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Track Listings
| Disc: 1 |
|---|
| 1. 1. Allegro con brio |
| 2. 2. Largo |
| 3. 3. Rondo (Allegro scherzando) |
| 4. 1. Allegro con brio |
| 5. 2. Adagio |
| 6. 3. Rondo (Molto allegro) |
| Disc: 2 |
| 1. 1. Allegro con brio |
| 2. 2. Largo |
| 3. 3. Rondo (Allegro) |
| 4. 1. Allegro moderato |
| 5. 2. Andante con moto |
| 6. 3. Rondo. Vivace |
| Disc: 3 |
| 1. 1. Allegro |
| 2. 2. Adagio un poco mosso |
| 3. 3. Rondo (Allegro) |
On this CD:
-
Concerto for Piano and Orchestra No. 1 in C
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
with Maurizio Pollini
Conducted by Claudio Abbado
-
Concerto for Piano and Orchestra No. 2 in B flat
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
with Maurizio Pollini
Conducted by Claudio Abbado
-
Concerto for Piano and Orchestra No. 3 in C minor
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
with Maurizio Pollini
Conducted by Claudio Abbado
-
Concerto for Piano and Orchestra No. 4 in G
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
with Maurizio Pollini
Conducted by Claudio Abbado
-
Concerto for Piano and Orchestra No. 5, 'Emperor' in E flat
Composed by Ludwig van Beethoven
Performed by Berlin Philharmonic Orchestra
with Maurizio Pollini
Conducted by Claudio Abbado
Product Description
Amazon.co.uk Review
Pollini's 1970's cycle established his Beethoven credentials with the public at large. These live 90s remakes--audience generally well-behaved--share the same precise, but never clinical objectivity and sovereign technique. The interpretations aren't radically different either. No. 4 still comes off best, Pollini tempering his aloofness with the humanity and inwardness the music demands. No. 3 is also very fine: pianist and conductor in a meeting of minds for what, in its mingling of pathos and humour, is the most "contemporary" of the five. No. 1 still inspires Pollini to be reckless with the music's high- spirits and classical framework; his impatience is that much more apparent in the rather charmless account of No. 2. No. 5, the Emperor, is nowadays the most difficult to put across: its high-flown heroism just doesn't square with today's cynical mindset. Pollini and Abbado don't do anything wrong, but the music fails to lift the spirits or provoke the mind. A mixed collection then, but hear Nos. 3 and 4 for Pollini's Beethoven at its best. --Richard Whitehouse
Pollini's 1970's cycle established his Beethoven credentials with the public at large. These live 90s remakes--audience generally well-behaved--share the same precise, but never clinical objectivity and sovereign technique. The interpretations aren't radically different either. No. 4 still comes off best, Pollini tempering his aloofness with the humanity and inwardness the music demands. No. 3 is also very fine: pianist and conductor in a meeting of minds for what, in its mingling of pathos and humour, is the most "contemporary" of the five. No. 1 still inspires Pollini to be reckless with the music's high- spirits and classical framework; his impatience is that much more apparent in the rather charmless account of No. 2. No. 5, the Emperor, is nowadays the most difficult to put across: its high-flown heroism just doesn't square with today's cynical mindset. Pollini and Abbado don't do anything wrong, but the music fails to lift the spirits or provoke the mind. A mixed collection then, but hear Nos. 3 and 4 for Pollini's Beethoven at its best. --Richard Whitehouse
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