Swedish Chamber Orchestra & Jean-Efflam Bavouzet - Beethoven: Piano Concertos (2020) [Hi-Res]
BAND/ARTIST: Swedish Chamber Orchestra & Jean-Efflam Bavouzet
- Title: Beethoven: Piano Concertos
- Year Of Release: 2020
- Label: Chandos
- Genre: Classical
- Quality: FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
- Total Time: 03:08:51
- Total Size: 586 MB / 2.77 GB
- WebSite: Album Preview
Tracklist:
01. Piano Concerto No. 2 in B-Flat Major, Op. 19: I. Allegro con brio (13:01)
02. Piano Concerto No. 2 in B-Flat Major, Op. 19: II. Adagio (8:14)
03. Piano Concerto No. 2 in B-Flat Major, Op. 19: III. Rondo. Molto allegro (6:00)
04. Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brio (16:43)
05. Piano Concerto No. 1 in C Major, Op. 15: II. Largo (9:42)
06. Piano Concerto No. 1 in C Major, Op. 15: III. Rondo. Allegro (8:42)
07. Piano Concerto No. 3 in C Minor, Op. 37: I. Allegro con brio (15:47)
08. Piano Concerto No. 3 in C Minor, Op. 37: II. Largo (8:56)
09. Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo. Allegro - Presto (8:58)
10. Piano Concerto No. 4 in G Major, Op. 58: I. Allegro moderato (17:52)
11. Piano Concerto No. 4 in G Major, Op. 58: II. Andante con moto (4:19)
12. Piano Concerto No. 4 in G Major, Op. 58: III. Rondo. Vivace - Presto (9:35)
13. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": I. Allegro (18:57)
14. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso (7:31)
15. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Rondo. Allegro (9:48)
16. Quintet in E-Flat Major, Op. 16: I. Allegro ma non troppo (12:40)
17. Quintet in E-Flat Major, Op. 16: II. Andante cantabile (6:34)
18. Quintet in E-Flat Major, Op. 16: III. Rondo. Allegro ma non troppo (5:39)
01. Piano Concerto No. 2 in B-Flat Major, Op. 19: I. Allegro con brio (13:01)
02. Piano Concerto No. 2 in B-Flat Major, Op. 19: II. Adagio (8:14)
03. Piano Concerto No. 2 in B-Flat Major, Op. 19: III. Rondo. Molto allegro (6:00)
04. Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brio (16:43)
05. Piano Concerto No. 1 in C Major, Op. 15: II. Largo (9:42)
06. Piano Concerto No. 1 in C Major, Op. 15: III. Rondo. Allegro (8:42)
07. Piano Concerto No. 3 in C Minor, Op. 37: I. Allegro con brio (15:47)
08. Piano Concerto No. 3 in C Minor, Op. 37: II. Largo (8:56)
09. Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo. Allegro - Presto (8:58)
10. Piano Concerto No. 4 in G Major, Op. 58: I. Allegro moderato (17:52)
11. Piano Concerto No. 4 in G Major, Op. 58: II. Andante con moto (4:19)
12. Piano Concerto No. 4 in G Major, Op. 58: III. Rondo. Vivace - Presto (9:35)
13. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": I. Allegro (18:57)
14. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso (7:31)
15. Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Rondo. Allegro (9:48)
16. Quintet in E-Flat Major, Op. 16: I. Allegro ma non troppo (12:40)
17. Quintet in E-Flat Major, Op. 16: II. Andante cantabile (6:34)
18. Quintet in E-Flat Major, Op. 16: III. Rondo. Allegro ma non troppo (5:39)
Following his acclaimed recording of sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet further celebrates the great composer’s anniversary year with this set of the complete Piano Concertos.
Electing to direct the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ‘To play a concerto under a conductor who shares and enriches one’s vision of the work concerned is one of the greatest joys in the life of a soloist. Nevertheless, one can also admit that some aspects of performing without a conductor may prove advantageous. Rehearsal time is generally speaking made longer by the process of working out the different protocol of gestures from the soloist and the leader in coordinating the ensemble playing. As this work proceeds a creative bond is forged, resulting in an artistic osmosis, a common vision of the work, in which compromise has no place. For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange.’
The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The set includes the Quintet for Piano and Winds, Op. 16.
Electing to direct the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ‘To play a concerto under a conductor who shares and enriches one’s vision of the work concerned is one of the greatest joys in the life of a soloist. Nevertheless, one can also admit that some aspects of performing without a conductor may prove advantageous. Rehearsal time is generally speaking made longer by the process of working out the different protocol of gestures from the soloist and the leader in coordinating the ensemble playing. As this work proceeds a creative bond is forged, resulting in an artistic osmosis, a common vision of the work, in which compromise has no place. For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange.’
The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The set includes the Quintet for Piano and Winds, Op. 16.
Year 2020 | Classical | Mp3 | HD & Vinyl
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads