In their own way Beethoven’s five piano concertos each relate a part of their composer’s life. In the previous volume of this complete recording, Kristian Bezuidenhout, Pablo Heras-Casado and the musicians of the Freiburger Barockorchester explored the beginning (Concerto No.2) and the end of the story (the ‘Emperor’). For Volume 2, they turn to the most personal of Beethoven’s concertos. Even as the onset of total deafness threatened his career, his Fourth Piano Concerto shattered the conventions of the genre.
Kristian Bezuidenhout – Fortepiano
Freiburger Barockorchester
Pablo Heras-Casado – Conductor
In their own way Beethoven’s five piano concertos relate a part of their composer’s life. In the previous volume of this complete recording, Kristian Bezuidenhout, Pablo Heras-Casado and the musicians of the Freiburger Barockorchester explored the beginning (Concerto no.2, a springboard to Viennese fame) and the end (the ‘Emperor’) of the story; they now turn to the most personal of all the Beethoven concertos, the Fourth, which, at a time when the spectre of total deafness threatened his career, shattered the conventions of the genre – as did such orchestral works as Coriolan and the Overture to The Creatures of Prometheus.
1Coriolan
Overture op. 62 in C minor / Ut mineur / c-Moll
Allegro con brio 7’29
Piano Concerto no. 4 op. 58
G major / Sol majeur / G-Dur
2I. Allegro moderato 18’35
3II. Andante con moto 4’55
4III. Rondo. Vivace 9’44
5Die Geschöpfe des Prometheus op. 43
Les Créatures de Prométhée / The Men of Prometheus
Overture. Adagio – Allegro molto con brio 4’53
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