'Helmchen's touch always shines with its finesse, a fluid technique, an intelligence of flawless phrasing, a conception well anchored in the romanticism of the end of the 19th century.'
Res Musica
Beethoven: Piano Concertos 1 & 4
Beethoven: Piano Concertos 1 & 4
Label(s)
Genre(s)
Classical
Code
ALPHA575
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- Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brioComposer(s) Ludwig van BeethovenArtist(s) Andrew Manze Martin Helmchen Deutsches Symphonie-Orchester Berlin
Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brio
15:10$5.75 - Piano Concerto No. 1 in C Major, Op. 15: II. LargoComposer(s) Ludwig van BeethovenArtist(s) Andrew Manze Martin Helmchen Deutsches Symphonie-Orchester Berlin
Piano Concerto No. 1 in C Major, Op. 15: II. Largo
10:26$3.40 - Piano Concerto No. 1 in C Major, Op. 15: III. Rondo (Allegro)Composer(s) Ludwig van BeethovenArtist(s) Andrew Manze Martin Helmchen Deutsches Symphonie-Orchester Berlin
Piano Concerto No. 1 in C Major, Op. 15: III. Rondo (Allegro)
09:04$3.40 - Piano Concerto No. 4 in G Major, Op. 58: I. Allegro moderatoComposer(s) Ludwig van BeethovenArtist(s) Andrew Manze Martin Helmchen Deutsches Symphonie-Orchester Berlin
Piano Concerto No. 4 in G Major, Op. 58: I. Allegro moderato
18:58$5.75 - Piano Concerto No. 4 in G Major, Op. 58: II. Andante con motoComposer(s) Ludwig van BeethovenArtist(s) Andrew Manze Martin Helmchen Deutsches Symphonie-Orchester Berlin
Piano Concerto No. 4 in G Major, Op. 58: II. Andante con moto
05:21$2.30 - Piano Concerto No. 4 in G Major, Op. 58: III. Rondo (Vivace)Composer(s) Ludwig van BeethovenArtist(s) Andrew Manze Martin Helmchen Deutsches Symphonie-Orchester Berlin
Piano Concerto No. 4 in G Major, Op. 58: III. Rondo (Vivace)
10:25$3.40
Total running time: 69 minutes.
Album information
In the second instalment of his recording of the complete concertos, the German pianist Martin Helmchen performs these two contrasting works with Andrew Manze and the Deutsches Symphonie-Orchester Berlin.
Beethoven’s piano concertos are an invaluable source in our understanding of the history of the practice of this instrument, which, in the early nineteenth century, permanently replaced the harpsichord in the hearts of composers. Thus one can still hear the galant influence of Mozart in the First Concerto (1795-1800), whereas the Fourth (1805-06) reveals the introspective personality, at once vigorous and generous, of a Beethoven at the height of his artistic maturity.
