Most likely completed his Brandenburg Concerto No. 5 in D major, BWV 1050, in 1721. This work is the fifth of six concertos the composer dedicated to Christian Ludwig, Margrave of Brandenburg. The offering was likely a sort of application for employment; got no response, but these pieces have become some of his best-known material. Every one of the concertos is distinct, as are the composer's sets of suites and partitas.
Find composition details, parts / movement information and albums that contain performances of Brandenburg Concerto No. 5 in D on AllMusic.
Hearing the fifth concerto in the context of the rest of the set makes it clear that, apart from 's inimitable strength as a contrapuntist, the key to his ability to make music that is both sublime and entertaining lies in the fact that in his hands, everything is elastic. No other composer of the Baroque era could write through the constraints of form as if it was not there at all.
Saw more options than anyone else, in form and in influence. The way he blended the Italian sound into his own in these concertos ennobled both Italian and German music. The scope of his vision and his relentless invention, making everything he wrote new, frustrates any attempt at comparison.This fifth concerto is scored for flute, solo violin, obbligato harpsichord, and strings. It is the only one of the six pieces to have any solo material given to the harpsichord, which is part of the continuo throughout the other works, filling out the harmonies. What is quite bizarre and beautiful about the opening movement is the way the solo instruments and string ensemble seem to be muscling in on each other's musical functions. More specifically, the ritornello is almost carried away by the soloists although it is normally the territory of the tutti ensemble. The harpsichord seems to be holding the work together, and there are episodes in the second half of the movement where everything has ground to a halt except for the harpsichord.
At the end of the movement, the other soloists actually support the free-flowing harpsichord line. It is a sort of divide-and-conquer movement, with tutti versus soloists, and also soloists against soloists.
The harpsichord wins. No one wrote music with this sort of free play of function before.The following two movements, briefer than the first, form an admirable contrast. The second movement is for soloists only, somber and cooperative. Though it is intimate and free of the first movement's tension, it is the most concerto-like movement in the traditional sense. This is a colossal irony, considering how the tensions of the concerto form were exploded in the first, which is as much a departure from the form as it is an adherent.
The final movement is a charming dance, a lively gigue with fugal powers. Parts/Movements. Allegro. Affettuoso.
AllegroAppears On.
. un poco mosso.: AllegroThe Piano Concerto No. 5 in, 73, by, popularly known as the Emperor Concerto, was his last completed. It was written between 1809 and 1811 in Vienna, and was dedicated to, Beethoven's patron and pupil. The first performance took place on 13 January 1811 at the Palace of Prince Joseph Lobkowitz in Vienna, with Archduke Rudolf as the soloist, followed by a public concert on 28 November 1811 at the in Leipzig under conductor, the soloist being. On 12 February 1812, another student of Beethoven's, gave the Vienna debut of this work.The epithet of Emperor for this concerto was not Beethoven's own but was coined by, the English publisher of the concerto. Its duration is approximately forty minutes.
The first movement begins with the solo piano unfurling a series of pronouncements punctuated by emphatic loud chords from the full orchestra. The vigorous, incessantly propulsive main theme follows, undergoing complex thematic transformation, with a secondary of and notes and chords. When the piano enters with the first theme, the is repeated with variations, virtuoso figurations, and modified harmonies. The second theme enters in the unusual key of before moving to and at last to the expected key of several bars later.Following the opening flourish, the movement follows Beethoven's three-theme structure for a concerto.
The orchestral exposition is a two-theme sonata exposition, but the second exposition with the piano introduces a triumphant, virtuosic third theme that belongs solely to the solo instrument, a trademark of Beethoven's concertos. The coda elaborates upon the open-ended first theme, building in intensity before finishing in a final climactic arrival at the tonic E ♭ major.II. Adagio un poco mosso. The final movement of the concerto is a seven-part form (ABACABA). The solo piano introduces the main theme before the full orchestra affirms the soloist's statement. The rondo's B-section begins with piano, before the orchestra again responds.
The C-section is much longer, presenting the theme from the A-section in three different keys before the piano performs a passage of arpeggios. Rather than finishing with a strong entrance from the orchestra, however, the ending the cadenza dies away until the introductory theme reappears, played first by the piano and then the orchestra. In the last section, the theme undergoes variation before the concerto ends with a short cadenza and robust orchestral response.Recordings. During the acoustic era, in September 1912 recorded the adagio movement with an unnamed orchestra; the recording was issued as Victor 55030-A.
In January 1927 recorded the Emperor Concerto with the Orchestra under. Backhaus would make stereo recordings of all five concertos with and in the late 1950s. In March 1927 recorded the Emperor Concerto with the New Orchestra under, but this recording no longer exists. In the early 1930s recorded all five Beethoven concertos under and the. recorded it with in 1939 and in 1951. recorded it with the, conducted by on May 12, 1940.
recorded it three times, with, and. and made a stereophonic tape recording in 1944 or 1945 for German radio. It was one of the very earliest high-fidelity, as well as one of the earliest recordings, and was one of about 300 such recordings made during the war. However, only three are known to survive. During the quiet passages, anti-aircraft weapons can be heard firing.
recorded it in a 1952 live performance at with and the. recorded it with in 1953 and with in 1961. recorded it four times: in 1941 with and the; in 1953 with and the; in 1962 with conducting the New York Philharmonic, and in 1981 with the under. Bernstein recorded a live performance of the concerto in September 1989, shortly before his death, with and the. The performance was filmed and released on DVD. recorded all the Beethoven piano concertos with and the from 1959 until 1961. recorded all the Beethoven piano concertos three times: in 1971-1972 with and the, in 1983 with and the, and in 1986-1987 with himself conducting the.
recorded it four times: with in 1958, in 1964 and twice with Sir, first with the and later with the. recorded this concerto with (the only recording the two ever made together) using somewhat non-traditional phrasings and tempi, as was typical of Gould's interpretations. Gould also recorded it with. recorded the five piano concertos twice for. First with and (in the first two concertos) and the and later with and the. Beethoven's piano concertos at least three times over his career.
recorded all Beethoven's piano concertos with and the between 1971 and 1973. recorded all five of Beethoven's piano concertos with the with conductor. recorded all five of Beethoven's piano concertos with the with conductor, 1988. recorded a live performance in December, 2006 with Wladimir Jurowski and the. In 2012, the Norwegian pianist recorded all five of Beethoven's piano concertos in the album 'the Beethoven Journey', with theNotes.