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.
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.
"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.
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.
@@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.
@@chrisgreco4249 It’s RUclips. 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.
@@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. RUclips is nothing but an app in cyberspace.
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.
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.
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.
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.
@@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
@@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
@@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..
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.
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!
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.
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.
"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...
Sometimes RUclips commentary seem to revert to tribal rivalries - especially Mozart vs Beethoven, each side with its supporters like Manchester City vs Manchester United?
@@wolfgang4067 don’t fret. All these RUclips 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.
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.
This is a top 2 personal favorite for me, competing vs the Emperor concerto. Maybe just because being in C major it is kind of easy for me to attempt playing some passages, as an amateur pianist. I feel strong Mozart vibes especially during the first movement, if you tell me it's a transcription of some late-Mozart operas I will buy it. The presence of a cadenza is a big seller for me, sadly the Emperor lacks this room for freedom. The first movement is innocent and amusing as you could expect for most Mozart. But it also has an extra energy compared with Mozart's concertos, I guess because of Beethoven's nature and also the addition of new instruments and increased size of the orchestra. The second movement is just beatiful, you can't complain about it. At 24:05 it reminds me Mozart's 21th concerto, but I don't care, I think that is the best part of the movement. Third movement is consistent. I prefer the previous two but I won't tell the third is weak at all.
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.
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.
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.
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 RUclips Premium" is unreliable -- it's usually other recordings chosen for advertising by RUclips or Naxos or whatever.)
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.
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...
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).
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.
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.
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”?
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.
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.
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.
@@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?
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.
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.
Awesome as always! Much appreciated!
Fantastic piece of work. Was this also for a thesis?
Moe Since I’m not writing a thesis every time I upload a video, clearly not!
0
0
00:00 - Mvt 1
17:13 - Mvt 2
29:31 - Mvt 3
Mvt 2 is my favorite one
Thanks Ashish, just made my day and Brendel hasn’t even entered yet.
the opening, before the piano comes in..
oh i love it..
Like a little overture..
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.
"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.
He was so carefree… Unaware of what’s about to happen… Oh Beethoven you fucking beauty
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.
@@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.
@@chrisgreco4249 It’s RUclips. 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.
@@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. RUclips is nothing but an app in cyberspace.
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.
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
100 % agree.
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.
"lOvE aLl FiVe EqUaLlY"
@@prometheusrex1 Seh... La contradicción personificada.
I love this performance, and how smooth and shiny the scales are played. The touch is amazing, especially on fast 16th note runs.
This so underrated!!! Can't understand why more ppl don't dig on this big time it's amazing!
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.
Brendel just opens a window and in comes a breath of fresh air!
Me encanta todo en mùsica Clasica, BEETHOVEN sin duda es mi favorito. Gracias.
Finally a recording of Alfred Brendel!! ❤️❤️
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.
Ashish Xiangyi Kumar Hahaha totaly agree with you. So glad you came to his recording for this piece specifically. Unnecessarily Excellent indeed.
@@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
@@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
@@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..
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
Yes, the last movement. Also the opening broken chords of the Emperor Concerto
@@paulwl3159 i gather Beethoven transcribed his hitherto improvised cadenzas in 1809 which i think is the year he started writing Emperor
32:08 tico tico
one of the greatest pianists, Alfred Brendel
16:40 there is just no way a piano can make that roll sound i have never heard anything like this anywhere else
Isn't that exactly what's written there?
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.
06:34 Reminds me a lot of the opening of his Concerto no.5 in Eb.
"...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.
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!
😳
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.
Try to develop a new association and you may condition yourself out of the old association.
Lovely
Enjoyed this more than I can say. Great performance. 🙏🙏
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.
"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...
Sometimes RUclips commentary seem to revert to tribal rivalries - especially Mozart vs Beethoven, each side with its supporters like Manchester City vs Manchester United?
@@paulwl3159 ashish's dismissal of mozart's and haydn's concertos is pretty annoying tbh
@@wolfgang4067 Yeppp 100% agree
@@wolfgang4067 don’t fret. All these RUclips 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.
Una obra maestra de un joven y inmensamente talentoso genio de la música. A mi me encantó esta interpretación, gracias por la video-partitura.
What great program notes!
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 :)
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.
Barenboim; maybe? I put him at the top--Brendel somewhere just below, but not by far.
This is a top 2 personal favorite for me, competing vs the Emperor concerto. Maybe just because being in C major it is kind of easy for me to attempt playing some passages, as an amateur pianist.
I feel strong Mozart vibes especially during the first movement, if you tell me it's a transcription of some late-Mozart operas I will buy it. The presence of a cadenza is a big seller for me, sadly the Emperor lacks this room for freedom.
The first movement is innocent and amusing as you could expect for most Mozart. But it also has an extra energy compared with Mozart's concertos, I guess because of Beethoven's nature and also the addition of new instruments and increased size of the orchestra.
The second movement is just beatiful, you can't complain about it. At 24:05 it reminds me Mozart's 21th concerto, but I don't care, I think that is the best part of the movement.
Third movement is consistent. I prefer the previous two but I won't tell the third is weak at all.
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.
I love these two chords at 5:30 and 11:17
31:52 🤍🤍🤍
it's sad that being inspired by haydn and mozart ended up in his pieces being compared to them more than needed.
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RUclips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。
2:30 1st movt entry
32:00 3rd
Thank you.
I 00:00
II 17:13
III 29:31
Love this one!
Who have called him "being colorless and odorless"? I can smell enough his own scent in my room!
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.
2:26 start
The cadenza of 1st mvt = 😳😳😳😳...here from Emannual Ax gushing about it. 😁
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.
Great. Thanks!!😊😊
Obrigada.
Argerich played this in her debut public performance- at 8 years old.
Hurra
😈🤪
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 RUclips Premium" is unreliable -- it's usually other recordings chosen for advertising by RUclips or Naxos or whatever.)
Кто-нибудь знает какого года эта запись?
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.
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...
Quality music and analysis as always. Thank you!
i love 32:38〜
It’s unmistakably Beethoven, but a Beethoven that’s influenced by Mozart and Haydn.
22:30
Will you upload all 5 piano concertos?
he said he will!
2:36
12:20 there's no way this wasn't inspirded by B's Appassionata's 1st movement. It has the *exact* same diminuita arpeggio.
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).
When and where was this recorded?
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.
6:34
22:31
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.
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”?
maybe he listens to glenn gould a little too much
I hope not. That would be listening to pure bias since Gould’s Mozart was mediocre, and he knew it.
We can never write something as bad as that?
He has OCD..
Only true 1790s kids remember this
Its funny how so much of the thematic development occurs in the exposition and cadenza, while the actual development is relatively less inspiring
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.
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.
Please see michelangeli giulini vienna 1987 .. live . May you gould appreciate cadenza 1st mov. Michelangeli sound is fantastic
exactly my thoughts haha!
Who wrote this cadenza?
@@anthonyc6017 Beethoven himself wrote it.
we have a ghost in this recording !! 32:38
31:52
Glissando 8:57 & semiquavers 29:32 are out of place here !
Yes, truly awful...
Yes, truly amazing!
That octave glissando is amazing
Beethoven - Brendel: OK
charlie parker plays bossa nova...
There are obvious Mozart elements but it’s unmistakable Beethoven and unmistakably not Mozart. My favourite recording so far this century is LOA.
Maybe...
The second movement sounds like 'My Father's Favorite' from Sense and Sensibility. (1994)
I would rather say that "My Father's Favorite" sounds like the second movement of the piano concerto, hahaha.
@@alejandrom.4680 Oww yesss hahahah
Л. Ван Бетховен. Что красивый композитор как это он!!
first : hummm.. mozart
before : ...? beethoven?
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.
😅 welcome to my club!
The important thing is to keep at it - and perhaps you're playing too fast
Fucking adds!!!!!!
conductor? Brendel? The only great recording is by Munch and Richter.
Simon Rattle
An alternative approach: Weissenberg/Karajan,,,
Brendel, not bad. Baremboim, can't be beat. Slight differences, make a huge difference.
I don’t hear the piano for like 90% of the song
I hate the solo beginning, I think all performers do not understand it.
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.
Both Beethoven's and Mozart's concerti are good.
@@cadenzalien4554 Mozart Concertos are more refined.
@@vittoriomarano8230 in your opinion
@@vittoriomarano8230 Beethoven Concerti are objectively better than Motrash's. Cry about it.
@@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?
too fast!!!!!!!!
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.
Kids
7:55 that part is an eyesore 💪🏼
6:34
22:31
32:09
6:21
32:08