B, and strings . In the second movement, 2nd flute, 2nd clarinet, trumpets, and timpani are tacet .

Movements[ edit ]

1. Allegro

2. Adagio un poco mosso

3. Rondo: Allegro
Ursula Oppens, piano; DuPage Symphony Orchestra; from Musopen

Problems playing these files? See media help .

The concerto is divided into three movements :

  1. Allegro in E major
  2. Adagio un poco mosso [5] in B major
  3. Rondo : Allegro in E major

I. Allegro[ edit ]


\relative c' \override TupletBracket #'stencil = ##f \override Score.BarNumber #'stencil = ##f \key es \major es2~\f es8 \times 2/3 f16( es d) es8-. f-.

The first movement begins with the solo piano unfurling a series of virtuosic pronouncements punctuated by mammoth chords[ clarification needed ] from the full orchestra. The vigorous, incessantly propulsive main theme follows, undergoing complex thematic transformation, with a secondary theme of tonic and dominant notes and chords. When the piano enters with the first theme, the expository material is repeated with variations, virtuoso figurations, and modified harmonies. The second theme enters in the unusual key of B minor before moving to B major and at last to the expected key of B major several bars later.

Following the opening flourish, the movement follows Beethoven’s three-theme sonata structure for a concerto. The orchestral exposition is a two-theme sonata exposition, but the second exposition with the piano introduces a triumphant, virtuosic third theme that belongs solely to the solo instrument, a trademark of Beethoven’s concertos. The coda elaborates upon the open-ended first theme, building in intensity before finishing in a final climactic arrival at the tonic E major.

II. Adagio un poco mosso[ edit ]


\relative c' \key b \major dis2(\p cis4 dis

The second movement in B major forms a quiet nocturne for the solo piano, muted strings, and wind instruments that converse with the solo piano. The third movement begins without interruption when a lone bassoon note B drops a semitone to B, the dominant of the tonic key E. The end of the second movement was written to build directly into the third.

III. Rondo: Allegro[ edit ]


\relative c'' bes8\ff( es) es([ g)] r g16( bes)

The final movement of the concerto is a seven-part rondo form (ABACABA). The solo piano introduces the main theme before the full orchestra affirms the soloist’s statement. The rondo’s B-section begins with piano scales , before the orchestra again responds. The C-section is much longer, presenting the theme from the A-section in three different keys before the piano performs a passage of arpeggios. Rather than finishing with a strong entrance from the orchestra, however, the trill ending the cadenza dies away until the introductory theme reappears, played first by the piano and then the orchestra. In the last section, the theme undergoes variation before the concerto ends with a short cadenza and robust orchestral response.

Recordings[ edit ]

  • During the acoustic era, in September 1912 Frank La Forge recorded the adagio movement with an unnamed orchestra; the recording was issued as Victor 55030-A.
  • In January 1927 Wilhelm Backhaus recorded the Emperor Concerto with the Royal Albert Hall Orchestra under Landon Ronald . Backhaus would make stereo recordings of all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in the late 1950s.
  • In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra under Henry Wood , but this recording no longer exists.
  • In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra .
  • Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
  • Josef Hofmann recorded it with the Chicago Symphony Orchestra , conducted by Hans Lange on May 12, 1940.
  • Arthur Rubinstein recorded it three times, with Josef Krips , Erich Leinsdorf , and Daniel Barenboim .
  • Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944 or 1945 for German radio. It was one of the very earliest high-fidelity magnetic tape recordings , as well as one of the earliest stereo recordings, and was one of about 300 such recordings made during the war. However, only three are known to survive. During the quiet passages, anti-aircraft weapons can be heard firing.
  • Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra .
  • Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
  • Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic ; in 1953 with Eugene Ormandy and the Philadelphia Orchestra ; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa .
  • Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic . The performance was filmed and released on DVD.
  • Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
  • Vladimir Ashkenazy recorded all the Beethoven piano concertos three times: in 1971-1972 with Georg Solti and the Chicago Symphony Orchestra , in 1983 with Zubin Mehta and the Vienna Philharmonic , and in 1986-1987 with himself conducting the Cleveland Orchestra .
  • Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis , first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden .
  • Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations. Gould also recorded it with Karel Ančerl .
  • Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon . First with Karl Böhm and Eugen Jochum (in the first two concertos) and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic .
  • Alfred Brendel recorded all Beethoven’s piano concertos at least three times over his career.
  • Friedrich Gulda recorded all Beethoven’s piano concertos with Horst Stein and the Vienna Philharmonic between 1971 and 1973.
  • Paul Lewis recorded all five of Beethoven’s piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek .
  • Murray Perahia recorded all five of Beethoven’s piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink , 1988.

References[ edit ]

  1. ^ “Sketchleaf” . www.sothebys.com.

  2. ^ Michael Steinberg : The Concerto: A Listener’s Guide . Retrieved 4 August 2014
  3. ^ San Francisco Symphony . Retrieved 4 August 2014 Archived 11 August 2014 at the Wayback Machine .
  4. ^ Stevenson, Joseph. Johann Baptist Cramer at AllMusic . Retrieved 5 June 2011.
  5. ^ The original autograph (page 74r) has Adagio un poco moto, not mosso.

External links[ edit ]

Wikimedia Commons has media related to Piano Concerto No. 5 (Beethoven) .
  • Piano Concerto No. 5 : Scores at the International Music Score Library Project (IMSLP)
  • Gutmann, Peter (2017). “Beethoven: Piano Concerto # 5 in E-Flat Major, Op. 73 (‘Emperor’)” . Classical Notes.
  • Original autograph, 1809 , Berlin State Library
  • Beethoven’s Fifth Piano Concerto Analysis and description of Beethoven’s Fifth Emperor Piano Concerto
  • BBC Discovering Music – analysis ( RealAudio , 29 minutes)
  • v
  • t
  • e
Concertos by Ludwig van Beethoven
Piano concertos
  • No. 1 in C major, Op. 15
  • No. 2 in B major, Op. 19
  • No. 3 in C minor, Op. 37
  • No. 4 in G major, Op. 58
  • No. 5 in E major, Op. 73 (Emperor)
  • No. 0 in E major, WoO 4 (early, fragmentary work)
  • No. 6 in D major, Hess 15 (unfinished)
Violin concerto
  • Concerto in D major, Op. 61
  • Concerto in C major (fragmentary work), WoO 5, Hess 10
Oboe concerto
  • Concerto in F major (fragmentary work), Hess 12
Triple concerto
  • Triple Concerto in C major, Op. 56
  • Triple Concerto for Flute, Bassoon and Piano in E minor (fragmentary work), Hess 13
Other works for piano and orchestra
  • Rondo for Piano and Orchestra, WoO 6
  • Choral Fantasy, Op. 80
Other works for violin and orchestra
  • Romance No. 1 in G major, Op. 40
  • Romance No. 2 in F major, Op. 50
List of compositions by Ludwig van Beethoven
Authority control Edit this at Wikidata
  • WorldCat Identities
  • AllMusic composition: mc0002357506
  • BNF : cb13908245k (data)
  • GND : 30001550X
  • LCCN : n81142208
  • MusicBrainz work: e5cfd8b5-74c2-3330-9ca4-42ecd22dffef
  • VIAF : 179831076

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      Sheetmusic

      Ludwig van Beethoven   opus 73

      Piano Concerto No. 5 “Emperor”

      Orchestra and Piano
      Piano concerto in E flat major. 1809. Time: 40’00.

      Buy sheetmusic for this work at SheetMusicPlus

      The Piano Concerto No. 5 in E-flat major, Op. 73 by Ludwig van Beethoven , popularly known as the “Emperor Concerto”, was his last piano concerto . It was written between 1809 and 1811 in Vienna , and was dedicated to Archduke Rudolf , Beethoven’s patron and pupil. The first performance took place in November 1811, at the Gewandhaus in Leipzig , the soloist being Friedrich Schneider . In 1812, Carl Czerny , his student, gave the Vienna debut of this work.

      The epithet of “Emperor” for this concerto, used in English-speaking countries, was not Beethoven’s own, but was coined by Johann Baptist Cramer , the English publisher of the concerto. [1] Its duration is approximately forty minutes.

      Contents

      • 1 Instrumentation
      • 2 Movements

        • 2.1 I. Allegro
        • 2.2 II. Adagio un poco mosso
        • 2.3 III. Rondo: Allegro ma non troppo
      • 3 Prominent recordings
      • 4 References
      • 5 External links

      Instrumentation

      The concerto is scored for a solo piano , two flutes , two oboes , two clarinets in B-flat (Clarinet I playing Clarinet in A in movement 2), two bassoons , two horns , two trumpets , timpani in E-flat and B-flat, and strings .

      Movements

      The “Emperor” is divided into a standard three movements :

      I.  Allegro [  midi  ] (E flat major)
      II.  Adagio un poco mosso[  midi  ] (B major)
      III.  Rondo : Allegro ma non troppo[  midi  ] (E flat major)

      As with Beethoven’s other concertos from this time period, this work has a relatively long first movement. (At twenty-five minutes, the Violin Concerto has the longest; Piano Concerto Nos. 4 and 5 each have opening movements about twenty minutes long.)

      I. Allegro

      The main theme of the first movement.

      The piece begins with three full orchestra chords , each followed by a short cadenza , improvisatory in nature but written out in the score. These short cadenzas recur intermittently throughout the piece.

      As music’s Classical era gave way to its Romantic era , composers began experimenting with the manner in which one or more solo instruments introduced music. Beethoven had already explored such possibilities in his Piano Concerto No. 4, but the monumental piano introduction in Piano Concerto No. 5 – it lasts for nearly two minutes – foreshadowed future concerti such as Mendelssohn ‘s Violin Concerto or Tchaikovsky ‘s Piano Concerto in B-flat minor .

      The first movement is deceptively complex. Despite its use of simple chords, including a second theme constructed almost entirely out of tonic and dominant notes and chords, it is full of complex thematic transformations. The complexity is intensified once the piano enters with the first theme, as the expository material is repeated with far more complex variations, virtuoso figurations, and complex modified chords. The second theme enters in the surprising key of B minor before moving to B major and at last the expected key of B-flat major several bars later.

      Aside from the opening cadenzas, the movement follows Beethoven’s trademark three-theme sonata structure for a concerto. The orchestral exposition is a typical two-theme sonata exposition, but the “second exposition” with the piano has a triumphant virtuoso third theme at the end that belongs solely to the solo instrument. Beethoven does this in many of his concerti. The coda at the end of the movement is quite long, and, again typical of Beethoven, uses the open-ended first theme and gives it closure to create a satisfying conclusion.

      II. Adagio un poco mosso

      The second movement in B major is, in standard contrast to the first, calm and reflective. It moves into the third movement without interruption when a lone bassoon note B drops a semitone to B-flat, the dominant note to the tonic key E-flat. According to Alex Ross (in The Rest Is Noise), this movement supplied the melody for Bernstein ‘s “Somewhere” from West Side Story .

      III. Rondo: Allegro ma non troppo

      The main theme of the third movement.

      The final movement of the concerto is in seven-part rondo form (ABACABA) , a typical concerto finale form. The piano begins the movement by playing its main theme, then followed by the full orchestra. The rondo’s B section begins with piano scales , before the orchestra again responds. The C section is much longer, presenting the theme from the A section in three different keys before the piano performs a cadenza. Rather than finishing with a strong entrance from the orchestra, however, the trill ending the cadenza dies away until the introductory theme reappears, played first by the piano and then the orchestra. In the last section, the theme undergoes variation before the concerto ends with a short cadenza and robust orchestral response.

      Prominent recordings

      In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra and Henry Wood but this recording no longer exists. Also in the 1920’s William Backhaus recorded the 4th and 5th Concertos very successfully. In the early 1930s Arthur Schnabel recorded all five Beethoven concerti with Sir Malcolm Sargent and the London Symphony Orchestra. Arthur Rubinstein recorded it three times. Walter Gieseking and Arthur Rother made a stereophonic tape recording in 1944, apparently the earliest surviving such recording, for German radio. Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner . Edwin Fischer recorded it with Karl Bohm in 1939 and Wilhelm Furtwangler in 1951. Leon Fleisher recorded all the Beethoven Piano Concertos with George Szell and the Cleveland Orchestra from 1959-61. Claudio Arrau recorded it three times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and in 1984 with Sir Colin Davis . Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations. The most latest recording by Paul Lewis who recorded all five of Beethoven’s Piano Concertos with the BBC Symphony Orchestra with conductor Jiri Belohlavek .

      References

      1. ^ Answers.com

      Walter Gieseking: Wartime German Radio Recordings, Music & Arts Programs of America, Inc. CD-815, 1994.

      External links

      • Piano Concerto No. 5 : Free scores at the International Music Score Library Project .
      • Beethoven’s Fifth Piano Concerto Analysis and description of Beethoven’s Fifth “Emperor” Piano Concerto

      Walter Gieseking: Wartime German Radio Recordings, Music & Arts Programs of America, Inc. CD-815, 1994.

      • BBC Discovering Music (browse for .ram file containing analysis of this work)
      • Piano Concerto No. 5 sheet music available at Musopen.com
      v d e

      Concertos by Ludwig van Beethoven

      Piano concertos

      No. 1 in C major, Op. 15  · No. 2 in B flat major, Op. 19  · No. 3 in C minor, Op. 37  · No. 4 in G major, Op. 58  · No. 5 in E flat major, Op. 73 (Emperor)

      No. 0 in E flat major, WoO 4 (early, fragmentary work)

      Violin concerto

      Concerto in D major, Op. 61

      Triple concerto

      Triple Concerto in C major, Op. 56

      Other works for piano and orchestra

      Rondo for piano and orchestra, WoO 6  · Choral Fantasy, Op.80

      Other works for violin and orchestra

      Romance No. 1 in G major, Op. 40  · Romance No. 2 in F major, Op. 50

      List of compositions by Ludwig van Beethoven

      This article is licensed under the
      GNU Free Documentation License . It uses material from the
      Wikipedia article “Piano_Concerto_No._5_(Beethoven)” . Allthough most Wikipedia articles provide accurate information accuracy can not be guaranteed.

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      Piano Concerto No. 5 (Beethoven)

      From Wikipedia, the free encyclopedia

      Jump to navigation
      Jump to search

      This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. (October 2008) ( Learn how and when to remove this template message )
      Piano Concerto in E-flat major
      No. 5 (Emperor)
      by Ludwig van Beethoven
      Beethoven Mähler 1815.jpg

      Beethoven in 1815, portrayed by Joseph Willibrord Mähler
      Catalogue Op. 73
      Composed1809 (1809)–11
      Dedication Archduke Rudolph
      Performed28 November 1811 (1811-11-28): Gewandhaus , Leipzig
      Movements
      • Allegro
      • Adagio un poco mosso
      • Rondo : Allegro

      The Piano Concerto No. 5 in E major , Op. 73, by Ludwig van Beethoven , popularly known as the Emperor Concerto, was his last completed piano concerto . It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf , Beethoven’s patron and pupil. The first performance took place on 13 January 1811 at the Palace of Prince Joseph Lobkowitz in Vienna, with Archduke Rudolf as the soloist, [1] followed by a public concert on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz , the soloist being Friedrich Schneider . [2] [3] On 12 February 1812, Carl Czerny , another student of Beethoven’s, gave the Vienna debut of this work.

      The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer , the English publisher of the concerto. [4] Its duration is approximately forty minutes.

      Contents

      • 1 Instrumentation
      • 2 Movements
        • 2.1 I. Allegro
        • 2.2 II. Adagio un poco mosso
        • 2.3 III. Rondo: Allegro
      • 3 Recordings
      • 4 References
      • 5 External links

      Instrumentation[ edit ]

      The concerto is scored for solo piano , two flutes , two oboes , two clarinets in B (clarinet I playing in A in movement 2), two bassoons , two horns , two trumpets , timpani in E and B, and strings . In the second movement, 2nd flute, 2nd clarinet, trumpets, and timpani are tacet .

      Movements[ edit ]

      1. Allegro

      2. Adagio un poco mosso

      3. Rondo: Allegro
      Ursula Oppens, piano; DuPage Symphony Orchestra; from Musopen

      Problems playing these files? See media help .

      The concerto is divided into three movements :

      1. Allegro in E major
      2. Adagio un poco mosso [5] in B major
      3. Rondo : Allegro in E major

      I. Allegro[ edit ]

      
\relative c' g2\sf as4.\sf f8

      The first movement begins with the solo piano unfurling a series of virtuosic pronouncements punctuated by mammoth chords[ clarification needed ] from the full orchestra. The vigorous, incessantly propulsive main theme follows, undergoing complex thematic transformation, with a secondary theme of tonic and dominant notes and chords. When the piano enters with the first theme, the expository material is repeated with variations, virtuoso figurations, and modified harmonies. The second theme enters in the unusual key of B minor before moving to B major and at last to the expected key of B major several bars later.

      Following the opening flourish, the movement follows Beethoven’s three-theme sonata structure for a concerto. The orchestral exposition is a two-theme sonata exposition, but the second exposition with the piano introduces a triumphant, virtuosic third theme that belongs solely to the solo instrument, a trademark of Beethoven’s concertos. The coda elaborates upon the open-ended first theme, building in intensity before finishing in a final climactic arrival at the tonic E major.

      II. Adagio un poco mosso[ edit ]

      
\relative c' b4 e cis2)

      The second movement in B major forms a quiet nocturne for the solo piano, muted strings, and wind instruments that converse with the solo piano. The third movement begins without interruption when a lone bassoon note B drops a semitone to B, the dominant of the tonic key E. The end of the second movement was written to build directly into the third.

      III. Rondo: Allegro[ edit ]

      
\relative c'' \key es \major \time 6/8 \partial 8 bes8

      The final movement of the concerto is a seven-part rondo form (ABACABA). The solo piano introduces the main theme before the full orchestra affirms the soloist’s statement. The rondo’s B-section begins with piano scales , before the orchestra again responds. The C-section is much longer, presenting the theme from the A-section in three different keys before the piano performs a passage of arpeggios. Rather than finishing with a strong entrance from the orchestra, however, the trill ending the cadenza dies away until the introductory theme reappears, played first by the piano and then the orchestra. In the last section, the theme undergoes variation before the concerto ends with a short cadenza and robust orchestral response.

      Recordings[ edit ]

      • During the acoustic era, in September 1912 Frank La Forge recorded the adagio movement with an unnamed orchestra; the recording was issued as Victor 55030-A.
      • In January 1927 Wilhelm Backhaus recorded the Emperor Concerto with the Royal Albert Hall Orchestra under Landon Ronald . Backhaus would make stereo recordings of all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in the late 1950s.
      • In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra under Henry Wood , but this recording no longer exists.
      • In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra .
      • Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
      • Josef Hofmann recorded it with the Chicago Symphony Orchestra , conducted by Hans Lange on May 12, 1940.
      • Arthur Rubinstein recorded it three times, with Josef Krips , Erich Leinsdorf , and Daniel Barenboim .
      • Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944 or 1945 for German radio. It was one of the very earliest high-fidelity magnetic tape recordings , as well as one of the earliest stereo recordings, and was one of about 300 such recordings made during the war. However, only three are known to survive. During the quiet passages, anti-aircraft weapons can be heard firing.
      • Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra .
      • Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
      • Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic ; in 1953 with Eugene Ormandy and the Philadelphia Orchestra ; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa .
      • Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic . The performance was filmed and released on DVD.
      • Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
      • Vladimir Ashkenazy recorded all the Beethoven piano concertos three times: in 1971-1972 with Georg Solti and the Chicago Symphony Orchestra , in 1983 with Zubin Mehta and the Vienna Philharmonic , and in 1986-1987 with himself conducting the Cleveland Orchestra .
      • Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis , first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden .
      • Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations. Gould also recorded it with Karel Ančerl .
      • Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon . First with Karl Böhm and Eugen Jochum (in the first two concertos) and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic .
      • Alfred Brendel recorded all Beethoven’s piano concertos at least three times over his career.
      • Friedrich Gulda recorded all Beethoven’s piano concertos with Horst Stein and the Vienna Philharmonic between 1971 and 1973.
      • Paul Lewis recorded all five of Beethoven’s piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek .
      • Murray Perahia recorded all five of Beethoven’s piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink , 1988.

      References[ edit ]

      1. ^ “Sketchleaf” . www.sothebys.com.

      2. ^ Michael Steinberg : The Concerto: A Listener’s Guide . Retrieved 4 August 2014
      3. ^ San Francisco Symphony . Retrieved 4 August 2014 Archived 11 August 2014 at the Wayback Machine .
      4. ^ Stevenson, Joseph. Johann Baptist Cramer at AllMusic . Retrieved 5 June 2011.
      5. ^ The original autograph (page 74r) has Adagio un poco moto, not mosso.

      External links[ edit ]

      Wikimedia Commons has media related to Piano Concerto No. 5 (Beethoven) .
      • Piano Concerto No. 5 : Scores at the International Music Score Library Project (IMSLP)
      • Gutmann, Peter (2017). “Beethoven: Piano Concerto # 5 in E-Flat Major, Op. 73 (‘Emperor’)” . Classical Notes.
      • Original autograph, 1809 , Berlin State Library
      • Beethoven’s Fifth Piano Concerto Analysis and description of Beethoven’s Fifth Emperor Piano Concerto
      • BBC Discovering Music – analysis ( RealAudio , 29 minutes)
      • v
      • t
      • e
      Concertos by Ludwig van Beethoven
      Piano concertos
      • No. 1 in C major, Op. 15
      • No. 2 in B major, Op. 19
      • No. 3 in C minor, Op. 37
      • No. 4 in G major, Op. 58
      • No. 5 in E major, Op. 73 (Emperor)
      • No. 0 in E major, WoO 4 (early, fragmentary work)
      • No. 6 in D major, Hess 15 (unfinished)
      Violin concerto
      • Concerto in D major, Op. 61
      • Concerto in C major (fragmentary work), WoO 5, Hess 10
      Oboe concerto
      • Concerto in F major (fragmentary work), Hess 12
      Triple concerto
      • Triple Concerto in C major, Op. 56
      • Triple Concerto for Flute, Bassoon and Piano in E minor (fragmentary work), Hess 13
      Other works for piano and orchestra
      • Rondo for Piano and Orchestra, WoO 6
      • Choral Fantasy, Op. 80
      Other works for violin and orchestra
      • Romance No. 1 in G major, Op. 40
      • Romance No. 2 in F major, Op. 50
      List of compositions by Ludwig van Beethoven
      Authority control Edit this at Wikidata
      • WorldCat Identities
      • AllMusic composition: mc0002357506
      • BNF : cb13908245k (data)
      • GND : 30001550X
      • LCCN : n81142208
      • MusicBrainz work: e5cfd8b5-74c2-3330-9ca4-42ecd22dffef
      • VIAF : 179831076

      Retrieved from ” https://en.wikipedia.org/w/index.php?title=Piano_Concerto_No._5_(Beethoven)&oldid=857452674 ”
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      • Piano concertos by Ludwig van Beethoven
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          Piano Concerto No. 5 (Beethoven)

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          Piano Concerto in E-flat major
          No. 5 (Emperor)
          by Ludwig van Beethoven
          Beethoven Mähler 1815.jpg

          Beethoven in 1815, portrayed by Joseph Willibrord Mähler
          Catalogue Op. 73
          Composed1809 (1809)–11
          Dedication Archduke Rudolph
          Performed28 November 1811 (1811-11-28): Gewandhaus , Leipzig
          Movements
          • Allegro
          • Adagio un poco mosso
          • Rondo : Allegro

          The Piano Concerto No. 5 in E major , Op. 73, by Ludwig van Beethoven , popularly known as the Emperor Concerto, was his last completed piano concerto . It was written between 1809 and 1811 in Vienna, and was dedicated to Archduke Rudolf , Beethoven’s patron and pupil. The first performance took place on 13 January 1811 at the Palace of Prince Joseph Lobkowitz in Vienna, with Archduke Rudolf as the soloist, [1] followed by a public concert on 28 November 1811 at the Gewandhaus in Leipzig under conductor Johann Philipp Christian Schulz , the soloist being Friedrich Schneider . [2] [3] On 12 February 1812, Carl Czerny , another student of Beethoven’s, gave the Vienna debut of this work.

          The epithet of Emperor for this concerto was not Beethoven’s own but was coined by Johann Baptist Cramer , the English publisher of the concerto. [4] Its duration is approximately forty minutes.

          Contents

          • 1 Instrumentation
          • 2 Movements
            • 2.1 I. Allegro
            • 2.2 II. Adagio un poco mosso
            • 2.3 III. Rondo: Allegro
          • 3 Recordings
          • 4 References
          • 5 External links

          Instrumentation[ edit ]

          The concerto is scored for solo piano , two flutes , two oboes , two clarinets in B (clarinet I playing in A in movement 2), two bassoons , two horns , two trumpets , timpani in E and B, and strings . In the second movement, 2nd flute, 2nd clarinet, trumpets, and timpani are tacet .

          Movements[ edit ]

          1. Allegro

          2. Adagio un poco mosso

          3. Rondo: Allegro
          Ursula Oppens, piano; DuPage Symphony Orchestra; from Musopen

          Problems playing these files? See media help .

          The concerto is divided into three movements :

          1. Allegro in E major
          2. Adagio un poco mosso [5] in B major
          3. Rondo : Allegro in E major

          I. Allegro[ edit ]

          
\relative c' g4( es c) bes8. bes16

          The first movement begins with the solo piano unfurling a series of virtuosic pronouncements punctuated by mammoth chords[ clarification needed ] from the full orchestra. The vigorous, incessantly propulsive main theme follows, undergoing complex thematic transformation, with a secondary theme of tonic and dominant notes and chords. When the piano enters with the first theme, the expository material is repeated with variations, virtuoso figurations, and modified harmonies. The second theme enters in the unusual key of B minor before moving to B major and at last to the expected key of B major several bars later.

          Following the opening flourish, the movement follows Beethoven’s three-theme sonata structure for a concerto. The orchestral exposition is a two-theme sonata exposition, but the second exposition with the piano introduces a triumphant, virtuosic third theme that belongs solely to the solo instrument, a trademark of Beethoven’s concertos. The coda elaborates upon the open-ended first theme, building in intensity before finishing in a final climactic arrival at the tonic E major.

          II. Adagio un poco mosso[ edit ]

          
\relative c' b4 dis, cis2)

          The second movement in B major forms a quiet nocturne for the solo piano, muted strings, and wind instruments that converse with the solo piano. The third movement begins without interruption when a lone bassoon note B drops a semitone to B, the dominant of the tonic key E. The end of the second movement was written to build directly into the third.

          III. Rondo: Allegro[ edit ]

          
\relative c'' f8 r d16( f) es8 r g,16( bes)

          The final movement of the concerto is a seven-part rondo form (ABACABA). The solo piano introduces the main theme before the full orchestra affirms the soloist’s statement. The rondo’s B-section begins with piano scales , before the orchestra again responds. The C-section is much longer, presenting the theme from the A-section in three different keys before the piano performs a passage of arpeggios. Rather than finishing with a strong entrance from the orchestra, however, the trill ending the cadenza dies away until the introductory theme reappears, played first by the piano and then the orchestra. In the last section, the theme undergoes variation before the concerto ends with a short cadenza and robust orchestral response.

          Recordings[ edit ]

          • During the acoustic era, in September 1912 Frank La Forge recorded the adagio movement with an unnamed orchestra; the recording was issued as Victor 55030-A.
          • In January 1927 Wilhelm Backhaus recorded the Emperor Concerto with the Royal Albert Hall Orchestra under Landon Ronald . Backhaus would make stereo recordings of all five concertos with Hans Schmidt-Isserstedt and Vienna Philharmonic in the late 1950s.
          • In March 1927 Ignaz Friedman recorded the Emperor Concerto with the New Queen’s Hall Orchestra under Henry Wood , but this recording no longer exists.
          • In the early 1930s Artur Schnabel recorded all five Beethoven concertos under Sir Malcolm Sargent and the London Symphony Orchestra .
          • Edwin Fischer recorded it with Karl Böhm in 1939 and Wilhelm Furtwängler in 1951.
          • Josef Hofmann recorded it with the Chicago Symphony Orchestra , conducted by Hans Lange on May 12, 1940.
          • Arthur Rubinstein recorded it three times, with Josef Krips , Erich Leinsdorf , and Daniel Barenboim .
          • Walter Gieseking and Artur Rother made a stereophonic tape recording in 1944 or 1945 for German radio. It was one of the very earliest high-fidelity magnetic tape recordings , as well as one of the earliest stereo recordings, and was one of about 300 such recordings made during the war. However, only three are known to survive. During the quiet passages, anti-aircraft weapons can be heard firing.
          • Vladimir Horowitz recorded it in a 1952 live performance at Carnegie Hall with Fritz Reiner and the RCA Victor Symphony Orchestra .
          • Wilhelm Kempff recorded it with Paul van Kempen in 1953 and with Ferdinand Leitner in 1961.
          • Rudolf Serkin recorded it four times: in 1941 with Bruno Walter and the New York Philharmonic ; in 1953 with Eugene Ormandy and the Philadelphia Orchestra ; in 1962 with Leonard Bernstein conducting the New York Philharmonic, and in 1981 with the Boston Symphony Orchestra under Seiji Ozawa .
          • Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with Krystian Zimerman and the Vienna Philharmonic . The performance was filmed and released on DVD.
          • Leon Fleisher recorded all the Beethoven piano concertos with George Szell and the Cleveland Orchestra from 1959 until 1961.
          • Vladimir Ashkenazy recorded all the Beethoven piano concertos three times: in 1971-1972 with Georg Solti and the Chicago Symphony Orchestra , in 1983 with Zubin Mehta and the Vienna Philharmonic , and in 1986-1987 with himself conducting the Cleveland Orchestra .
          • Claudio Arrau recorded it four times: with Alceo Galliera in 1958, Bernard Haitink in 1964 and twice with Sir Colin Davis , first with the Royal Concertgebouw Orchestra and later with the Staatskapelle Dresden .
          • Glenn Gould recorded this concerto with Leopold Stokowski (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould’s interpretations. Gould also recorded it with Karel Ančerl .
          • Maurizio Pollini recorded the five piano concertos twice for Deutsche Grammophon . First with Karl Böhm and Eugen Jochum (in the first two concertos) and the Vienna Philharmonic and later with Claudio Abbado and the Berlin Philharmonic .
          • Alfred Brendel recorded all Beethoven’s piano concertos at least three times over his career.
          • Friedrich Gulda recorded all Beethoven’s piano concertos with Horst Stein and the Vienna Philharmonic between 1971 and 1973.
          • Paul Lewis recorded all five of Beethoven’s piano concertos with the BBC Symphony Orchestra with conductor Jiří Bělohlávek .
          • Murray Perahia recorded all five of Beethoven’s piano concertos with the Royal Concertgebouw Orchestra with conductor Bernard Haitink , 1988.

          References[ edit ]

          1. ^ “Sketchleaf” . www.sothebys.com.

          2. ^ Michael Steinberg : The Concerto: A Listener’s Guide . Retrieved 4 August 2014
          3. ^ San Francisco Symphony . Retrieved 4 August 2014 Archived 11 August 2014 at the Wayback Machine .
          4. ^ Stevenson, Joseph. Johann Baptist Cramer at AllMusic . Retrieved 5 June 2011.
          5. ^ The original autograph (page 74r) has Adagio un poco moto, not mosso.

          External links[ edit ]

          Wikimedia Commons has media related to Piano Concerto No. 5 (Beethoven) .
          • Piano Concerto No. 5 : Scores at the International Music Score Library Project (IMSLP)
          • Gutmann, Peter (2017). “Beethoven: Piano Concerto # 5 in E-Flat Major, Op. 73 (‘Emperor’)” . Classical Notes.
          • Original autograph, 1809 , Berlin State Library
          • Beethoven’s Fifth Piano Concerto Analysis and description of Beethoven’s Fifth Emperor Piano Concerto
          • BBC Discovering Music – analysis ( RealAudio , 29 minutes)
          • v
          • t
          • e
          Concertos by Ludwig van Beethoven
          Piano concertos
          • No. 1 in C major, Op. 15
          • No. 2 in B major, Op. 19
          • No. 3 in C minor, Op. 37
          • No. 4 in G major, Op. 58
          • No. 5 in E major, Op. 73 (Emperor)
          • No. 0 in E major, WoO 4 (early, fragmentary work)
          • No. 6 in D major, Hess 15 (unfinished)
          Violin concerto
          • Concerto in D major, Op. 61
          • Concerto in C major (fragmentary work), WoO 5, Hess 10
          Oboe concerto
          • Concerto in F major (fragmentary work), Hess 12
          Triple concerto
          • Triple Concerto in C major, Op. 56
          • Triple Concerto for Flute, Bassoon and Piano in E minor (fragmentary work), Hess 13
          Other works for piano and orchestra
          • Rondo for Piano and Orchestra, WoO 6
          • Choral Fantasy, Op. 80
          Other works for violin and orchestra
          • Romance No. 1 in G major, Op. 40
          • Romance No. 2 in F major, Op. 50
          List of compositions by Ludwig van Beethoven
          Authority control Edit this at Wikidata
          • WorldCat Identities
          • AllMusic composition: mc0002357506
          • BNF : cb13908245k (data)
          • GND : 30001550X
          • LCCN : n81142208
          • MusicBrainz work: e5cfd8b5-74c2-3330-9ca4-42ecd22dffef
          • VIAF : 179831076

          Retrieved from ” https://en.wikipedia.org/w/index.php?title=Piano_Concerto_No._5_(Beethoven)&oldid=857452674 ”
          Categories :

          • Piano concertos by Ludwig van Beethoven
          • 1811 compositions
          • Compositions in E-flat major
          • Music with dedications
          Hidden categories:

          • Webarchive template wayback links
          • Use dmy dates from August 2011
          • Articles needing additional references from October 2008
          • All articles needing additional references
          • Pages with timeline metadata
          • Articles with hAudio microformats
          • Wikipedia articles needing clarification from December 2017
          • Commons category link is on Wikidata
          • Works with IMSLP links
          • Articles with International Music Score Library Project links
          • Wikipedia articles with AllMusic composition identifiers
          • Wikipedia articles with BNF identifiers
          • Wikipedia articles with GND identifiers
          • Wikipedia articles with LCCN identifiers
          • Wikipedia articles with MusicBrainz work identifiers
          • Wikipedia articles with VIAF identifiers

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              • This page was last edited on 31 August 2018, at 19:52 (UTC).
              • Text is available under the Creative Commons Attribution-ShareAlike License ;
                additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy . Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc. , a non-profit organization.
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