Beethoven: Triple Concerto in C Major, Op. 56

On this CD:

1. Concerto for piano, violin, cello, & orchestra in C major ("Triple Concerto"), Op. 56
Composed by Ludwig van Beethoven
Performed by English Chamber Orchestra with Trio de Barcelona
Conducted by Edmon Colomer

2. Piano Trio in C minor, Op. 1/3
Composed by Ludwig van Beethoven
Performed by Trio de Barcelona

Tracks:

Triple Concerto For Violin, Cello & Piano In C, Op. 56: I Allegro
Triple Concerto For Violin, Cello & Piano In C, Op. 56: II Largo
Triple Concerto For Violin, Cello & Piano In C, Op. 56: III Rondo alla polacca
Double Concerto For Violin & Cello In A Minor, Op. 102: I Allegro
Double Concerto For Violin & Cello In A Minor, Op. 102: II Andante
Double Concerto For Violin & Cello In A Minor, Op. 102: III Vivace non troppo

Amazon.com

Among the concertos of Beethoven and Brahms, these two have always been stepchildren. One reason is their extreme difficulty; both composers were pianists, so Beethoven wrote an idiomatic part only for the piano. Brahms's friend Joseph Joachim offered advice for the violin concerto, but not for the Double Concerto, which was written as a peace offering after a falling-out. The Beethoven Triple Concerto demands utmost virtuosity, as well as intimate teamwork among the soloists, and that is exactly what these three supreme masters of their instruments bring to it. Free--indeed unaware--of technical problems, they give it a joyful, sparkling lightness. The piano ripples, the cello sings gorgeously, the violin soars ecstatically, the tone is intoxicatingly beautiful. The Finale is wistful, charming, lyrical, gently humorous; the ending is a big joke, with the cello and piano rumbling in the bass, while the violin whistles forlornly in the dark until they all join together. The Brahms is grand, majestic, dreamy, radiant, triumphant; the slow movement warm as dark velvet, the Finale genial and relaxed. Though the orchestra never covers the soloists, it explodes in the tutti passages, especially in the Beethoven, so you might keep a finger on the volume control. --Edith Eisler

Customer Reviews:

There can't be any better!.......2007-05-17

It is not for the names only.
I think it is a performance as Beethoven probably had in mind.

Wonderful smooth rendition.......2007-04-26

There is something magical about this recording. It is difficult to describe the smooth full sound that this recording presents. I own other recordings of the Brahms and the Beethoven and at first thought it a little extravagent to own another but I am very pleased I bought it.

Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter.......2007-01-18

I knew this recording and I received what I was expecting. Delivery and condition was great. Thanks.

Beethoven? Brahms? Karajan? Oistrakh? Richter? Rostropovich? Szell? On One CD? Talk About Star Power!.......2006-09-09

All those big names wouldn't mean a thing if the performances themselves were throw aways or showed little commitment, but that's hardly the case, this is probably the finest recordings of both works. Karajan and Richter for one had some rocky interpretative relations in their recording of Tchaikovsky's First Piano Concerto on DG. That was not a great record, where both musical giants pull and push to try and get their way. So yes, in some ways this Beethoven Triple Concerto presents even more challenges because there are four minds, four egos pitted together in one piece of music and that's not counting the greatest ego, Beethoven himself! Luckily everyone melds beautifully together, the three Russian masters are at their best, with Rostropovich a stand out and shining brightly. Meanwhile Karajan, the Austrian master conductor gives them his usual, grand, lush orchestral backdrop via the Berlin Philharmonic. This is warm-hearted, generous music-making between four fearsomely talented musicians.

The Brahms Double Concerto is just as fine, now we have the two string instrumentalists side by side. Oistrakh and Rostropovich communicate wonderfully together in this major Brahms piece. Szell backs them up every step of the way with his precise yet passionate conducting of the Cleveland Orchestra. The EMI recording sounds very good too in both works and the price is quite nice. An outstanding bargain.

Glorious.......2006-01-30

The unbroken tradition of Russian string playing is well-represented on this disc. The Double Concerto is especially wonderful, even rapturous. The two players are beautifully meshed, and Szell and the Cleveland sound warm and emotive, which they sometimes did not, on records and "live". The sessions they recorded for EMI (including a wonderful Dvorak Eighth, far surpassing their recoridng for Masterworks), captured something that often was not well projected.

The remastering captures this warmth, with more brightness than my LP copy of the Brahms ever had, at least after the initial playings.

Average customer rating:

I love it!
Famous Beethoven slow movements
Number of discs
I Know Music, and This is Not the Best (by Beethoven Lover)
Not the Best By beethoven Lover

Beethoven for Relaxation

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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The Most Relaxing Classical Album In the World Ever, Volume II

ASIN: B00000I9LZ
Release Date: 1999-03-09

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op.27 No.2, 'Moonlight': Adagio sostenuto
Symphony No. 2 In D, Op.36: II. Larghetto
String Quartet No.13 In B-Flat, Op.130: V. Cavatina: Adagio molto espressivo
Violin Sonata No.5 In F, Op.24, 'Spring': II. Adagio molto espressivo
Fur Elise
Triple Concerto In C, Op.56: II. Largo
Piano Sonata No.8 In C Minor, Op.13, 'Pathetique': II. Adagio cantabile
Fidelo, Act I: Quartet 'Mir ist so wunderbar'
Piano Sonata No. 18 In E-Flat, Op.31, No.3: III. Menuetto: Moderato e grazioso
Serenade In D, Op.8: II. Adagio
Symphony No.6 In F, Op.68, 'Pastoral': II. Scene By The Brook

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27 No. 2, 'Moonlight': I Adagio sostenuto
Symphony No. 2 in D, Op. 36: II Larghetto
String Quartet No. 13 In B-Flat, Op. 130: V Cavatina: Adagio molto espressivo
Violin Sonata No. 5 In F, Op. 24, 'Spring': II Adagio molto espressivo
Fur Elise
Triple Concerto In C, Op. 56: II Largo
Piano Sonata No. 8 in C minor, Op. 13, 'Pathetique': II Adagio cantabile
Fidelio, Act I: Quartet 'Mir ist so wunderbar'
Piano Sonata No. 18 In E-Flat, Op. 31 No. 3: III Menuetto: Moderato e grazioso
Serenade In D, Op. 8: II Adagio
Symphony No. 6 In F, Op. 68, 'Pastoral': II Scene By The Brook

Customer Reviews:

I love it!.......2007-01-21

I've had this CD for about 6 years now and it never gets old. As the title suggests, it's great for relaxing with a good book and a glass of wine. I find myself reaching for this CD whenever I get a migraine. I had always heard that the complexities of Beethoven's music could ease a migraine, or I suppose any headache. I've never been able to find any substantiated proof of this but from my experience the music eases my headaches. Whether it's psychological is still a mystery to me. Fact is, I love this CD and it's never far from me.

Famous Beethoven slow movements.......2006-01-15

The real Beethoven would probably be irritated with compilation CD's like this that "cherry picks" a variety of slow movements from various works he composed. But, the average listener today will see it as a great way to get to know his music and enjoy an hour of more serene music - less Beethoven's more intense movements. The variery here is broad: solo piano, violin + piano, string quartet and full orchestra symphonies and concertos. The dreamy solo-piano pieces are some of Beethoven's most beloved and alluring slow movements that vaulted him to fame. While these and the chamber music tend to be more "relaxing," the latter orchestral pieces especially contain shifts in tempo, dynamic range and emotion that some might not find so relaxing. After all, this is Beethoven with a full orchestra and not Bach or the Baroque.

But, all is not lost if you are looking for a collection of serene, lyrical music composed by the great Beethoven. There actually is a CD that features some of Beethoven's most endearing and melodic adagios and largos: "Beethoven for Book Lovers" (Philips label). This CD is mostly comprised of the nicest slow movements from Beethoven's ten violin sonatas (violin + piano) played by the legendary David Oistrakh - a violinist with one of the most gentle and beautiful tone ever recorded. Fortunately for those wanting uninterupted peacefulness, there are only a couple of those typical "Beethoven outbursts" in this CD (very brief though). But, overall, the flow and tone of the entire CD is truly relaxing, enchanting and not distracting. All of these works reveal the gentle side of Beethoven and his surprizing ability (for such a fiery composer) to write music of such poinant and tenderhearted emotional appeal. Also, the "Chopin for Relaxation" is one of the better ones in this series and features some of Chopin's slower, more serene solo-piano music and the ever-so lovely middle movements from his two legendary piano concertos.

Number of discs.......2005-03-16

The ad above shows 2 discs with the same track names... this item has only 1 disc with 11 tracks (names as shown above).

I Know Music, and This is Not the Best (by Beethoven Lover).......2005-02-21

Ok, I'll admit, this is a pretty good album, but it lacks the feeling of Beethoven. Its songs don't sound like Beethoven is playing, and its not too relaxing. It deserves three stars because of this lack of the great Beethoven himself. Sure, the songs are pretty, but I'd buy a different album if I was you.

Not the Best By beethoven Lover.......2005-02-20

not completely a delight...shows little Beethoven in it all, deserves only about two or three stars.

Classical Masterpieces of the Millennium [20 CD Set]

Average customer rating:

Mill. Classical review
classical music for the unitiated
Some little gems there that I had forgotten!
A very helpful collection
Excellent!

Classical Masterpieces of the Millennium [20 CD Set]

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000K1C9
Release Date: 1999-08-24

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

Beethoven - Triple Concerto ~ Choral Fantasy / Perlman, Yo-Yo Ma, Berliner Phil., Barenboim

Average customer rating:

A First-Rate Triple Concerto and Choral Fantasy!
It's o.k.
A vigorous Triple Concerto knocking at the door of the greats
Great
Exciting Performance

Beethoven - Triple Concerto ~ Choral Fantasy / Perlman, Yo-Yo Ma, Berliner Phil., Barenboim
Ludwig van Beethoven , Berliner Philharmoniker , Chor der Deutschen Staatsoper , Daniel Barenboim , Ernst Stoy , Itzhak Perlman , Yo-Yo Ma , Par Lindskog , Rene Pape , Endrik Wottrich , and Andrea Bonig
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Brahms: Double Concerto / Mendelssohn: Violin Concerto
Beethoven - Choral Fantasy and Triple Concerto for Violin, Cello & Piano / Barenboim, Ma, Perlman
Beethoven: Concerto for violin in D
Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Mendelssohn: Violin Concerto in E minor; Bruch: Violin Concerto #1; Itzhak Perlman

ASIN: B000002RVN
Release Date: 1995-11-21

Tracks:

Triple Concerto: I. Allegro
Triple Concerto: II. Largo
Triple Concerto: III. Rondo alla polacca
Choral Fantasy: Adagio -
Choral Fantasy: Finale: Allegro - Meno allegro -
Choral Fantasy: Allegro Molto -
Choral Fantasy: Adagio, ma no troppo -
Choral Fantasy: Marcia, assai vivace - Allegro -
Choral Fantasy: Allegretto, ma non troppo (quasi andante con moto) - Presto

Customer Reviews:

A First-Rate Triple Concerto and Choral Fantasy!.......2007-03-28

Though many others have reviewed this CD, I'd like to offer a few remarks from my own perspective. In particular, I want to focus on the Choral Fantasy, because I've recently been comparing my recordings of it to see which, to my ears at least, are the most satisfying.

First, though, a few words about the Triple Concerto. It is easy to see why most reviewers have principally addressed this work. It is a remarkably fine piece of music, impressively and beautifully performed by some of the most talented and celebrated artists of our age. It is hard to speak of Perlman, Ma, or Barenboim in anything but superlatives, and that holds true for the Berlin Philharmonic, as well. The recorded sound is outstanding: vibrant, clear, well-balanced, full-dimensioned, and sensuous. And if the rigorous control of a studio recording is given up in this live concert performance, it seems more than compensated for by the contagious enthusiasm of an admiring audience. The applause at the end is fitting and adds a touch of realism to the recorded experience. (It has to be conceded, though, that no actual seat in the house could offer the closeup detail which the recording engineers, with their skilled use of microphones and mixers, provide us.)

In sum, the Triple Concerto is most handsomely served here. The effect is almost that of a chamber trio with orchestral accompaniment, and like good chamber music players, the three soloists take care not to step on each other's lines, assuming the lead when appropriate and yielding up the spotlight when their turn is over. (Obviously the three, in addition to their solo performances, have had substantial experience playing chamber music.)

As to the Choral Fantasy, in my opinion we have here one of the very best available recordings. In addition to being a top musical artist in general and an extraordinary pianist in particular, Barenboim is also one of the leading Beethoven interpreters of the day. For its part, the venerable Berlin Philharmonic has, from the time of Nikisch, imposed a soloist level of performing artistry upon each of its members, and, since the days of Furtwaengler, developed a special relationship with the music of Beethoven. (The vocal soloists and chorus live up to this standard, as well.) Add to this interpretive authority and performing excellence the high caliber of EMI sound engineering, and you're almost guaranteed a brilliant result.

The composition itself is well thought out and full of excellent writing, the product of mature genius. Though its debut in 1808 was something of a catastrophe, owing to last-minute completion and consequent lack of adequate rehearsal (Beethoven's piano part had not yet even been written out), it was all very carefully re-worked before its publication in 1810. Formally the piece has two movements: Adagio and Finale, but there are altogether seven segments with various tempo and style indications. Lasting about 20 minutes altogether, the piece begins with a 4-minute piano introduction and ends with about 4 minutes of combined chorus, orchestra and piano. The intervening 12 minutes or so constitute a dialogue between solo piano and orchestra.

The Fantasy is perhaps unique among Beethoven's works in its obvious emphasis upon unabashed showmanship. It was, from the beginning, intended as a brilliant finale to a long evening of Beethoven's music--both his compositions and his personal performance at the keyboard (and his conducting, too). And though the work has been criticized for its "oddball" format and its presumed artistic shallowness, the fact is that the music has survived for 199 years and shows no signs of being abandoned any time soon. Indeed, it remains a great source of musical excitement and enjoyment, and a favorite of such musical greats as Rudolf Serkin and Daniel Barenboim, both of whom have recorded it multiple times.

In choosing my favorite recordings I have kept in mind the showpiece character of the music, and its growing excitement and brilliance as it comes to a close. Two features in particular add special drama to the coda: the strategically repeated rising scales of triplet thirds with octaves played by the piano and sounding like fireworks blasting off into the sky; and the sudden powerful interjection of a foreign E-flat major chord as the chorus repeats the word "Kraft" (power) and then triumphantly forces its resolution back to a grand C major. When these features are well executed the piece takes on an excitement which drives almost inexorably toward an exultantly satisfying ending.

In this recording both features come off pretty well, although the rising piano scales could be better spotlighted and could be more crisply articulated. The E-flat chord is properly strong and grows in intensity as it presses forward to its C major resolution. So I'd give this performance about 1.6 out of 2 on this issue.

By way of comparison, the old Walter Klien performance with the St. Louis Symphony conducted by Jerzy Semkow (a Vox disk no longer in print) gets the full two points: Klien plays the scales with an almost trip-hammer articulation which seizes the ear with its dramatic intensity. The E-flat chord and its resolution are likewise given the powerful treatment which adds so much to the brilliance of the ending. (The Klien disk, though recorded in the 1960s, holds up well on all counts and sounds very good indeed!)

A third fine performance is that of Pierre-Laurent Aimard playing with the Chamber Orchestra of Europe conducted by Nikolaus Harnoncourt on the Warner Classics label. Aimard's playing is big, powerful, and virtuosic, and the orchestra and chorus (Arnold Schoenberg Chor) are equally fine. On the two features cited above, this recording gets about 1.6 points: the piano scales are crisply articulated, nearly as electrifying as Klien's, but a bit less prominently highlighted. The E-flat chord is strong enough, and the following C major chord is, as well, but there is no growth in intensity as the chord is driven toward its resolution. (To be sure, Beethoven does not indicate a crescendo on the E-flat chord, but instinct suggests that it should be there, and most conductors seem to call for it.) With the above proviso, I still find this recording to be very satisfying overall, leaving little to be desired, with very fine sound and excellent playing.

No discussion of the Choral Fantasy could be complete without mentioning Rudolf Serkin, who harbored a special fondness for it and liked to play it as the closing piece on the final concert of each season of the Marlboro Festival, a rousing ending to the summer's musical activities. Of my two Serkin recordings--one at Marlboro on Sony and the other on Telarc--I prefer the latter, which is recorded (not live) with the Boston Symphony under Seiji Ozawa. Although he was 79 at the time of the recording (in 1982) Serkin shows few pianistic deficiencies, and offers up a fully satisfying performance, as do the orchestra and the Tanglewood Festival chorus. On the two showmanship features mentioned above, this recording scores about 1.6, as well. The piano scales are smoothly played and quite well highlighted, but are not so crisply articulated as they might be; the E-flat chord, however, swells very powerfully to its grand resolution. This is thus a very fine recording, with the special quality of the piece's personal relationship to Serkin. The sound is very good, without audience noise, and, in keeping with Telarc's philosophy, the engineers employ only a single stereo pair of microphones and eschew any compression, limiting, or equalization. This results in a quite realistic reconstruction of what one might actually hear in the concert hall, but gives up the ability to focus in on the soloist or a particular section of the orchestra or chorus. (If you can find the out-of-print 1962 recording with the NY Philharmonic under Bernstein, it is worth having: here the 59-year-old Serkin attacks the Fantasy with daredevil elan, playing the opening piano solo in under 3 minutes! Though a finger may occasionally go slightly amiss in all this enthusiasm, the bravura of it all really grabs you. And Bernstein, himself a talented pianist, provides excellent direction.)

Two Choral Fantasy recordings which I don't personally prefer are (1) the 1977 Philips disk of Alfred Brendel with the London Philharmonic Orchestra & Choir under Bernard Haitink and (2) the Newport Classics disk with Anthony Newman and Philomusica Antiqua, London, under Stephen Simon. The first of these seems to me quite lackluster overall, with not particularly inspired performances by soloist, choir, or orchestra and less than brilliant conducting by Mr. Haitink. The second may be great for purists or fans of period re-creations, but I find the old pianoforte's sound too dry and tinkly for ears accustomed to modern Steinways or Boesendorfers. (And I'm convinced that if Beethoven had access to a modern piano, with its superior power, expressiveness, richness of tone, and sustaining ability, he would have abandoned the pianoforte entirely.)

In summary, as to the Choral Fantasy, the Barenboim/Berlin is an excellent recording, with authoritative performances and especially satisfying sound quality. It clearly merits 5 stars. For an older, but very fine and exciting performance, seek out the Klien/St. Louis version (which will likely be a used copy). The Aimard/Chamber Orchestra of Europe recording features both excellent sound and very fine performances, as does the Serkin/Boston version, with a less closely focussed sound perspective.

The Triple Concerto on this Perlman/Ma/Barenboim/Berlin disk is outstanding and merits 5 stars, as well.

It's o.k........2006-12-29

These are all very talented musicians but something here is missing: the ensemble does not play with one voice.

A vigorous Triple Concerto knocking at the door of the greats.......2006-06-16

In 1969, when Richter, Oistrakh, and Rostropovich made their only commercial recording together, it was of Beethoven's Triple Cncerto, and the results became legendary for power, eloquence, and drama. As with Carlos Kleiber's Bethoven Fifth, it became hard to hear new recoridngs without keeping this great one in the back of your mind. Since Barenboim is conducting the same Berlin Phil. on the same EMI label, the comparison is inevitable.

Thirty some years on, the orchestra doesn't have the richness and depth of Karajan's BPO, but it still sounds very good, and Barenboim does a credible job of conducitng from the keyboard. The three soloists are also top-notch in eery movement. Yo-Yo Ma prefers a slender, elegant tone in this work compared to the tremendous Rostropovich, and Perlman doesn't attack with the total authority of Oistrakh. Barneboim, however, has a heroic view of the piano part, as did Richter, and he's the engine that keeps this performance going.

Despite a cool opening, and a disappointing entrance by Ma, who doesn't sail into the main theme with enough passion, the performance builds as it goes along. By the middle of the first movement we get real thrills--ideally, the three soloists should be pushing each other out of the way to get our attention. Here they don't quite, but Barenboim keeps up the intensity nicely.

Some listeners may see the Triple Concerto in unheroic terms, in which case there are readings led by Fricsay on DG and the Argerich-Capucon-Maisky live performance on EMI. Barenboim's(also live) is larger in scale, although I regret that the slow movement isn't quite ardent enough. Because the cello introduces all three movements, Ma's low-key playing sets the tone. He starts the finale off on tip-toe, but once again Barenboim manages to bring us back into Beethoven's world. All in all, this new performance knocks on the door of the great one.

The filler is the Choral Fantasy, which Barenboim recorded as a young man with the aging Otto Klmeperer. His new version is unique, so far as I know, in being conducted from the keyboard. As a pianist, Barenboim had a moe exuberant style in the past, but he's a bit more reserved here. The reading overall doesn't touch the galvanic excitement of Serkin/Bernstein on Sony, but with gorgeous orchestral playing, Barenboim's confidence as pianist, and an excellent chorus for the joyful ending, this Choral Fantasy ranks just a notch below the Triple Concerto.

Great.......2004-03-30

Although the Triple Concerto is not one of Beethoven's most inspired compositions, it is indeed thrilling when played well. Perlman, Ma, and Berenboim certainly give a convincing performance of this work. They collaborate well together, and the energy they create in this piece is electrifying. The Berlin Philharmonic also gives a wonderful accompaniment to the three soloists. This is indeed one of the best Triple Concertos. The companion piece, the all too underappreciated Choral Fantasy, is also wonderfully executed by Barenboim, the philharmonic, and the chorus. I highly recommend this CD.

Exciting Performance.......2003-08-21

Barenboim definitely knows his Beethoven, Ma's performance on this disc puts his Mutter-Ma-Zeltser-Karajan version (DG) in the shade, and who can go wrong with Perlman? The Triple Concerto sounded like a perfect piano trio with superb accompaniment from the Berlin Philharmonic. The concerto's tempos were rather quick for my taste (I tend to like my Beethoven on the slower side) but the performance's cohesiveness won the day in my book.

Tracks:

Adagio For Strings
In A Landscape
Ogive Number 1
Cavalleria Rusticana: Intermezzo
Pavane Pour Une Infante Defunte
L'Inverno
Triple Concerto
Largo From Xerxes
Piece In Old Style I
Piece In Old Style III
Opus 132

Tracks:

Adagio For Strings: Ferry Corsten Remix
Adagio For Strings: ATB Remix

Amazon.com

William Orbit's Pieces in a Modern Style is an ambient album that rejigs 11 works by classical composers in a particularly tacky fashion. Even though Orbit has proved his mettle as an innovative and exciting producer for others--Blur's 13 and Madonna's Ray of Light--this is an ungainly meeting of the sublime and the absurd that, frankly, doesn't work. Samuel Barber's "Adagio for Strings," Ludwig van Beethoven's "Triple Concerto," Henryk Gorecki's "Piece in the Old Style I," and Antonio Vivaldi's "L'Inverno" are four that unfortunately meet their maker in a crude pileup of flat, belching synths and wallpaper flourishes. If he had combined live instrumentation with a playful reverence for the arcane glories of the past, perhaps he could have managed to make reality out of that most elusive of notions: experimental music that actually sells. However, Orbit fails to do anything more than resemble a second-rate Vangelis. --Maxine Kabuubi

Customer Reviews:

Outstanding. A classic........2007-06-06

I have been working in electronic music for almost 20 years years. I have a massive library of music for almost any reason, mood and itch. Tonight, I am taking the five minutes to stop and write how unique, amazing and consistently refreshing this album is everytime I go back to it since the day it was released.

Highly Melodic, very electronic and overall lacking the percussive elements most have come to know when listening to Orbit.

Much more sophisticated than the average listener might appreciate.Consider it a staple for anyone serious about electronic music.

I believe anyone rating this poorly is looking for a pop appeal that you just won't find here, thankfully.

Pay not attention to the crab behind the curtain.......2006-06-22

I don't know who Maxine Kubabi is. She's certainly untitled to her opinion. An "ungainly meeting of the sublime and the absurd?" What a sublimely empty and inadequate statement.

You have to know something about a genre before you can be an effective critic inside it. You should be able to specify why you don't like something in some detail, rather than resort to crabby nebulousities ... that's greasy kid stuff.

What Orbit has done is to realize some old, familiar works in an electronic medium, using smooth and musical strokes. He's taken many big chances. Some of them worked out well, others not as well as one might hope. But he deserves kudos for taking a risk and for making some of it work.

Why would anyone who *likes* electronic music complain that it doesn't have live instrumentation? That's like complaining that jazz has no rock and roll in it. "Reverence"? "Second rate Vangelis"? so: you were disappointed that Orbit didn't create more of the kind of schmaltz you personally like. Yanni, anyone?

For those who actually like electronic music, and like Beethoven's Opus 132, please, give that track a listen. I don't think you'll be disappointed.

This is incredible. Arrogant but incredible.......2006-05-26

I have been a fan William Orbit since Water from a vine leaf and I have to admit while this ins't exactly a electronica per se it is still amazing to see what he has done with our classics. The listening experience depends solely on the listener. More ambient than anything else I have heard though.

Recommended for William orbit and curious georges

not a rave.......2006-02-04

If you're looking for something to pop in late at night to dance to...this is not the album. This album is eery and some of it is painful. It's not full of upbeat electronics like originally thought it would be. But, I love it. It's great to listen to while just thinking...relaxing...reading...it's beautiful.

Pieces in a peaceful style........2005-11-28

Being a fan of ambient and electronica for some time, I decided to give this a try. I can understand how some may simply hear this as a cheesy reworking of the classics, just a man and his keyboard, but it's really much deeper than that if you just sit and listen. I suggest not comparing to the originals as much as enjoying what these pieces are themselves. A few tracks do lag, and there are quiet spots, but as a whole I find "Pieces In A Modern Style" to be almost hypnotic, and as I said in my review title, rather peaceful. The tracks I prefer the most are "Adiago For Strings", "Cavalleria Rusticana: Intermezzo", "L'Inverno", and the music-box sounding "Triple Concerto". However the others are fine as well. I say, if you think you might like this, you probably will. It's well worth the used price if nothing else.

Beethoven: The Complete Piano Sonatas & Concertos

Average customer rating:

The one collection I cannot imagine being without
MASTERY
Magisterial... mystical
Beethoven + Arrau = Divinity
Beethoven himself would be proud.

Beethoven: The Complete Piano Sonatas & Concertos
Claudio Arrau , Janos Starker , Ludwig van Beethoven , Bernard Haitink , Eliahu Inbal , Concertgebouw Orchestra Amsterdam , New Philharmonia Orchestra , and Henryk Szeryng
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Liszt: Piano Works
Chopin: The Piano Works
Schubert: The Piano Sonatas
Brahms: Works for Solo Piano
Bach: Well-Tempered Clavier

ASIN: B00000C2F7
Release Date: 1999-11-09

Tracks:

Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 1 Allegro
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 2. Adagio
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 3. Menuetto. Allegretto
Piano Sonata No. 1 In F Minor, Op. 2 No. 1: 4. Prestissimo
Piano Sonata No. 2 In A, Op. 2 No. 2: 1. Allegro vivace
Piano Sonata No. 2 In A, Op. 2 No. 2: 2. Largo appassionato
Piano Sonata No. 2 In A, Op. 2 No. 2: 3. Scherzo. Allegretto
Piano Sonata No. 2 In A, Op. 2 No. 2: 4. Rondo. Grazioso
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 1. Allegro molto e con brio
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 2. Adagio molto
Piano Sonata No. 5 In C Minor, Op. 10 No. 1: 3. Finale. Prestissimo
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 1. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: 2. Rondo. Allegro

Tracks:

Piano Sonata No.3 In C, Op.2 No.3: 1. Allegro con brio
Piano Sonata No.3 In C, Op.2 No.3: 2. Adagio
Piano Sonata No.3 In C, Op.2 No.3: 3. Scherzo. Allegro
Piano Sonata No.3 In C, Op.2 No.3: 4. Allegro assai
Piano Sonata No.4 In E Flat, Op.7: 1. Allegro molto e con brio
Piano Sonata No.4 In E Flat, Op.7: 2. Largo, con gran espressione
Piano Sonata No.4 In E Flat, Op.7: 3. Allegro
Piano Sonata No.4 In E Flat, Op.7: 4. Rondo. Poco allegretto e grazioso
6 Piano Veriations In F On An Original Theme, Op.34

Tracks:

Piano Sonata No.6 In F, Op.10 No.2: 1. Allegro
Piano Sonata No.6 In F, Op.10 No.2: 2. Allegretto
Piano Sonata No.6 In F, Op.10 No.2: 3. Presto
Piano Sonata No.7 In D, Op.10 No.3: 1. Presto
Piano Sonata No.7 In D, Op.10 No.3: 2. Largo e mesto
Piano Sonata No.7 In D, Op.10 No.3: 3. Menuetto. Allegro
Piano Sonata No.7 In D, Op.10 No.3: 4. Rondo. Allegro
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 1. Grave - Allegro di molto e con brio
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 2. Adagio cantabile
Piano Sonata No.8 in C minor, Op.13 'Pathetique': 3. Rondo. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 1. Allegro
Piano Sonata No.9 In E, Op.14 No.2: 2. Allegretto
Piano Sonata No.9 In E, Op.14 No.2: 3. Rondo. Allegro comodo

Tracks:

Piano Sonata No.10 In G, Op.14 No.2: 1. Allegro
Piano Sonata No.10 In G, Op.14 No.2: 2. Andante
Piano Sonata No.10 In G, Op.14 No.2: 3. Scherzo. Allegro assai
Piano Sonata No.11 In B Falt, Op.22: 1. Allegro con brio
Piano Sonata No.11 In B Falt, Op.22: 2. Adagio con molta espressione
Piano Sonata No.11 In B Falt, Op.22: 3. Minuetto
Piano Sonata No.11 In B Falt, Op.22: 4. Rondo. Allegretto
Piano Sonata No.12 In A Flat, Op.26: 1. Andante con Variazioni
Piano Sonata No.12 In A Flat, Op.26: 2. Scherzo. Allegro molto
Piano Sonata No.12 In A Flat, Op.26: 3. Marcia Funebre sulla morte d'un Eroe
Piano Sonata No.12 In A Flat, Op.26: 4. Allegro
Piano Sonata No.25 In G, Op.79: 1. Presto alla tedesca
Piano Sonata No.25 In G, Op.79: 2. Andante
Piano Sonata No.25 In G, Op.79: 3. Vivace

Tracks:

Piano Sonata No.13 In E Flat, Op.27 No.1: 1. Andante - Allegro - Tempo I
Piano Sonata No.13 In E Flat, Op.27 No.1: 2. Allegro molto e vivace
Piano Sonata No.13 In E Flat, Op.27 No.1: 3. Adagio con espressione
Piano Sonata No.13 In E Flat, Op.27 No.1: 4. Allegro vivace - Tempo I - Presto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 1. Adagio sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 2. Allegrettro
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': 3. Presto agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': 1. Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': 2. Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': 3. Scherzo. Allegro vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': 4. Rondo. Allegro ma non troppo
Piano Sonata No. 22 In F, Op.54: 1. In Tempo d'un Menuetto
Piano Sonata No. 22 In F, Op.54: 2. Allegretto

Tracks:

Piano Sonata No.16 In G, Op.31 No.1: 1. Allegro vivace
Piano Sonata No.16 In G, Op.31 No.1: 2. Adagio grazioso
Piano Sonata No.16 In G, Op.31 No.1: 3. Rondo. Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 1. Largo - Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 2. Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'Tempest': 3. Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: 1. Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: 2. Scherzo. Alllegretto vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: 3. Menuetto. Moderato e grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: 4. Presto con fuoco

Tracks:

Piano Sonata No.21 In C, Op.53 'Waldstein': 1. Allegro con brio
Piano Sonata No.21 In C, Op.53 'Waldstein': 2. Introduzione. Adagio molto - Rondo. Allegretto moderato - Prestissimo
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Inroduzione col Basso del Tema. Allegretto vivace
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Variazioni I-XV
15 Piano Variations And Fugue In E Flat, Op.35 'Eroica' Variations: Finale. Alla Fuga. Allegro con brio - Andante con moto
32 Piano Variations In C Minor On An Original Theme, WoO 80
Rondo In G, Op.51 No.2

Tracks:

Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 1. Allegro assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 2. Andante con moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': 3. Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 1. Adagio cantabile - Allegro ma non troppo
Piano Sonata No.24 In F Sharp, Op.78 'For Therese': 2. Allegro vivace
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 1. Das Lebewohl. Adagio - Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 2. Abwesenheit. Andante espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les adieux': 3. Das Wiedersehn. Vivacissimamente
Piano Sonata No.27 In E Minor, Op.90: 1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: 2. Nicht zu geschwind und sehr singbar vorgetragen
Piano Sonata No.20 In G, Op.49 No.2: 1. Allegro, ma non troppo
Piano Sonata No.20 In G, Op.49 No.2: 2. Tempo di Menuetto

Tracks:

Piano Sonata No.28 In A, Op.101: 1. Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
Piano Sonata No.28 In A, Op.101: 2. Lebhaft. Marschmassig. Vivace alla Marcia
Piano Sonata No.28 In A, Op.101: 3. Langsam, und sehnsuchtsvoll. Adagio, ma non troppo, con affetto
Piano Sonata No.28 In A, Op.101: 4. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 1. Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 2 Scherzo. Assai vivace - Presto - Prestissimo - Tempo I
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 3. Adagio sostenuto. Appassionato e con molto sentimento
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': 4. Largo - Allegro risoluto

Tracks:

Piano Sonata No.30 In E, Op.109: 1. Vivave, ma non troppo - Adagio espressivo - Tempo I -2. Prestissimo
Piano Sonata No.30 In E, Op.109: 3. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
Piano Sonata No.31 In A Flat, Op.110: 1. Moderato cantabile molto espressivo
Piano Sonata No.31 In A Flat, Op.110: 2. Allegro molto
Piano Sonata No.31 In A Flat, Op.110: 3. Adagio ma non troppo
Piano Sonata No.31 In A Flat, Op.110: 4. Fuga. Allegro ma non troppo
Piano Sonata No.32 In C Minor, Op111: 1. Maestoso - Allegro con brio ed appassionato
Piano Sonata No.32 In C Minor, Op111: 2. Arietta. Adagio molto semplice e cantabile

Tracks:

33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Tema : Vivace - Variation I. Alla marcia maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation II Poco allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation III L'istesso tempo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IV Un poco piu vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation V Allegro vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VI Allegro ma non troppo e serioso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VII Un poco piu allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation VIII Poco vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation IX Allegro pesante e risoluto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation X Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XI Allegretto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XII Un poco piu moto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIV Grave e maestoso
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XV Presto scherzando
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVI Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVII
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XVIII Poco moderato
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XIX Presto
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XX Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXI Allegro con brio - Meno allegro - Tempo I - Meno allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXII Allegro molto alla 'Notte giorno faricar' di Mozart
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIII Allegro assai
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIV Fughetta. Andante
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXV Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVI
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVII Vivace
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXVIII Allegro
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXIX Adagio ma non troppo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXX Andante sempre cantabile
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXI Largo, molto espressivo
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXII Fuga. Allegro - Poco adagio
33 Piano Variations In C On A Waltz By Anton Diabelli, Op.120: Variation XXXIII Tempo di minuetto moderato

Tracks:

Piano Concerto No.1 In C, Op. 15: 1. Allegro con brio
Piano Concerto No.1 In C, Op. 15: 2. Largo
Piano Concerto No.1 In C, Op. 15: 3. Rondo. Allegro scherzando
Piano Concerto No.2 In B Flat, Op.19: 1. Allegro con brio
Piano Concerto No.2 In B Flat, Op.19: 2. Adagio
Piano Concerto No.2 In B Flat, Op.19: 3. Rondo. Molto allegro

Tracks:

Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
Piano Concerto No.3 in C minor, Op.37: 2. Largo
Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro
Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
Piano Concerto No.4 In G, Op.58: 2. Andante con moto
Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace

Tracks:

Piano Concerto No.5 In E Flat, Op.73 'Emperor': 1. Allegro
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 2. Adagio un poco mosso
Piano Concerto No.5 In E Flat, Op.73 'Emperor': 3. Rondo. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 1. Allegro
Triple Concerto For Piano, Violin And Cello In C, Op.56: 2. Largo
Triple Concerto For Piano, Violin And Cello In C, Op.56: 3. Rondo alla Polacca

Amazon.com

Claudio Arrau played with seriousness of purpose that could make other pianists seem like dilettantes and with respect for the composer's score that bordered on veneration. He had nothing but scorn for pianists who played the opening of Beethoven's Opus 111 with two hands instead of one because there were fewer risks. If something was technically difficult, Arrau assumed that the composer had written it that way because the difficulties had an expressive value that it was the interpreter's duty to find.

Arrau's devotion to Beethoven is memorialized by this budget-priced, 14-CD collection of his recordings, mostly from the 1960s, of the composer's 32 sonatas, five concertos (with Bernard Haitink conducting the Concertgebouw Orchestra of Amsterdam), and most important sets of variations. His Beethoven is not always successful. His sometimes ponderous seriousness keeps early works, such as the Sonata No. 3 and the Concerto No. 2, from smiling, and his lack of spontaneity makes the whimsy in Sonata No. 26 and the "Diabelli Variations" sound labored. But in the composer's weightiest works, Arrau can produce revelations. Certainly, no one plays Sonata No. 32 better. The first movement sounds like thunder that comes ever closer and the finale's chains of trills, played with exquisite finish and expressive perfection, transport the listener to a higher realm. If Arrau could be single-minded in his devotion to the composer's score, he also believed that music could encompass everything. When Arrau was at his best--as he frequently is in this set--it does. --Stephen Wigler

Customer Reviews:

The one collection I cannot imagine being without.......2007-01-30

It would be absurd to recommend recommending one Beethoven cycle to the exclusion of all others, yet it is Arrau's cycle to which I repeatedly return, despite some flaws mentioned by other reviewers.

They are flaws which can be forgiven. Scherzi which would be brimming with mirth & vitality in the hands of others may come up short, but it is more than compensated for by the revelations to be found as Arrau explores every aspect of Beethoven at his most profound. There always seems to be something new to be discovered. Flabby? It is hard to imagine how someone could come to this conclusion.

Even the sound quality for recordings dating back into the 1960's has been remastered so as to be acceptable to all but the most spoiled of listeners, who apparently are satisfied only with the most seamless homogenized studio sound. Those who can't get past the slightly imperfect sound quality are focusing on the wrong details.

If the greatness of the performance were not enough, the price should be enough to convince any serious music lover to add these to a CD collection. One cannot overstate how rewarding this collection will be to anyone who does not yet know the artistry of Arrau.

MASTERY.......2007-01-26

One man's viewpoint: Arrau amazes me as he sets the notes down with such clean deliberation! Total command. No matter how fast Beethoven is charging along. And as Arrau gets every note, we find the real Beethoven genius shining through - after all, as raw material, this is some of the finest piano music anywhere. Of course, this playing delivers passion and heart-and-soul communication too. And a sense of commitment and strength.
I suggest this set - with about nine stars! Mastery in art. *** For a lighter, more joyful touch - and great tone - ALSO get hold of O'Conor's set of the 32. I suggest this set - with about nine stars!

Magisterial... mystical.......2006-11-03

I've been listening to Beethoven's sonatas for fifty years and have heard all of them by some, and some of them by all the available recorded performers. Overall, Claudio Arrau is my favorite interpreter of the sonatas. To me he has an inner affinity with Beethoven that is uncanny. Beethoven was a man of great character. And that greatness, detached from his person in the form of musical ideas, enters the listener through intermediaries such as Arrau. When it is done right, it works a sort of righteous therapy, and makes the listener a better person for the hearing.

Arrau describes Beethoven's greatness in his essay "Thoughts on Beethoven" in the 33 1/3 Philips LP edition. "Beethoven has always stood for the spirit of man victorious. His message of endless stuggle concluding in the victory of renewal and spiritual rebirth...his life was an existential fight for survival...In the sense that he mastered both his life and his art to reach the ultimate heights of creation and transfiguration, he will last as long as man's spirit to prevail lasts on this earth." Part of the greatness of Beethoven's character came from his ability to be intimately close and at the same time at an infinite distance above his listener. Arrau possesses this same character, and his qualities as a man and artist are why he is able to so aptly render the greatness of Beethoven.

A book titled "Conversations with Arrau" was written by Joseph Horowitz to celebrate the artists's 80th birthday in 1982. I've only read the extracts published with the Philips edition, but there is enough information to get a feel for Arrau's character. He guarded the purity of his environment. He shunned parties and avoided small talk. He never drank or smoked, never learned to drive a car, boil an egg, or even operate a phonograph. His only hobby was gardening. Horowitz describes him as the embodiment of the nineteenth-century model of the artist as solitary, suffering hero. He was small (5'6") and frail, but in 1982 at age 80 he was still playing more that 70 concerts a season.

Rather than launch a discussion of his individual works (this has been done admirably by many of the reviewers) I will remark on just a few. I never properly appreciated the Fourth and the Seventh Sonatas until I heard Arrau's reading of these works. His Fourth takes 31 minutes, 30 seconds. Annie Fischer, another great interpreter of Beethoven, plays it in 27 minutes, 30 seconds. And Ms. Fischer does not play at a hurried tempo.

Yes, Arrau plays the sonatas at a slower tempo than any other interpreter. He also achieves a mystical quality in his interpretations that is unmatched. The second movement of the Seventh comes in at 10 min, 30 seconds. It is the greatest 10 1/2 minutes of piano music ever conceived. When interpreted by Arrau it becomes a microcosm of Beethoven's life and work. The second movement of the Appassionata is a sacred hymn.

Arrau's five piano concertos are splendid. I've heard no other renditions of the concertos with slow movements that equal Arrau's. No one plays the middle movements with his expressiveness and sense of the numinous. And his rendition of the "Eroica Variations" is on a par with the top few recordings of this piece.

If you have any interest in Beethoven, at whatever level, this bargain is outstanding.

Beethoven + Arrau = Divinity.......2006-10-29

If you love Beethoven, Arrau's interpretation will certainly be a joyful addition to your classical music collection. For me, his is the definitive Beethoven.

Though some will likely disagree, I have listened to many other great pianists' recordings of Beethoven sonatas, and they are great (don't get me wrong). Yet Arrau is unique in his ability to bring to light subtleties in the melodies that no one else can, and these often turn out to be the most enlightening and resonant of passages. His Op. 111 is indeed unparalleled, and his recording of the 2nd movement is one of my favorite pieces in the world. On top of that, his rendition of the Moonlight Sonata, his Waldstein, his Concertos, every recording on this boxed set is a testament to the depth Arrau worked diligently and consciously to achieve; depth that transcends technical showmanship and for the intuitive listener can certainly elicit fleeting glimpses of divine ecstasy.

At any price, it's a steal - beauty of this magnitude is all too rare.

Beethoven himself would be proud........2006-06-19

This is a masterpiece. Don't listen to the one negative review, as this guy is tone deaf. This compilation of Beethoven's music is a treasure to behold. A bargain at twice the price, this is well worth the money. Excellent! Excellent! Excellent!

Beethoven: Triple Concerto; Egmont, Coriolan, Fidelio Overtures

Average customer rating:

A delightful, fresh Triple Concerto
Beethoven triple concerto
Michael Keyes Review is incorrect
Beethoven TripleConcerto
Triple Concerto.....Mutter? Yo-Yo Ma? Perfect!

Beethoven: Triple Concerto; Egmont, Coriolan, Fidelio Overtures

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Beethoven: Violinkonzert
Beethoven: Overtures
Mozart: Violin Concertos Nos. 1, 2 & 4; Adagio in E
Tchaikovsky: Concerto For Violin And Orchestra In D
Jean Sibelius: Violinkonzert/Serenaden/Humoreske

ASIN: B000001G63
Release Date: 1990-10-25

Tracks:

Concerto For Piano, Violin, Cello And Orchestra In C Major, Op.56: Allegro
Concerto For Piano, Violin, Cello And Orchestra In C Major, Op.56: Latgo - attacca:
Concerto For Piano, Violin, Cello And Orchestra In C Major, Op.56: Rondo alla Polacca
Egmont, Op.84: Sostenuto, ma non troppo - Allegro
Coriolan, Op.62: Allegro con brio
Fidelio, Op.72b: Allegro

Customer Reviews:

A delightful, fresh Triple Concerto.......2007-02-16

To settle the dispute over dating this CD, the three overtures were taken from much earlier sessions (1965-70) to fill out the 1980 Triple Concerto. Karajan made a blockbuster version of this work with the incomparable trio of Richter, Oistrakh, and Rostropovich (on EMI), making it an audacious move to try and repeat the feat. He was wise to spotlight three young soloists rather than grand lions. Yo-Yo Ma and Anne-Sophie Mutter went on to great fame, of course, and they overshadow the now-forgotten Mark Zeltser, but he's light, bright, and sparkling, as is the performance as a whole. (Strangely, however, Ma has some intonation problems that mar the first movement.) Karajan lightens his accompaniment from the earlier version and takes faster tempi. I've heard other versions with a more heroic trio of soloists, but the addition of a great conductor and the wonderful Berlin Phil. is a major asset here.

I am a bit less happy with the three overtures. All are played on a grand scale, particularly the earth-shattering Egmont, which comes off best. The Coriolan sounds majestic but feels emotionally inert to me, with Karajan attempting to prettify the great development section, and the Fidelio is rather too grand and foursquare. All are magnificently played, needless to say. I am giving five stars to the Triple concerto and perhaps the Egmont Over. in a pinch.

Beethoven triple concerto.......2005-03-30

Despues de escuchar detenidamente el triple concierto se puede decir que tanto la orquesta y el director como los solistas son excelentes y no hay que dejarse llevar por lo del sonido o como dijo otro reviewer que cuando se grabó el disco Yo Yo Ma contaba con 12 años porque no es asi el concierto fue grabado en 1980 cuando contaba la edad de 25 años y era un consumado violoncelista, con respecto a las oberturas si son anteriores pero estan repetidas en otras obras como ser la sinfonias de Beethoven con un sonido realmente extraordianario. El cd es realmente bueno y la ejecución del mismo extraordinario.

Michael Keyes Review is incorrect.......2003-07-22

I have been trying to figure our when this album was originally released, but I'm quite certain that the Keyes review above which states that the recordings were made between 1965 and 1970 is inaccurate.

Yo-Yo Ma is featured on this album, and he was born in 1955. Yes, he was a young virtuouso, but he was not making recordings with such highly-respected artists at the age of 10 or 12. According to the Deutsche Grammophone website, this CD was released in 1985.

Beethoven TripleConcerto.......2000-10-08

I have this recording.Unfortunately time has taken it's course and the CD has picked up some bad spots.

I have had ultimate pleasure in listening to this particular recording. The Egmont is beautiful and Von Karajan was in his finest form-

Triple Concerto.....Mutter? Yo-Yo Ma? Perfect!.......1999-06-11

Recording of the Triple Concerto is soundwise, very good. Performance is superb! This is one of my absolute favorites...if you have not heard it, you are missing a great piece of work! Highly recommended! There is also another recording of this out with Karajan and the BPO with Rostopovich, Richter, and Oistrakh...also a fabulous recording...I have both. If I was stuck with just a couple of CD's on a desert island (with a lot of batteries), this would be one of them.

Average customer rating:

Pleasant music to listen to
Just an amateur classical music fan
Great selection, poor sound quality
This is not what it appears
Amazing Grace

Beethoven's Adagios

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Mozart: Adagios
Bach's Adagios
Vivaldi Adagios
Albinoni's Adagios
Cello Adagios

ASIN: B000026AFP
Release Date: 2000-07-18

Tracks:

Moonlight Son: Adagio - Maria-Joao Pires
Sym No.9 in d: Adagio Molto E Cantabile - Staatskapelle Berlin/Daniel Barenboim
Vn Son No.5 in F: 'Spring': Adagio Molto Espressivo - Thomas Zehetmair/Malcolm Frager
Sym No.6: 'Pastoral': Andante Molto Moto - New Philharmonia Orch/Guschlbauer
Mass in C: Kyrie - Audrey Michael/Lilia Bizimeche-Eisinger/Markus Schaeffer/Michel Brodard
Pno Trio in B flat: Adagio - Trio Fontenay
Spt in E flat: Adagio Cantabile - Berliner Solisten
Romance in F - Thomas Zehetmair
Pno Con No.3: Largo - Till Fellner

Tracks:

Pno Con No.5 'Emperors': Adagio Un Poco Moto - Stefan Vladar
The Creature Of Prometheus: Adagio - Andante Quasi Allegretto - COE/Nikolaus Harnoncourt
Vn Con in D: Larghetto - Gibon Kremer
Son No.8 'Pathetique': Adagio Cantabile - Jean-Bernard Pommier
Sym No.7: Allegretto - Bamberger Sym/Joseph Keilberth
Pno Con No.2: Adagio - Till Fellner
Triple Con in C: Largo - Orch Nat De L'Opera De Monte Carlo/Armin Jordan
Son in A: Adagio Cantabile - Janos Starker
Sym No.3 'Eroica', Marcia Funebre: Adagio Assai - Philharmonisches Staatsorchester Hamburg/Joseph Keilberth

Customer Reviews:

Pleasant music to listen to.......2003-10-25

I am just begining my appreciation for classical music and bought this cd pair to help me begin. I truely enjoy it while doing yard work, cross stiching, studying, or going to sleep. I have not noticed the hissing that other people have complained about, but I do believe that this is not the best quality cd. There have been many times when the second disc would not even work, like the player couldn't read it. This was very frustrating, so I mainly stick with the first disk. I would not recomend this cd, however, I would recomend the music. If you can find these songs on another disc, get it, you will find some time in your daily routine that it will fit right in with.

Just an amateur classical music fan.......2002-02-28

This is the best of the Adagio series by far

Great selection, poor sound quality.......2002-02-21

Adagios are beautiful and represent the depth of the composer. However, as one reviewer stated before me, the sound quality is poor. Some pieces have to compete with the hiss to be played as they should be at normal volumes. I hope that another label can come out with such a stunning array of adagios but with a much improved sound quality.

This is not what it appears.......2000-10-02

This is sold as a DDD recording but some of the recordings are over forty years old and hiss like a snake. This should be categorized under 'Historical Recordings'

Amazing Grace.......2000-09-14

Over 2 hours of emotionally uplifting music from the master of romanticism. This 2 CD album include all his best like Moonlight Sonata, well worth your money. It's wonderful to listen to at work or while studying at home for an exam.

Emperor & Triple Concertos - Essential Classics

Average customer rating:

Great Music Played Superbly
Conciertos esenciales
Brilliant Beethoven

Emperor & Triple Concertos - Essential Classics
Beethoven , Fleisher , Szell , Rose , and Ormandy
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Beethoven: Piano Concertos
Beethoven: Piano Concertos Nos. 2 & 4
Beethoven: Symphony No. 2, Symphony No. 5
Symphonies Nos. 1 & 6
Brahms: Symphony No. 1; Haydn Variations; Hungarian Dances

ASIN: B000069JLG
Release Date: 2002-08-06

Tracks:

I. Allegro - Leon Fleisher
II. Adagio Un Poco Moto - Leon Fleisher
III. Rondo. Allegro - Leon Fleisher
I. Allegro - Eugene Istomin
II. Largo - Eugene Istomin
III. Rondo Alla Polacca - Eugene Istomin

Customer Reviews:

Great Music Played Superbly.......2006-03-23

This CD offers wonderful performances of two Beethoven compositions, one very well known, the Piano Concerto #5, and the other somewhat less well-known, the Triple Concerto. The recording of the piano concerto is legendary and remains one of the greatest performances of this piece on record today. Pianist Leon Fleisher and the Cleveland Orchestra conducted by George Szell recorded all of the Beethoven concerti and this performance shows both Fleisher and Cleveland in top form. The Triple Concerto, while less well known than the piano concerto, is a wonderful piece requiring a great orchestra to really bring it to life and give it it's due and the Philadelphia Orchestra with Eugene Ormandy certainly fill the bill. The soloists, Isaac Stern, Leonard Rose and Eugene Istomin give a marvelous performance although here and there the tempos seem a bit slower than I prefer. Still, this is great musicmaking and I highly recommend this recording. By the way, I know a little something about these pieces because I am the violinist of The Amadeus Trio.

Conciertos esenciales.......2004-09-16

"Emperador" es el gran concierto y si esta o no dedicado a Napoleon es una discusión que solo especialistas tienen, para nosotros lo importante es poder disfrutarlo, y en este caso, eso es lo que hacemos. Leon Fleisher es un gran pianista, claro que de los años sesenta y no tan popular, lo he comentado son grabaciones de la CBS-Columbia (hoy Sony classical) que por años registro de manera grandiosa una amplia gama de obras con solistas de gran nivel que no alcanzaron resonancia tiempo despues salvo algunos casos, asi tenemos a Leonard Rose, Eugene Istomin, Rudolf Serkin, Isaac Stern y el propio Fleisher, que bajo la batuta de George Szell y Eugene Ormandy lograron grabaciones excepcionales. El triple Concerto por su lado aunque una obra simple en su estructura nos muestra la genialidad de Beethoven al integrar tres solistas y lograr que el cello no sea opacado por el violin o el piano. Istomin, Rose y Stern, hacen de este concierto una pequeña obra maestra. Ormandy los acompaña como siempre de la mejor forma.
George Szell un director húngaro al igual que Ormandy realiza interpretaciones de un nivel insuperable, sinfonías que van desde Mozart a Bruckner, conciertos y otras obras son presentadas por este director de manera soberbia.

Brilliant Beethoven.......2003-01-15

In the 1950s and 60s, CBS/Columbia (now Sony Classical) had the great fortune to have three of America's best orchestras and their conductors on their recording roster -- Leonard Bernstein and the New York Philharmonic, Eugene Ormandy and the Philadelphia Orchestra, and George Szell and the Cleveland Orchestra. Nearly a half-century later, only Leonard Bernstein remains a name that even the non-classical music world knows. But in the world of the compact disc, this is a wonderful thing, because while Leonard Bernstein analog stereo recordings sell at mid-price, classic performances by Ormandy and Szell are regulated to the budget line. Well, my friends there is justice in the world because the vast majority of these "budget line" recordings are not only amazing, but some are still considered definitive more than 40 years later! One such definitive performance is this Szell recording of Beethoven's "Emperor" Piano Concerto with Leon Fleisher, and in fact the cycle of all five concertos is still something at which to marvel. Fleisher bows out on the Triple Concerto to be replaced by Eugene Istomin, and along with violinist Isaac Stern and cellist Leonard Rose they record a memorable performance. Never did something of such high quality come at such a small price. Enjoy!

Beethoven: Triple Concerto; Rondo in B flat; Choral Fantasy

Average customer rating:

Good, yes, but surprisingly tame from Harnoncourt
An incredibly rich sonic banquet
Best Recording I've Heard of the Beethoven Triple Concerto
Very Nice
Best Recording and Star Performance of Mr. Harnoncourt

Beethoven: Triple Concerto; Rondo in B flat; Choral Fantasy

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Beethoven: Piano Concertos Nos. 1-5
Beethoven-Harnoncourt: 9 Symphonies
Beethoven: Complete Overtures
Two Hands
Pierre-Laurent Aimard at Carnegie Hall

ASIN: B0002W3EDG
Release Date: 2004-10-12

Tracks:

I. Allegro
II. Largo
III. Rondo Alla Polacca
Rondo In B Flat Major, WoO6 - Nikolaus Harnoncourt
I. Adagio - Arnold Schoenberg Chor, Erwin Ortner
II. Finale (Allegro - Meno Allegro - Allegro Molto - Adagio Ma Non Troppo - Marcia, Assai Vivace - Adagio Ma Non Troppo - Marcia, Assai Vivace - Allegro - Allegretto, Ma Non Troppo (Quasi Andante) - Presto) - Various Artists

Amazon.com

Here's an inspired appendage to the Aimard-Harnoncourt set of the Beethoven Piano Concertos. When new, the Triple Concerto, combining three solo instruments with orchestra, was considered a bold new type of concerto. That's how it's played here. The solo trio blends nicely with the orchestra, giving the work a chamber music dimension. Once past the slow introduction, Harnoncourt conducts a vigorous, almost rhapsodic performance, with great forward momentum. But the honors go to the outstanding soloists. Aimard etches the piano line with exceptional clarity, Hagen, the cellist of the Hagen Quartet, plays with gorgeous tone, while violinist Zehetmair, who also leads a quartet bearing his name, almost steals the show through his agile playing and phrasing that cuts to the heart of the music. I know of no better performance of this work. The Choral Fantasy too comes off as more than a weird combination of a solo piano fantasia and a choral sketch for the last movement of the Ninth Symphony. And pianist and orchestra play the daylights out of the quirky Rondo in B-flat major. --Dan Davis

Customer Reviews:

Good, yes, but surprisingly tame from Harnoncourt.......2006-08-28

In his cycle of Beethoven symphonies Harnonourt's conducting was aggressive, often aburpt, unnerving, and challenging to absorb. For some reason he drops all that in his recording of the Triple Concerto and Choral Fantasy. There have been excellent virtouoso readings of the Triple recently with Barenboim and Argerich as pianist. They show more intensity than this quiet-voiced, almost classical version. There's no doubt that the soloists, particularly Aimard, are wonderufl players, but it takes a while for the first movement to catch fire. Every time Aimard is given room to expand, he's brought back down to earth by the more restained Hagen on cello. (To the reviewers below who unanimously proclaim 'best ever,' I can only point to the unsurpassed version under Karajan with Richter, Oistrakh, and Rostropovich, a towering recording.)

In the Choral Fantasy there is an impassioned performance from Bernstein and Rudolf Serkin from the Sixties (Sony), as well as a fine one from Barenboim as both conductor and soloist, in concert with the Berlin Phil. on EMI. By comparison, Aimard is unusually cautious--he prefers restraint over the free-wheeling and totally thrilling spontaneity of Serkin. Harnoncourt remains just as restrained, so despite the all-around excellence of the performers, I can't see this one being anywhere near a first choice.

In sum, both readings fall somewhere in the middle of the pack but are enjoyable and more than competent in all espects. Fine recorded sound, by the way.

An incredibly rich sonic banquet.......2005-11-26

This recording is fabulous. It's rich, deep and colorful. The piano itself sounds absolutely wonderful. Its clarity and voice are exceptional. Unlike some recordings that sound as if the performers are very pleased with themselves, the performers in this recording sound as though they are playing for the sheer joy of playing and for the sake of the music and not for themselves. It's very refreshing. I first heard this broadcast on our Public Radio Classical station. It was so distinct and unique that I came right to Amazon and bought it. It resonates in your chest, it's so rich. Really outstanding!

Best Recording I've Heard of the Beethoven Triple Concerto.......2005-04-25

I have to go back a while to recall a truly memorable performance of the Beethoven Triple Concerto I've either heard as a recording or live performance. The finest recording I've heard until now was an absolutely rhapsodic, vibrant interpretation with the Beaux Arts Trio and Bernard Haitink conducting the London Philharmonic. However, this new Warner Classics recording is quite simply the most daring, exciting performance of the Beethoven Triple Concerto I have heard with graceful, lyrical playing from pianist Pierre-Laurent Aimard, coupled with fiery performances from cellist Clemens Hagen and violinist Thomas Zehetmair, which revel in the then novelty offered by Beethoven's composition when it was introduced in the early 1800s. Nikolaus Harnoncourt leads the Chamber Orchestra of Europe in yet another spirited, dramatic performance of a Beethoven concerto without overwhelming the remarkable performances of these three splendid soloists. Without question, it is an excellent coda to the Aimard's Beethoven piano concerto cycle released earlier on Teldec, now Warner Classics. To their credit, both Aimard and the orchestra play the Rondo with ample gusto. Together, they offer yet another amazing performance in the Choral Fantasy, demonstrating that it too is a revolutionary work composed by Beethoven, and not merely, a rough sketch for his 9th Symphony's fourth movement. This splendid recording, blessed with exceptional sound quality, will please fans of Pierre-Laurent Aimard, Nikolaus Harnoncourt and the Chamber Orchestra of Europe. I strongly concur with The New York Times's assessment of this recording as among the finest classical music recordings of 2004.

Very Nice.......2005-03-17

All three pieces are very well performed. The choral fantasy is somewhat of a lesser known work from Beethoven, but it is like a much smaller Ninth Symphony. Every Beethoven fan should hear it. Sound quality is excellent. A very "professional" looking CD, too.

Best Recording and Star Performance of Mr. Harnoncourt.......2005-01-28

After you listen to this recording, you will understand why Harnoncourt is one of the few Maestros alive. Do not loose the opportunity to re-discover and enjoy the Choral Fantasy. Listen to the Piano (Mr. Aimard) and the "conversation" among Piano, Orchestra (COE), Soloist, Singers and Choir (Arnold Schoenberg). This is Beethoven and Harnoncourt in a great performance.

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