František Xaver Chotek Videos
Komponist, Pianist, Pädagoge, Organist
- Klavier, Violine, Orgel
- klassische Musik, liturgische Musik
- Kaisertum Österreich
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2024-05-16
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Beethoven Chotek Clementi 1808 1810 1811 1932
Pianist: Robert Levin Allegro (E♭ major) 00:00 Adagio un poco moto (B major) 19:32 Rondo. Allegro (E♭ major) 26:13 Archduke Rudolph, an excellent pianist and brother of the Austrian emperor, became friendly with Beethoven in 1808, and Beethoven agreed to dedicate the fourth piano concerto to him. It seems likely that Rudolph then commissioned the next concerto, for Beethoven’s sketchbook indicates that he began work on his Piano Concerto No 5 in E flat major, Op 73, almost straight after his performance of No 4. The work was more or less finished by April, but life in Vienna was disrupted in May by a French invasion, with Rudolph departing for the countryside and not returning until the following January. Private performances may have taken place thereafter, once Rudolph had learned the piano part, but the only one known to us took place on 13 January 1811, when Johann Nepomuk Chotek recorded that he had heard Rudolph play ‘an extraordinarily difficult and artful’ new concerto by Beethoven, which must have been this one. A copy of the work had meanwhile been sold to Clementi for publication in London, where it appeared in November 1810. A slightly revised edition was then published by Breitkopf & Härtel in February 1811, thus shortly after Rudolph’s performance, which must have been from a manuscript. The grandiose character of the music has earned the concerto the nickname ‘Emperor’. It begins with three massive chords, each one followed by highly decorative figuration on the piano, before the main orchestral themes are heard in the usual way. The three chords return at the recapitulation, with different but equally ornate figuration on the piano; and as the piano is given so many florid solo passages, a cadenza near the end of the movement would be almost superfluous. Thus Beethoven wrote out just a short one of about twenty bars. Perhaps, too, Rudolph did not trust himself to compose a cadenza that would be adequate for Beethoven’s majestic work. The second movement is in the unusual key of B major, and is a slow, lyrical one with much piano decoration, as in the first three concertos. At the end the music suddenly changes key, and a slow version of the finale theme is heard on the piano. The finale proper then enters without a break, with the theme heard at normal speed. When everything seems to be over, there is a strange passage for piano and timpani alone, before a final flourish brings the music to a thrilling close.
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