Full album available // Beethoven: The 5 Piano Concertos by Arthur Rubinstein 🎧 Qobuz (Hi-Res/flac) cutt.ly/QevujKCF Tidal (Hi-Res/flac) cutt.ly/WevuklTK 🎧 Deezer (Hi-Fi) cutt.ly/XevukY9G Spotify (mp3) cutt.ly/9evuzguD 🎧 Amazon Music (Hi-Res/flac) cutt.ly/pevukX9B Idagio (Hi-Fi) cutt.ly/LevuxNbI 🎧 Apple Music (off) RUclips Music (mp4) cutt.ly/ZevulWUI 🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Beethoven-Rubinstrein Ludwig van Beethoven (1770-1827) Piano Concerto No. 1 in C Major, Op. 15 00:00 I. Allegro con brio (2024 Remastered, New York 1956) 17:22 II. Largo (2024 Remastered, New York 1956) 28:14 III. Rondo. Allegro scherzando (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 classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon cutt.ly/ZezaldhI When Beethoven began composing his Concerto No. 1 in C Major, he was teaching piano to young women from noble families to make a living. He dedicated the work to one of these students, Barbara de Keglevics (known as “Babette”), who had recently married Prince Odescalchi. After several revisions and versions, particularly in Vienna and later in Prague-where the composer Tomášek admitted he was so moved that he couldn't touch the piano for several days-the concerto was completed in 1796 and finished the following year. The first performance took place in Prague in 1798, with the composer himself playing the solo part. In the very long introduction played by the orchestra, the strings present the first theme, a rhythmic one. Taken up by the tutti (the entire orchestra), the theme blossoms, reinforced by the trumpets and timpani, which give it a brilliant and triumphant character. In contrast, the second theme, delicate and accompanied by the discreet beats of the second violins, then appears. The soloist enters soon after, quickly caught up by the famous rhythm of the first theme, which is reiterated by the orchestra. The movement alternates between solos and the dialogue between piano and orchestra. At the end of the movement, the orchestra falls silent, giving way to the piano in what is known as the cadenza. When it ends, the orchestra returns to close the movement with a few strong chords. The slow movement, in a free form similar to a lied (A B A’ form), is led by a singing melody dominated by the piano. Here, the pianist shows lyrical prowess, while the orchestra accompanies discreetly. The melody becomes enriched with ornaments (the embellishment of the main note with several adjacent notes), and the clarinet (a woodwind instrument) takes over from the piano at times. Calm and serene, this Largo comes to life through dynamic signs and contrasting nuances, which are characteristic of Beethoven's writing. The final movement is a rondo. The theme, introduced by the piano alone, is rhythmic and energetic, and it returns repeatedly like a refrain. Brilliant, joyful, and dynamic, it becomes even more so when taken up by the tutti. Varied sections are interspersed, alternating between dance-like, playful, melodic, and bouncing with staccato notes and accents. Often syncopated, they destabilize the flow and make it lively. Relentlessly, the rondo theme reappears, and the concerto concludes with a fortissimo tutti in a moment of jubilation. Mozart's influence is clearly felt in the first two of Beethoven’s five piano concertos. However, Beethoven quickly freed himself from the influence of his predecessors and created his own style. In the last three concertos, for example, the piano and orchestra are almost always of equal importance, while the pianist’s virtuosity is increasingly subordinated to the work as a whole. Other Album available // Rachmaninoff by Rubinstein: Piano Concerto No.2, Rhapsody on a theme of Paganini 🎧 Qobuz cutt.ly/JevoXMJk Tidal cutt.ly/xevoXcMU 🎧 Deezer cutt.ly/aevoCsv9 Spotify cutt.ly/devoCLaC 🎧 Amazon Music cutt.ly/vevoVsdA RUclips Music cutt.ly/FevoVm3U 🎧 Soundcloud cutt.ly/yevoNNXG Ludwig Van Beethoven PLAYLIST (reference recordings): ruclips.net/video/etKWIGMgVIU/видео.html
When Beethoven began composing his Concerto No. 1 in C Major, he was teaching piano to young women from noble families to make a living. He dedicated the work to one of these students, Barbara de Keglevics (known as “Babette”), who had recently married Prince Odescalchi. After several revisions and versions, particularly in Vienna and later in Prague-where the composer Tomášek admitted he was so moved that he couldn't touch the piano for several days-the concerto was completed in 1796 and finished the following year. The first performance took place in Prague in 1798, with the composer himself playing the solo part. In the very long introduction played by the orchestra, the strings present the first theme, a rhythmic one. Taken up by the tutti (the entire orchestra), the theme blossoms, reinforced by the trumpets and timpani, which give it a brilliant and triumphant character. In contrast, the second theme, delicate and accompanied by the discreet beats of the second violins, then appears. The soloist enters soon after, quickly caught up by the famous rhythm of the first theme, which is reiterated by the orchestra. The movement alternates between solos and the dialogue between piano and orchestra. At the end of the movement, the orchestra falls silent, giving way to the piano in what is known as the cadenza. When it ends, the orchestra returns to close the movement with a few strong chords. The slow movement, in a free form similar to a lied (A B A’ form), is led by a singing melody dominated by the piano. Here, the pianist shows lyrical prowess, while the orchestra accompanies discreetly. The melody becomes enriched with ornaments (the embellishment of the main note with several adjacent notes), and the clarinet (a woodwind instrument) takes over from the piano at times. Calm and serene, this Largo comes to life through dynamic signs and contrasting nuances, which are characteristic of Beethoven's writing. The final movement is a rondo. The theme, introduced by the piano alone, is rhythmic and energetic, and it returns repeatedly like a refrain. Brilliant, joyful, and dynamic, it becomes even more so when taken up by the tutti. Varied sections are interspersed, alternating between dance-like, playful, melodic, and bouncing with staccato notes and accents. Often syncopated, they destabilize the flow and make it lively. Relentlessly, the rondo theme reappears, and the concerto concludes with a fortissimo tutti in a moment of jubilation. Mozart's influence is clearly felt in the first two of Beethoven’s five piano concertos. However, Beethoven quickly freed himself from the influence of his predecessors and created his own style. In the last three concertos, for example, the piano and orchestra are almost always of equal importance, while the pianist’s virtuosity is increasingly subordinated to the work as a whole. Other Album available // Rachmaninoff by Rubinstein: Piano Concerto No.2, Rhapsody on a theme of Paganini 🎧 Qobuz cutt.ly/JevoXMJk Tidal cutt.ly/xevoXcMU 🎧 Deezer cutt.ly/aevoCsv9 Spotify cutt.ly/devoCLaC 🎧 Amazon Music cutt.ly/vevoVsdA RUclips Music cutt.ly/FevoVm3U 🎧 Soundcloud cutt.ly/yevoNNXG
I knew this was going to be a special performance from the opening bars! Maestro Krips and Artur Rubinstein give us one of the best Beethoven First Piano Concertos ever recorded. Everyone here is playing their hearts out! This is the late Arturo Toscanini's NBC Symphony, by the way, renamed 'Symphony of the Air.' No wonder they are so spectacular!
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Full album available // Beethoven: The 5 Piano Concertos by Arthur Rubinstein
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🎧 Amazon Music (Hi-Res/flac) cutt.ly/pevukX9B Idagio (Hi-Fi) cutt.ly/LevuxNbI
🎧 Apple Music (off) RUclips Music (mp4) cutt.ly/ZevulWUI
🔊 ***Download the album (Hi-Res MASTER - WAV uncompressed)*** cutt.ly/Classical-Music-Reference-Recording-Website-Beethoven-Rubinstrein
Ludwig van Beethoven (1770-1827) Piano Concerto No. 1 in C Major, Op. 15
00:00 I. Allegro con brio (2024 Remastered, New York 1956)
17:22 II. Largo (2024 Remastered, New York 1956)
28:14 III. Rondo. Allegro scherzando (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 classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon cutt.ly/ZezaldhI
When Beethoven began composing his Concerto No. 1 in C Major, he was teaching piano to young women from noble families to make a living. He dedicated the work to one of these students, Barbara de Keglevics (known as “Babette”), who had recently married Prince Odescalchi. After several revisions and versions, particularly in Vienna and later in Prague-where the composer Tomášek admitted he was so moved that he couldn't touch the piano for several days-the concerto was completed in 1796 and finished the following year. The first performance took place in Prague in 1798, with the composer himself playing the solo part.
In the very long introduction played by the orchestra, the strings present the first theme, a rhythmic one. Taken up by the tutti (the entire orchestra), the theme blossoms, reinforced by the trumpets and timpani, which give it a brilliant and triumphant character. In contrast, the second theme, delicate and accompanied by the discreet beats of the second violins, then appears. The soloist enters soon after, quickly caught up by the famous rhythm of the first theme, which is reiterated by the orchestra. The movement alternates between solos and the dialogue between piano and orchestra. At the end of the movement, the orchestra falls silent, giving way to the piano in what is known as the cadenza. When it ends, the orchestra returns to close the movement with a few strong chords.
The slow movement, in a free form similar to a lied (A B A’ form), is led by a singing melody dominated by the piano. Here, the pianist shows lyrical prowess, while the orchestra accompanies discreetly. The melody becomes enriched with ornaments (the embellishment of the main note with several adjacent notes), and the clarinet (a woodwind instrument) takes over from the piano at times. Calm and serene, this Largo comes to life through dynamic signs and contrasting nuances, which are characteristic of Beethoven's writing.
The final movement is a rondo. The theme, introduced by the piano alone, is rhythmic and energetic, and it returns repeatedly like a refrain. Brilliant, joyful, and dynamic, it becomes even more so when taken up by the tutti. Varied sections are interspersed, alternating between dance-like, playful, melodic, and bouncing with staccato notes and accents. Often syncopated, they destabilize the flow and make it lively. Relentlessly, the rondo theme reappears, and the concerto concludes with a fortissimo tutti in a moment of jubilation.
Mozart's influence is clearly felt in the first two of Beethoven’s five piano concertos. However, Beethoven quickly freed himself from the influence of his predecessors and created his own style. In the last three concertos, for example, the piano and orchestra are almost always of equal importance, while the pianist’s virtuosity is increasingly subordinated to the work as a whole.
Other Album available // Rachmaninoff by Rubinstein: Piano Concerto No.2, Rhapsody on a theme of Paganini
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🎧 Deezer cutt.ly/aevoCsv9 Spotify cutt.ly/devoCLaC
🎧 Amazon Music cutt.ly/vevoVsdA RUclips Music cutt.ly/FevoVm3U
🎧 Soundcloud cutt.ly/yevoNNXG
Ludwig Van Beethoven PLAYLIST (reference recordings): ruclips.net/video/etKWIGMgVIU/видео.html
When Beethoven began composing his Concerto No. 1 in C Major, he was teaching piano to young women from noble families to make a living. He dedicated the work to one of these students, Barbara de Keglevics (known as “Babette”), who had recently married Prince Odescalchi. After several revisions and versions, particularly in Vienna and later in Prague-where the composer Tomášek admitted he was so moved that he couldn't touch the piano for several days-the concerto was completed in 1796 and finished the following year. The first performance took place in Prague in 1798, with the composer himself playing the solo part.
In the very long introduction played by the orchestra, the strings present the first theme, a rhythmic one. Taken up by the tutti (the entire orchestra), the theme blossoms, reinforced by the trumpets and timpani, which give it a brilliant and triumphant character. In contrast, the second theme, delicate and accompanied by the discreet beats of the second violins, then appears. The soloist enters soon after, quickly caught up by the famous rhythm of the first theme, which is reiterated by the orchestra. The movement alternates between solos and the dialogue between piano and orchestra. At the end of the movement, the orchestra falls silent, giving way to the piano in what is known as the cadenza. When it ends, the orchestra returns to close the movement with a few strong chords.
The slow movement, in a free form similar to a lied (A B A’ form), is led by a singing melody dominated by the piano. Here, the pianist shows lyrical prowess, while the orchestra accompanies discreetly. The melody becomes enriched with ornaments (the embellishment of the main note with several adjacent notes), and the clarinet (a woodwind instrument) takes over from the piano at times. Calm and serene, this Largo comes to life through dynamic signs and contrasting nuances, which are characteristic of Beethoven's writing.
The final movement is a rondo. The theme, introduced by the piano alone, is rhythmic and energetic, and it returns repeatedly like a refrain. Brilliant, joyful, and dynamic, it becomes even more so when taken up by the tutti. Varied sections are interspersed, alternating between dance-like, playful, melodic, and bouncing with staccato notes and accents. Often syncopated, they destabilize the flow and make it lively. Relentlessly, the rondo theme reappears, and the concerto concludes with a fortissimo tutti in a moment of jubilation.
Mozart's influence is clearly felt in the first two of Beethoven’s five piano concertos. However, Beethoven quickly freed himself from the influence of his predecessors and created his own style. In the last three concertos, for example, the piano and orchestra are almost always of equal importance, while the pianist’s virtuosity is increasingly subordinated to the work as a whole.
Other Album available // Rachmaninoff by Rubinstein: Piano Concerto No.2, Rhapsody on a theme of Paganini
🎧 Qobuz cutt.ly/JevoXMJk Tidal cutt.ly/xevoXcMU
🎧 Deezer cutt.ly/aevoCsv9 Spotify cutt.ly/devoCLaC
🎧 Amazon Music cutt.ly/vevoVsdA RUclips Music cutt.ly/FevoVm3U
🎧 Soundcloud cutt.ly/yevoNNXG
I knew this was going to be a special performance from the opening bars! Maestro Krips and Artur Rubinstein give us one of the best Beethoven First Piano Concertos ever recorded. Everyone here is playing their hearts out! This is the late Arturo Toscanini's NBC Symphony, by the way, renamed 'Symphony of the Air.' No wonder they are so spectacular!
Wonderful and invigorating performance. Beautifully remastered.
Hoomeyow! Beautifully charming and witty performance, beautifully phrased.
Wunderbar ! Danke!
Very unique touch. A special performance
❤
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