Beethoven: Piano Concerto No. 3 in C minor, Op. 37 (with Full Score)
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- Опубліковано 28 лип 2024
- Ludwig van Beethoven:
Piano Concerto No. 3 in C minor, Op. 37 (with Full Score)
Composed: 1796 - 1803
Piano: Krystian Zimerman
Conductor: Leonard Bernstein
Orchestra: Wiener Philharmoniker
00:00 1. Allegro con brio (C minor)
(12:55 Cadenza by Beethoven)
17:00 2. Largo (E major)
28:48 3. Rondo. Allegro (C minor) - Presto (C major)
Beethoven composed this work in 1799-1800, and introduced it at Vienna on April 5, 1803. The first sketches go back to 1797 -- after he'd composed the B flat Piano Concerto (published as No. 2), but before composition of the C major Concerto (in 1798, published as No. 1). Although Beethoven played the first performance of No. 3 in 1803 from a short score -- no one was going to steal it from him! -- he'd actually completed the music prior to April 1800, apart from a few last-minute adjustments. In other words, before he wrote the Second Symphony (Op. 36), the Moonlight Piano Sonata (Op. 27/2), or the Op. 31 triptych for keyboard.
![Beethoven: Symphony No. 3 in E-flat major, Op. 55 "Eroica" [Böhm & VPO] (with Score)](/img/n.gif)
I love the wonderful theme shared by the piano and orchestra from 32:23 - 34:09! Those trills on the piano are amazing backed up by the winds!
Thank you!!! I've wanted Beethoven 3 up for 2 years now!!
You’ve worked a 3-2 wrap on rye check crossroads!
My favorite piano concerto by Beethoven!
1 mov. "Allego con brio" : 00:00
2 mov. "Largo" : 17:01
3 mov. "Rondo, Allegro" : 28:48
3. 28:48
I may be overthinking this, but I hear a twinge of Mahler 2 at 0:11
14:55
Great & wonderful pieces!!!
One of Beethoven’s most mysterious works. For a short period after this was written, all of Beethoven’s letters to his friends and family had him adamantly denying any involvement in writing it. Then, after a brief hiatus in his letters, he switched to fervently boasting about his genius, and the magnitude of this concerto, and how he had “killed God with the cursed hammer of Orpheus.” Very strange.
I am sure if Ludwig had NOT written it, he must have been at least smart enough not to "expose" himself to his friends and family. Besides, if that were true (the case about the letters claiming in which he denied any involvement in the work), why are we (music lovers, musicologists, etc.) still associating the work with LvB, till this day (around 218 years later after it was written)? Aren't we supposed to believe his "own" words in these so-called letters? I am sure if the information you have written here was true, everyone would have stopped associating it with Beethoven years ago. Please link any sources you have regarding your claims.
@@afifi21 I can give you exact quotes from his letters. This was his first mention of the concerto in his letters, from April of 1803, in a letter to his friend Stephan von Breuning.
“It must be known that this concerto is not of my doing. My name may be scrawled into those sheets, but I can assure you Stephan, this music is not of human creation. I cannot allow you to believe it.”
For about a month Beethoven stopped sending letters to anyone at all. After he did begin to communicate again, his handwriting was in a very unintelligible state. It’s clear he was going through some sort of mental break.
“Yes! I am the conquerer (?) of sound, the rightful ruler, it bows to my every whim! That concerto is not of human creation! That concerto is a work by an absolute (?) God! Hear all, Ludwig van Beethoven has become God!”
Pretty weird stuff.
@@windmillwilly To the extent of my knowledge, this can be interpreted both ways. In my own opinion, I prefer the expression more artistic than a factual communication. It could be true that it indeed is not his work but for reasons unknown made him tie his name to this. However, my proclivity is another way to explain this if that is the true behaviours of Beethoven like you described. He is amazed by his work, therefore sharing his excitement with metaphor related to religions, especially Catholic. Which would be believable in that era, many are devoted like Bach. Therefore, his mind is going through a great time, in my interpretation. Hence, the expression of ruler/god. Also, this argument is supported by my another experience, which is his symphony 9, composed near death. I am moved by his expression, his love of music and his energetic fighting spirit. I assume at an early stage like 37 (9 is 125), it is reasonable to have written those contradicting letters as his expressions. Some similar mentality which myself and many other people went through, is called chunibyo, it can happen to anyone with some fantasy going on. This would perfectly fit into the still very religious european land, and an artist like Beethoven himself. This is some of my takes, feel free to correct any factual errors.
It is very clear this is Beethoven's writing
@@windmillwilly Thank you for the great insight Willy. Perhaps in both instances (denial and confession) he was attributing it to a higher power or something beyond himself? He mentions the work of God in the confession you posted, perhaps that, in a very ambiguous manner, was what he was aiming for in the denial letter? Similar to how Bach always observed that it was God working through him, albeit in a far more clear way of putting God before himself as opposed to remaining vague on if he actually believed he himself wrote it? 'I play the notes as they are written but it is God who makes the music'
the part beginning at 19:33 reminds on the ending of "Madamina, il catalogo è questo" from Mozart's Don Giovanni (K527)
36:57
Thanks
34:43 Amazing part!
Very similar to Mozart's serenade for Winds in C minor kv.388 four movement.
Der zweite Satz ist so langsam und der dritte so schnell! Welch ein Kontrast!
Please...
upload the" Full score for Beethoven's Piano Concerto No. 4"..,
please.....!!!!!!!!!!!!!!!
@24:39 the out of tune D# caught me off gaurd
16:02 is the best
The opening theme of the 3rd movement sounds very much like the theme from the 4th movement of Mozart's String Quintet No. 2 in c minor. Maybe he claimed he didn't write it because he stole it from Mozart...
Wonderfully stylish, even revelatory accounts of the outer movements. The slow movement was too slow to be entirely credible.