3 on that occasion but had completed only the first movement and a detailed sketch of the second. If you are a library, university or other organisation that would be interested in an institutional subscription toGramophoneplease click herefor further information. Even so, the Triple Concerto boasts extraordinary bravura and grandeur in the outer movements, and affecting expressiveness in the relatively brief slow movement. Three classical music giants, Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim celebrate the 250th anniversary of Beethovens birth by recording the Triple Concerto. From the first note, Osbornes kinship with the composer is everywhere apparent and he conveys the vast contrasts of the last three sonatas unerringly. This movement takes sixteen to nineteen minutes. Faust, Queyras and Melnikov, as well as having distinguished solo careers, have . Schnabel was almost ideologically committed to extreme tempos; something you might say Beethovens music thrives on, always provided the interpreter can bring it off. Put them together and something magical happens within the tensions they engender. the Fifth and Sixth Symphonies, and the First Los Angeles Philharmonic performance: This site uses cookies to offer you the best possible experience. that it constitutes the soprano voice of the The first movement opens with the introduction of the main sonata allegro themes in the orchestra. Not that the racy tempo affects the feel of a performance which has zest and humour, and which, like the Karajan, realises to perfection Beethovens seemingly effortless marriage of the spirits of Apollo and Dionysus. For details on how we use cookies, see our. However, About Mark Allen Group In the Second Symphony Norrington does make the music smile and dance without any significant loss of forward momentum, and he treats the metronome marks more consistently than Toscanini (who rushed the Scherzo) or Karajan (who spins out the symphony's introduction), whilst sharing with them a belief in a really forward-moving pulse in the Larghetto (again an approach to the printed metronome if not the thing itself). When Kurt Masur recorded the symphonies in the 1970s, Robert Layton wrote in these columns of an orchestra that was consistently sensitive in its responses, its expression unforced, the overall sonority beautifully weighted and eminently cultured Bavarian Radio Symphony Orchestra / Mariss Jansons. Required fields are marked *, I love waking up on Saturday mornings and immersing myself in an endless YouTube journey into classical music. This concerto is performed by four giants of classical music: Herbert Von Karajan conductor, Sviatoslav Richter piano, David Oistrakh violin, and Mstislav Rostropovich cello. Mit Andacht with devotion Beethoven writes time and again during the course of the work. 56: II. A few weeks ago, we spoke to Principal Cello Brinton Averil Smith to discuss his approach to . Youll have to search long and hard to hear performances of a comparable warmth and humanity or joy in music-making. similar formula is proposed in the third movement. About this Performance. For its 20th birthday last October, the West-Eastern Divan Orchestra invited Anne-Sophie Mutter and Yo-Yo Ma to the Berlin Philharmonie for a performance of the Cinderella among Beethoven's concertos, the 'Triple . The most famous example is Beethoven's Triple Concerto for violin . Emile Naoumoff and the Orchestre National de Lorraine directed by Pascal Beethoven's imposing triple concerto, is a masterclass in composition for a trio of solo instruments and orchestra. [5]:162 The concerto was Beethoven's first work to use advanced cello techniques. This is a big, affable, blustery Triple, the soloists completing the sound canvas rather than dominating it, a genuine collaborative effort. The bonus disc, entitled An All-Round Musician, celebrates Kempffs achievement in words and music, on the organ in Bach, on the piano in Brahms and Chopin as well as in a Bachian improvisation, all sounding exceptionally transparent and lyrical. The thematic Allegro Song by New Philharmonia Orchestra from the English album Beethoven: Complete Concertos, Vol.2. It is interesting to reflect that in 1974 there was not a single entry under the name 'Kleiber, Carlos' in The Gramophone Classical Record Catalogue. Its so celebratory, so positive. Performed by three of todays most renowned classical artists and Beethoven interpreters Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim and accompanied by the acclaimed West-Eastern Divan Orchestra. Buy music books Beethoven, Ludwig van. Ivn Fischers direction is in the Toscanini class in its clarity and verve. The finale is a joyouspas de deux, and how charming is Helmchens invitation to the dance when he adds a subtle agogic accent to the very opening of the movement. A typical performance takes approximately thirty-seven minutes. Best of all in the Avison's performance was its sheer sense of fun. Up to a point the length of a review should denote importance and were this the case, this notice ought to occupy many pages! The Schubert dates from the end of Bhms recording career. On disc, it hasn't fared much better, and there's an infamous Herbert von Karajan recording from 1969 with David Oistrakh on violin, Sviatoslav Richter on piano, and cellist Mstislav Rostropovich: it's a nadir of gigantic egos trying to trump each other, a bonfire of the vanities from which Karajan and the Berlin Phil still somehow manage to emerge victorious. His aim was to develop the work from silence and keep the usual frenzied sonorities within bounds. Beethoven, Ludwig van. Theirs are not eccentric readings of these old warhorses far from it. The Beethoven Triple is from the genre called the symphonie concertante: a concerto-like composition for multiple soloists and orchestra. The opening of the Allegro is spectacularly Not only are the singers, by and large, better equipped for their roles, but given the electricity of the occasion the conductors interpretation is more vital (often faster tempi) and even more eloquent We have been writing about classical music for our dedicated and knowledgeable readers since 1923 and we would love you to join them. And theres freedom aplenty in these vigorous, highly charged performances: just sample the concluding Presto of Op 9 No 1 or the opening movement of the E flat major Trio, Op 3. Listen Beethoven: Triple Concerto in C Major, Op. And finally, music is not a sport where success is objectively measured in seconds or score counts. So beside the Beethovenian strut to this performance there is poetry too, as at 825 where Clemens Hagen wafts in with the principal theme underpinned by gently brushed strings. In general, though, only one soloist takes the spotlight at a time, if only for a few bars. a keen music lover and violinist who, having 56, commonly known as the Triple Concerto, was composed in 1803 and published in 1804 by Breitkopf & Hrtel. In many ways, its an odd work: theres very little conversation between the instruments and the orchestra, with nearly everything of interest being played by the soloists. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Also unusually, the exposition modulates to A minor instead of the expected G major. This is another account to be placed alongside the finest, including Argerich, and for me surpassing Glenn Gould/Bernstein, I was much looking forward to getting my hands on this CD, having chosen Steven Osbornes previous Beethoven sonata disc, featuring a dangerous and profound, If you are a library, university or other organisation that would be interested in an institutional subscription to, The 50 best Johann Sebastian Bach recordings, The 50 best Wolfgang Amadeus Mozart recordings, Video: Artur Schnabel the true spirit of Beethoven, Christian Tetzlaff: I think Sibelius did for his century what Beethoven did for his, Beethoven's piano concertos: Boris Giltburg, Jonathan Biss on the Beethoven piano sonatas. The most famous example is Beethoven's Triple Concerto for violin, cello and piano. Arcangelo Corelli's twelve concerti grossi, Op. It was Abbados second Berlin Philharmonic symphony cycle from 2001 which thrust him more or less unexpectedly into the ranks of the immortals where Beethoven is concerned. Where many of the Masss most praised interpreters have treated it as a species of music drama, the god Dionysus never far distant, Harnoncourts performance has an atmosphere you might more normally expect to encounter when listening to a piece such as the Faur Requiem. . That said, a wealth of often obscured orchestral detail emerges without any feeling of being artificially lit (the woodwind exchanges in the opening movements of the First and Second concertos, for example). The triple concerto would seem to have been BEETHOVEN: COMPLETE PIANO TRIOS & TRIPLE CONCERTO. Few works of music stimulate active and stressful thinking - anxious thought complementing the music's search for resolvable sounds - than the Hammerklavier. The perfect civility of Perahias playing is a joy, the deeply felt slow movements particularly rewarding (try that of the Fourth, following the choice of the longer of the two cadenzas for the first movement) Martin Helmchen pf Deutsches Symphonie-Orchester Berlin / Andrew Manze. In November I was humming and hawing over Sir Simon Rattles fascinating but fussy Fifth with the VPO (EMI). With full, warm digital recording, there is no finer version available, combining as it does so many of the special qualities one finds in the Chung and Mutter versions on the one hand, and in the strong, incisive Krebbers on the other. There are classicising tendencies in Leipzig too. Robert Layton (January 1978). [citation needed], Johann Sebastian Bach knew Italian concertos primarily through the Venetian composers, and thus also did not use the concerto grosso qualifier for his concertos for multiple soloists. Richard Osborne(December 1983). also encountered in the First Piano Concerto Ludwig van Beethoven's Concerto for Violin, Cello, and Piano in C Major, Op. It begins with solo piano, then orchestra comes in, then chorus and soloists. Yet not even beside such giants as these as well as Solomon, Kempff and perhaps even Schnabel does Pollinis achievement pale. The recording is limpid and resolute, with something of the character and atmosphere of Wilhelm Kempff's celebrated recordings of this endlessly challenging, endlessly fascinating work. Although thats to be expected to some degree, all of Beethovens other concertos still appear to have orchestral material that, when heard alone, remains pretty compelling. The sound he draws from his players is turgid and unwieldy and his readings seem random and cavalier alongside Norrington's astutely judged readings. Elsewhere Romantics vie with the Classicists, while the temporisers, sailing under various flags of convenience, attempt assorted syntheses of their own. At first glance, you might expect a three-for-the-price-of-one concerto experience, with the violin, cello and piano all happily co-existing as genuine soloists. The key to the cycles success is the quality of the musicianship. This one dates from June 2, 1960, at the Prague Spring International Music Festival. A common feature is a dotted rhythm (short-long, short-long) that lends an air of graciousness and pomp that is not exactly "heroic," but would have conveyed a character of fashionable dignity to contemporary listenersand perhaps a hint of the noble "chivalric" manner that was becoming a popular element of novels, plays, operas, and pictures. There is no doubt, I think, that this is great piano-playing. The recordings are warm and vivid and generally well balanced. Norrington's way with Beethoven which is recognizably Toscaninian in some of its aspects - is mapped out in his own sleeve-note where he states as his aim the recapturing of much of "the exhilaration and sheer disturbance that his music certainly generated in his day". texture) accompanied by muted strings, while 1. The bolero-like rhythm also characteristic of the polonaise, can be heard in the central minor theme of the final movement. Few pianists since Solomon have come near to matching Gilels's ability to touch off the rapt, disburdened beauty of these lofty Beethovenian cantilenas. Free postage. The problems are vexing: balancing the three distinctly different timbres of the solo instruments with the orchestral body; allotting the themes equitably to each soloist and the orchestra; creating materials terse enough that they do not become unmanageable, yet flexible enough to do duty for all involved. Certainly Idont recall the Tokyos latest middle quartets being quite as good as this. And what a nauseating photograph it is, with him posing artfully and the rest of us grinning like idiots."). a finely crafted texture. The works Norrington has selected to launch this projected Beethoven cycle are, it must be said, shrewdly chosen. The success of Beethovens balancing act is in direct proportion to the virtuosity of the soloists and the discretion of the conductor. punctuation. The rest is a model of clarity, with is virtually as substantial, with just under However, Karajan's 1962 Berlin performance (from the DG set already mentioned) is even quicker and superior in articulation, Norrington plays the Eighth Symphony's third movement as a quick dance and makes excellent sense of crotchet = 126, a marking often regarded as being beyond the pale. Composed in 1803, Beethoven's Triple Concerto remained unperformed for five years, until its outing at a summer music festival in Vienna in 1808. Review of Vol 3: To have arrived so soon at the end of this journey seems almost a pity, for the company has been most engaging, by turns profound and delightful. much allowance for the gestation and lengthy Geoffrey Marshall wrote the presentation of Robert Levin may be matchless in conveying the rhetoric of the extended piano opening but Andsnes manages to be lithe and spontaneous-sounding, and doesnt overplay hints of melodrama dangerously tempting with all those diminished sevenths scattered about. I demanded an extra take. These performances are so superb that despite their sonic limitations I still think it possible to recommend them to younger non-specialist collectors, even in these days of the Compact Disc. 2Listen to the Triple Concerto: https://DG.lnk.to/TripleConcertoSubscribe here The Best Of Classical Music: http://bit.ly/Subscribe_DG _______________Find Deutsche Grammophon OnlineHomepage: http://deutschegrammophon.comFacebook: http://fb.com/deutschegrammophonTwitter: http://twitter.com/dgclassicsInstagram: http://instagram.com/dgclassicsNewsletter: http://deutschegrammophon.com/gpp/index/newsletter_______________: http://bit.ly/Subscribe_DG : http://bit.ly/Subscribe_DG - : http://bit.ly/Subscribe_DGLa mejor msica clsica - Suscrbase aqu: http://bit.ly/Subscribe_DGLe meilleur de la musique classique. alla Polacca (there are similar links between Franz Joseph Maximilian von Lobkowitz. 9) Alfred Brendel rules the bagatelles (Decca). 56: II. Introducing our very special Beethoven collectors' edition of Gramophone, 97 years in the making, Rob Cowan listens to Schnabel's legendary recordings of Beethoven's piano sonatas. The flute, oboes, trumpets, and timpani are tacet during the second movement. The work was composed in 1803 and published in 1804. TheAdagio moltois remarkable in the way he stills the mood, conjuring an atmosphere that sounds almost like a postscript to SchubertsWinterreise. They offer eminently civilised, thoughtful and aristocratic readings. When I was doing a Building a Library on Op 109 last year for BBC Radio 3, I was looking for a combination of wonder and fantasy that didnt tip over into late Romanticism in the first movement, fearsome firepower without edge in the Prestissimo and a Classicism to the theme of the finales variations. Beethoven: Triple Concerto And Symphony No. 56: I. Allegro, Triple Concerto for Violin, Cello and Piano in C Major, Op. single chord in the entire movement, only four 56 'Triple Concerto' . Anne Gastinel (cello) & Nicholas Angelich (piano), Gil Shaham (violin), Andreas Ottensamer (clarinet) Of the soloists, it's the cello that has the lion's share, and Anne Gastinel makes the most of the part on this new recording. Still, this set comes close and completes one of the best available cycles, possibly the finest in an already rich digital market, more probing than the pristine Emersons or Alban Bergs (live), more refined than the gutsy and persuasive Lindsays, and less consciously stylised than the Juilliards (and always with the historic Busch Quartet as an essential reference) at no point did I feel the Takcs significantly wanting. bars of broken chord patterns. The fourth of the final variations of Sonata No 6 begins with three unaccompanied violin chords played piano. Christopher Headington (July 1993), Chamber Orchestra of Europe / Nikolaus Harnoncourt. Fischers approach to the Pastoral is quite different from his approach to the Fourth. Sunday, January 1, 2023, 50 of the finest Beethoven recordings available, complete with the original Gramophone reviews, featuring Nikolaus Harnoncourt, Mitsuko Uchida, Murray Perahia, Takcs Quartet and more. 1714. In the middle-period quartets the Italians are hardly less distinguished, even though there are times when the Vgh offer deeper insights, as in the slow movement of Op 59 No 1. Lobkowitz was also the dedicatee of The chamber music ensemble consisting of piano, violin, and cello was a familiar one in the late 18th century, examples from the pens of Mozart, Haydn, and others being in general circulation when Beethoven was in his formative years. In this movement, as in the other two, the cello enters solo with the first subject. A new music service with official albums, singles, videos, remixes, live performances and more for Android, iOS and desktop. Listen free to Neeme Jrvi - Beethoven: Triple Concerto - Brahms: Double Concerto. 56 (1804) [33:49] . Pretty ancient stuff but still cool in some strange way. International licensing, Vital energy and connoisseur-level sensitivity to original turns of phrase reign supreme in Helmchens reading of the Mozart-influenced Second Concerto, and he appropriately exchanges its skittish garments for a serious black frock-coat with the first-movement cadenza, composed much later than the surrounding music, layering the soundscape in something that could have come right out of the, Sonata. The triple concerto is dedicated to Prince The difference in Corelli's and Vivaldi's approach towards concertos for multiple soloists, as well in style as regarding the name that was used for them, has been explained as relating to differences in music traditions in Rome (where Corelli lived) and Venice (where Vivaldi lived). Quante is the Philharmonic's professional concertmistress. Stream ad-free or purchase CD's and MP3s now on Amazon.com. If the volume is set too high at the start, you will miss the stealing magic of Gilelss and the orchestras initial entries and you will be further discomfited by tape hiss that, with the disc played at a properly judged level, is more or less inaudible Itzhak PerlmanvnPhilharmonia Orchestra / Carlo Maria Giulini. True, there are moments of grandeur but the overall impression is of a poised, at times chamber-like traversal, with sculpted pianism and crisply pointed orchestral support. Popular recordings of the Triple Concerto include the following: Beethoven Triple Concert Barenboim, Yo-Yo Ma & Perlman (Mov.2Part.1), Simn Bolvar Youth Orchestra of Venezuela, "Masterclass: Jan Vogler on Beethoven Cello Sonata op.69", International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Triple_Concerto_(Beethoven)&oldid=1135506742, This page was last edited on 25 January 2023, at 01:58. In the ensuing years, Beethoven and the piano were inseparable; the composer, a virtuoso pianist, was virtually always writing for his favored instrument, whether in a solo, chamber, or concerto context. Theres never any doubt that what youre listening to is a real concerto, a battle of wills, more in line with Zehetmair and Brggen (who use Wolfgang Schneiderhans cadenza with timpani) or Kremer and Harnoncourt (a cadenza incorporating piano) than with the likes of Perlman, Zukerman or Kennedy. I don't like to use the term "best" when I describe musicians, for several reasons: first, I am not really an authority . I am less impressesd with Alexander Schneider here,especially c.f. movements. He is well matched in intellect, musicianship and temperament by cellist Xavier Phillips as they journey from the ridiculous (the Variations on See the Conquring Hero Comes, in which Guy dispatches the virtuoso piano part with complete aplomb, to delectable effect) to the sublime (the Op 102 Sonatas). The second movement, Largo, is far more compact. florins. 56, No.2 Largo Attacca, Live at Philharmonie, Berlin (2019). Vital energy and connoisseur-level sensitivity to original turns of phrase reign supreme in Helmchens reading of the Mozart-influenced Second Concerto, and he appropriately exchanges its skittish garments for a serious black frock-coat with the first-movement cadenza, composed much later than the surrounding music, layering the soundscape in something that could have come right out of theHammerklavierSonata. This is a remarkable account of Beethovens Missa solemnis and, in one important respect, an unusual one. 7 - Triple Concerto - Used CD - E7814A at the best online prices at eBay! Sumptuously recorded and lavishly presented (including engaging family photographs), the sonatas are offered in a sequence that gives the listener an increased sense of Beethovens awe-inspiring scope and range Xavier PhillipsvcFranois-Frdric Guypf. cycle An die ferne Geliebte. The trio rushes through a penultimate breakneck episode, but slows down for its last, dance-like section while the orchestra keeps trying to cut in with a big, affirmative conclusion. In the Triple Concerto, a beautiful, problematic work that was completed a couple of years before the Fourth Piano Concerto, the cello enters with . Philipp Spitta, Bach's 19th-century biographer, qualified these extant concertos for three soloists as concerti grossi:[3], Section 53 of the Telemann-Werke-Verzeichnis (TWV) lists 17 concertos for three soloists and orchestra by Georg Philipp Telemann. This polite turn-taking stretches the movement beyond the point its thematic material merits, the inventive dialogue among the instruments almost compensating for the thin content. It was during Osmo Vnsks time with the BBC Scottish SO that his Beethoven began winning golden opinions. The concertante is a step-child of the concerto grosso of fifty years and more previous, and it had enjoyed a great vogue in the 1770s in Paris and Mannheimcities Mozart visited during his travels of 1777-78 . Litton, Lamprea, and Bekker will shine in one of Beethoven's most soulful, challenging, and charming concertos. Beethoven: The Piano Concertos. Anne-Sophie Mutter, Daniel Barenboim, Yo-Yo Ma Beethoven: Triple Concerto C Major, Op. Listen Beethoven: Triple Concerto in C Major, Op. Israel PhilharmonicZubin Mehta - conductorYefim Bronfman - piano Pinchas Zukerman - violinAmanda Forsyth - cello BEETHOVEN:TRIPLE CONCERTO. The clarity and warmth of the recording (from Snape Maltings) is as remarkable as the playing. 1 in C Major, Op. Telemann also wrote triple concertos for three identical instruments and for three different instruments: for instance, his Tafelmusik collections contain a concerto for three violins (TWV53:F1), and one for flute, violin and cello (TWV53:A2).[4]. its muscles. Georg Philipp Telemann wrote 17 concertos for three instruments, many of them for two identical woodwind instruments, such as flutes or oboes, with a different third instrument such as violin or bassoon, others for three identical instruments, such as three violins, and for three different instruments, such as flute, violin and cello, published for example in his Tafelmusik collection. Pollinis account is simply staggering, for if there are incidental details which are more tellingly illuminated by other masters, no performance is more perfect than this new version. Beethoven composed the Triple Concerto around the same time as his path-breaking "Eroica" Symphony. Review of Vol 4: Only an extended essay could do justice to the fourth and final volume of Paul Lewiss Beethoven sonata cycle. Beethoven's metronome marks are printed alongside the movement titles but having set this particular hare running, Norrington declines to explain why some of his tempos fall short of those advertised. The specifically east of Vienna dimension is not merely felt in the fierier thrust of the 2/4 section of the Peasants Merrymaking. Dramatic repeated notes launch into the third movement, a polonaise (also called "polacca"), an emblem of aristocratic fashion during the Napoleonic era, which is, thus, in keeping with the character of "polite entertainment" that characterizes this concerto as a whole. Largo - song online free on Gaana.com. The work has chamber-like qualities; indeed, its easy to wonder whether an entire orchestral accompaniment was really necessary but that was Beethovens call to make, not ours. USA e internazionale; Australia; Canada; Francia; Germania; Italia; Spagna; Regno Unito; Riguardo a noi; the flattened submediant (C-A flat-C), a relationship in their allegro movements, the texture being Clouds pass over during a minor mode episode imposed by the orchestra near the end, but the soloists modulate back to the major for a seamless transition into the finale, a Rondo alla Polacca. 56, commonly known as the Triple Concerto, was composed in 1803 and published in 1804 by Breitkopf & Hrtel. 6 (2012) 0 0 0 ! It does not seek to banish all conventional wisdom about the pieces, but it has asked a lot of questions about them, as interpreters should, and I warm to it not only for the boldness of its answers but for finding so many of the right questions to ask Read the full review in the Reviews Database, Paul LewispfBBC Symphony Orchestra / Ji Blohlvek. The first thing we should do in approaching this musically remarkable and, in terms of its exploration of the composers tempest-tossed inner life, extraordinarily fascinating addition to the Beethoven discography is banish all thoughts of moonlight. Comparing it with Toscaninis wellknown 1952 NBC recording finds numberless instances where a natural easing of pace helps underline essential transitions such as the quiet alternation of winds and strings that holds the tension at the centre of the first movement Orchestre Rvolutionnaire et Romantique / John Eliot Gardiner. Allegro song online free on Gaana.com. Like Solomon, Gilels gives us an outstanding reading of the vast slow movement. I dont like to use the term best when I describe musicians, for several reasons: first, I am not really an authority, able to determine who the best is. The very name Triple Concerto is slightly misleading here. Beethoven had planned to unveil the C minor Piano Concerto No. With the exception of the trumpets, the instruments are all modern, and while phrasing, rhythmic articulation, expression and balance reveal Harnoncourt's rigorous and passionate pursuit of historical truth, the results neither sound nor feel like anything offered under that banner before. Find many great new & used options and get the best deals for Beethoven Triple Concerto & Brahms Double Concerto, Richter,Rostropovich,Oistrak at the best online prices at eBay! The qualities of the earlier instalments (8/10, 12/10) polished technique, spontaneity and deep engagement with the music are as strongly apparent here. The very name Triple Concerto is slightly misleading here. Beethoven's grand and graceful Triple Concerto is followed by the Flamenco-inspired comic ballet The Three-Cornered Hat, based on Andalusian folk music and designed for Spanish dance.A great opportunity to see Dudamel in action at the Bowl. Those old guys playing this one looks to be close to dying. Beethoven's Triple Concerto. The choice of the three solo instruments effectively makes this a concerto for piano trio, and it is the only concerto Beethoven ever completed for more than . Not only has Helmchen matured in his pianism but he is given wings by an orchestra that shares intimate moments with the piano at one point and twirls with it at the next. In such hands the final pages of Op 111 do indeed become a drift towards the shores of Paradise (Edward Sackville-West) and throughout all these performances you sense how the great effort of interpretation (Michael Tippett) is resolved in playing of a haunting poetic commitment and devotion. The movement begins sweetly enough, though with some tough turns for the string players. Beethoven's early biographer Anton Schindler claimed that the Triple Concerto was written for Beethoven's royal pupil, the Archduke Rudolf (Rudolf von Habsburg-Lothringen). In the finales of this sonata and of the Kreutzer, Faust and Melnikov are slightly faster and more brilliant but Tiberghien and Ibragimova, with superb poise and control, appear more carefree and joyful. It takes a major pianist standing outside the Viennese tradition to see the volatile and ageing Beethoven subsuming gamesome Classical ironies in Romantic pathos and a feeling of personal travail. Try Op 28s finale for an ultimate pianistic and musical finesse or the opening Allegro where Lewis makes you conscious of how the musics gracious and mellifluous unfolding is momentarily clouded by mystery and energised by drama.

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