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Beethoven: Piano Concerto... a été ajouté à votre Panier
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Beethoven: Piano Concerto No. 5 "Emperor" Import

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1. Concerto No. 5 For Piano & Orchestra, Op. 3 (E-Flat Major) (Emperor): I - Allegro - Beethoven
2. Concerto No. 5 For Piano & Orchestra, Op. 3 (E-Flat Major) (Emperor): II - Adagio un poco moto - Beethoven
3. Concerto No. 5 For Piano & Orchestra, Op. 3 (E-Flat Major) (Emperor): III - Rondo: Allegro - Beethoven

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12 internautes sur 12 ont trouvé ce commentaire utile 
A sonic-boom performance. Superb sound. 8 mars 1999
Par Un client - Publié sur Amazon.com
Format: CD
Simply the most beautifully played "Emperor" available; all helped by wonderful, full sound. Perahia's playing is flawless, full of color and poetic phrasing one expects from this great artist. The entire concerto set is also a top- flight recommendation.
22 internautes sur 26 ont trouvé ce commentaire utile 
The perfect Emperor. 4 mai 2001
Par Alexander Leach - Publié sur Amazon.com
Format: CD
The Fifth Concerto, the Emperor, remains the most popular, and has been recorded innumerable times. First choice for me is perhaps Murray Perahia on Sony. Wonderful playing, very much from the eighteenth century, and a finale that really sparkles, but which does not lack power. Beautiful sound too, but rather short measure.
I understand why some like the Emperor to be played in a style akin to Tchaikovsky's First Concerto, in a grand romantic style (e.g. as Horowitz used to play it). I also used to like this approach, but Perahia's is more stylistically idiomatic. Don't for a moment think that this version is underpowered, because it certainly is not: his playing is full of authority and the orchestral playing under Haitink is the most thrilling I've heard in this piece.
My other favourites in this piece:
Wilhelm Kempff's stereo DG account from 1961 is fine: magnificent playing throughout, with a sense of humanity in the Adagio that is compelling in its intensity. The finale is well paced: it is difficult to accept that Kempff was aged 65 when this recording was made.
Michelangeli's DG recording with Giulini is not one of his finest; anyone wanting to hear Michelangeli in this work, one of his most famous interpretations, should seek out his 1957 Prague Festival performance on Praga, in remarkably fine sound.
In his eighties, the late Claudio Arrau recorded a fine version of the Emperor Concerto on Philips. Highly spontaneous, with a superb orchestral backdrop provided by the Staatskapelle Dresden under Sir Colin Davis.
A remarkable performance of the work can be heard on a Piano Library CD: Walter Gieseking's 1944 Berlin broadcast in superb early stereo, which sounds remarkable in its clarity. This remains one of the most exciting Emperors ever, with the protaganists even ignoring audible anti-aircraft fire during the closing pages of the first movement.
13 internautes sur 15 ont trouvé ce commentaire utile 
Best Sounding Orchestra 17 mars 2004
Par Genobambino - Publié sur Amazon.com
Format: CD
The Concertgebuow always sounds great, which is the case here. The strings never get mushy as they sometimes do in recordings of Beethoven piano concertos. Everything is crisp and tight. Haitink also lets fly when necessary, generating plenty of excitement, especially in the final movement. I also love Murray Perahia for what he does, which is a lyrical sort of playing maybe better suited to Mozart than Beethoven. There's no threat of a nasty tone or harshly struck chord, and this has its downside: the reading is polite in spots. There's not as much suspense as with "angrier" players like Stephen Kovacevich, who often seems on the verge of chaos. Perahia's piano is less featured and the overall effect is more classical. You could argue this is appropriate for the material, but there's something viceral about a more aggressive interplay between the piano and orchestra, a la Kovacevich-Davis.
Haitink's backing of Perahia is more crisp and dynamic than Colin Davis and the BBC Orchestra's backing of Kovacevich. I guess I'd really like to hear Haitink with Kovacevich, but all in all this is one of the best recordings of 5 I've heard--only to be outdone by Kovacevich and Davis.
A note of correction: the version in the movie "Immortal Beloved" is Perahia with Georg Solti and the London Symphony, which judging from the snippets of soundtrack, is even better than Perahia-Haitink. Unfortunately it's not available in complete form, or better yet as a complete concerto cycle.
2 internautes sur 2 ont trouvé ce commentaire utile 
Typical safe and sane Beethoven via Haitink & Perahia 17 février 2013
Par Un client - Publié sur Amazon.com
Format: CD
This disc is good, acceptable and no better than that. Typical for Haitink at the podium of the Concertgebouw - excellent ensemble and precision, but not much voltage. The recording is OK, but nothing special in dynamics, clarity, spatial retreival or detail. Perahia gives a robust performance, technically assured, but is eclipsed by other Beethoven Emperor performances of recent offerings.
Try Giulini/Benedetti (DG) for a live performance, or Rattle/Brendel (VPO) for a brisk and stimulating 5th. Pollini/Abbado BPO released a digital set. For this disc, one concerto at 39 minutes is short measure.
2 internautes sur 3 ont trouvé ce commentaire utile 
An assured 'Emperor' that rises to boldness and excitement here and there 28 octobre 2010
Par Santa Fe Listener - Publié sur Amazon.com
Format: CD
The entry of this Emperor Cto., issued in 1989 as th capstone to his complete Beethoven cycle, helped to mark the beginning of the end of heroic Beethoven playing. In the next twenty years we would become adjusted to more inward, reflective, restrained Emperors, and I am sorry for that. The unbridled exuberance of Horowitz, amounting to aristocratic arrogance, the Olympian grandness of Michelangeli, the kinetic power of Serkin -- goodbye to all that. Perahia contains enough of the older influence that his reading cannot be accused of timidity, but whenever he has a chance to turn down the temperature and fall into a cooler, more elegant style, he does. Haitink is more vigorous than he was in the preceding four concertos, again harking back to an older style.

Bold, exciting Beethoven didn't have everything its own way. Among the older generation there was Gieseking, whose precision, lightness, and elegance entered into the playing of, say, Len Fleishcer. Still, the model of Schnabel and Edwin Fischer was unassailable -- until the tide turned. Perahia is such a thorough musician that he can turn moderation into a virtue; Brendel and Richard Goode do the same, so far as their fans are concerned. I cannot argue with his poise and assurance in the slow movement (he's equally good in the slow movements of the other four concertos). the melodic line never droops, no matter how slender it gets. The finale is expert and contains a good deal of buoyancy from both conductor and soloist. Yet Kissin with Levine on Sony burns the house down in this movement, and Perahia's hesitant phrasing in the development tends to pull back when I want the momentum to keep moving forward. Among modern Emperors the ideal comes closest in that Kissin reading and Pletnev's on DG, which caps the most imaginative, exuberant cycle in two decades.

I've done my best to be objective about a recording that won raves from the Gramophone -- as did Perahia's whole cycle -- even though the most I can offer it is respect.
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