Continuing my April Beethoven-videoproject. Now Piano Concerto 2 B Major op. 19 with four pianists.
A concerto with measures of smaller scale than op. 15, but musically not less important, full of Beethoven's personality. >
Continuing my April Beethoven-videoproject. Now Piano Concerto 2 B Major op. 19 with four pianists.A concerto with measures of smaller scale than op. 15, but musically not less important, full of Beethoven's personality. >
Continuing my April Beethoven-videoproject. Now Piano Concerto 2 B Major op. 19 with four pianists.A concerto with measures of smaller scale than op. 15, but musically not less important, full of Beethoven's personality. >
First Murray Perahia with the ASMF orchestra, conducted by Neville Marriner. I listen and watch to this performance in very delighted thoughts: Perahia brings us the character of this work in an excellent way, and his playing is very inspired and free.
First Murray Perahia with the ASMF orchestra, conducted by Neville Marriner. I listen and watch to this performance in very delighted thoughts: Perahia brings us the character of this work in an excellent way, and his playing is very inspired and free.
First Murray Perahia with the ASMF orchestra, conducted by Neville Marriner. I listen and watch to this performance in very delighted thoughts: Perahia brings us the character of this work in an excellent way, and his playing is very inspired and free.
First Murray Perahia with the ASMF orchestra, conducted by Neville Marriner. I listen and watch to this performance in very delighted thoughts: Perahia brings us the character of this work in an excellent way, and his playing is very inspired and free.
> There is only one original cadenza for the first movement, and it dates from the composer's late years - thus we again have a bit of late Beethoven in the middle of an early work. Phascinating, and Perahia plays it brilliantly but in a very understanding way. Pure enjoyment! >
> There is only one original cadenza for the first movement, and it dates from the composer's late years - thus we again have a bit of late Beethoven in the middle of an early work. Phascinating, and Perahia plays it brilliantly but in a very understanding way. Pure enjoyment! >
> There is only one original cadenza for the first movement, and it dates from the composer's late years - thus we again have a bit of late Beethoven in the middle of an early work. Phascinating, and Perahia plays it brilliantly but in a very understanding way. Pure enjoyment! >
> There is only one original cadenza for the first movement, and it dates from the composer's late years - thus we again have a bit of late Beethoven in the middle of an early work. Phascinating, and Perahia plays it brilliantly but in a very understanding way. Pure enjoyment! >
> There is only one original cadenza for the first movement, and it dates from the composer's late years - thus we again have a bit of late Beethoven in the middle of an early work. Phascinating, and Perahia plays it brilliantly but in a very understanding way. Pure enjoyment! >
> The cooperation between soloist and orchestra is perfect. Marriner builds the tutti sequences between the solo places in a natural way in the same spirit with him.
A fine beginning with this concerto!
> The cooperation between soloist and orchestra is perfect. Marriner builds the tutti sequences between the solo places in a natural way in the same spirit with him.A fine beginning with this concerto!
> The cooperation between soloist and orchestra is perfect. Marriner builds the tutti sequences between the solo places in a natural way in the same spirit with him.A fine beginning with this concerto!
> The cooperation between soloist and orchestra is perfect. Marriner builds the tutti sequences between the solo places in a natural way in the same spirit with him.A fine beginning with this concerto!
There is a totally different atmosphere, when Krystian Zimerman plays op. 19 conducting the Vienna Philharmonic from the keyboard. As I earlier stated about op. 15, can be said here too, Perahias way to read the score is a classical one, whereas Zimerman already foreshadows the >
There is a totally different atmosphere, when Krystian Zimerman plays op. 19 conducting the Vienna Philharmonic from the keyboard. As I earlier stated about op. 15, can be said here too, Perahias way to read the score is a classical one, whereas Zimerman already foreshadows the >
There is a totally different atmosphere, when Krystian Zimerman plays op. 19 conducting the Vienna Philharmonic from the keyboard. As I earlier stated about op. 15, can be said here too, Perahias way to read the score is a classical one, whereas Zimerman already foreshadows the >
There is a totally different atmosphere, when Krystian Zimerman plays op. 19 conducting the Vienna Philharmonic from the keyboard. As I earlier stated about op. 15, can be said here too, Perahias way to read the score is a classical one, whereas Zimerman already foreshadows the >
> romantic style, he paints with a broader brush. Not too much, but in his virtuosic way to play and demand playing from the orchestra is something very Beethovenian. At the same time, his playing is full of nuances, in phrasing, dynamics and sound. The orchestra gives him all >
> romantic style, he paints with a broader brush. Not too much, but in his virtuosic way to play and demand playing from the orchestra is something very Beethovenian. At the same time, his playing is full of nuances, in phrasing, dynamics and sound. The orchestra gives him all >
> romantic style, he paints with a broader brush. Not too much, but in his virtuosic way to play and demand playing from the orchestra is something very Beethovenian. At the same time, his playing is full of nuances, in phrasing, dynamics and sound. The orchestra gives him all >
> romantic style, he paints with a broader brush. Not too much, but in his virtuosic way to play and demand playing from the orchestra is something very Beethovenian. At the same time, his playing is full of nuances, in phrasing, dynamics and sound. The orchestra gives him all >
> romantic style, he paints with a broader brush. Not too much, but in his virtuosic way to play and demand playing from the orchestra is something very Beethovenian. At the same time, his playing is full of nuances, in phrasing, dynamics and sound. The orchestra gives him all >
> he needs, and the whole performance is astonishing. Beethoven in Vienna, mellowly reconstructed. >
> he needs, and the whole performance is astonishing. Beethoven in Vienna, mellowly reconstructed. >
> he needs, and the whole performance is astonishing. Beethoven in Vienna, mellowly reconstructed. >
> he needs, and the whole performance is astonishing. Beethoven in Vienna, mellowly reconstructed. >
> he needs, and the whole performance is astonishing. Beethoven in Vienna, mellowly reconstructed. >
The April Beethoven (cont.)
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> ping (cont.) @Fredsworldview @JSBiernat @BEliasson2 @NriaOriol @kalle_puolakka @TLuomanpera @SalmisenJaska
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