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Piano Concertos 4 & 5

Hannes Minnaar / Jan Willem de Vriend / The Netherlands Symphony Orchestra

Piano Concertos 4 & 5

Format: SACD
Label: Challenge Classics
UPC: 0608917267228
Catnr: CC 72672
Release date: 15 February 2015
1 SACD
 
Label
Challenge Classics
UPC
0608917267228
Catalogue number
CC 72672
Release date
15 February 2015

"PCC winner (Klassieke Kinder Zaken): "what a beautiful combination. Young, sensitive, poetic and sparkling-combined with De Vriends hours of flight.""

Klassieke Zaken, 01-4-2016
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About the album

Beethoven wrote five concertos for piano and orchestra. It doesn’t sound like much; his near-contemporary Mozart composed 27. But although it may be a bit smaller, Beethoven’s contribution is a true monument in the history of music. He used the first two concertos to move away from his example, Mozart (whose last piano concerto was from 1791, while Beethoven completed his first in 1795); in Concerto no. 3 Beethoven carved out new dimensions for the genre’s dramatic possibilities. And Concertos nos 4 and 5 have proved to be unmatched in their genre: the radiant Concerto no. 4 is worshipped by experts and aficionados alike, while no. 5 is the all-time favourite of the public at large. Almost 25 years passed between Beethoven’s first sketches for a piano concerto and the double line he drew under his last one. His piano concertos thus show a development covering more than half of the composer’s life. This CD brings the last two concertos together. When you hear them, you cannot help but find it unfortunate that his Piano Concerto no. 6 (in D major, 1815) never got beyond the sketch stage. The solo concerto is absent in Beethoven’s final creative period. But if you are still hungry for more, more is to be found: there is a quite pleasant piano concerto composed when he was fourteen, and when his magnificent Violin Concerto was not appreciated by his contemporaries, he turned it into a piece for piano and orchestra.

Piano Concerto no. 4
Once he had accepted the fact that he was inevitably going completely deaf, Beethoven wrote in his moving “Heiligenstädter Testament” (1802): “As the leaves of autumn fall and are withered, so hope has been blighted. Even the high courage, which often inspired me in the beautiful days of summer, has disappeared. Oh Providence, grant me but at least one day of pure joy!” Did Providence grant him that one day? It is hard to say. When it came to happiness, Beethoven had no-one but himself to rely on, as the further tragic course of his life shows. The only thing he had that could counter the forces of fate was his music. And in the first years after he had accepted his fate, his music was a source of huge joy to him. It emanates an optimism that is as beneficent as it is powerful. Take Piano Concerto no. 4, written in 1806: here we become aware of a sort of latent energy, music articulated in rays of sunlight, the deeply effusive light of the month of September.
The start is revolutionary. Completely alone, the piano posits its theme – which is highly unusual – and then the orchestra immediately follows suit. It is as if Beethoven first shows us the piano sketch, and then goes on to let us discover how this theme can grow, recede and grow again, taking on more and more meaning. This also allows him to compose a lengthy orchestral introduction without making the impression that he has forgotten the soloist (his Piano Concerto no. 3 opens with such an enormous orchestral exposition that the solo instrument has to wait a long time for its turn...). In the Andante Beethoven quite summarily allows the soloist and the orchestra to converse. The rebellious strings are gently soothed and calmed by the pianist. And quite successfully: the orchestral sentences gradually become shorter, only to merge with the conciliatory pleas of the piano. (Franz Liszt likened this dialogue to Orpheus pleading with the Furies.) Just before the strings yield, the soloist puts forth some moving chromatics and a hair-raising trill. This is followed by the Rondo: expressing a zest for life with simple ingredients tossed in: repeated notes, broken triads, dashes of rhythm. But so very effective!
This absolute masterpiece premiered on 22 December 1808 in the Theater an der Wien. It was a concert never to be forgotten. And it was truly gigantic, because in addition to this piece, Symphonies nos 5 and 6, the Choral Fantasy, the aria Ah! Perfido and two parts of the Mass in C Major were also premiered. Simply too much beauty. The audience, in an unheated hall – it was an icy December evening – had to digest four hours’ worth of new music. The playing was not up to par: second-rate musicians, too little rehearsal time and Beethoven himself, nearly deaf, was not in form, to put it mildly. Some of the audience, such as composer J.F. Reichardt, even wished “that they had dared to leave the hall earlier”.

Piano Concerto no. 5
Beethoven’s Piano Concerto no. 5 is called the “Emperor Concerto”. It was not given this name by Beethoven, and it makes an incorrect impression. The piece was not dedicated to an emperor, it was not commissioned by an emperor, and it is not about an emperor. Based on the preferences of both the public and the composer, you might call it the crown on his piano concertos and so – although still very much the first among equals – the emperor among the concertos, but then we risk clashing swords with the ‘true’ experts who would choose no. 4. In 1809, the year that he wrote his Piano Concerto no. 5, Beethoven did not have much time for emperors. He lived in Vienna, which was occupied by the armies of the Emperor Napoleon. Heavy cannon fire had caused much destruction; entire families had been reduced to beggary. Beethoven’s house was next to the city walls and when Napoleon issued the order to demolish the wall, his house was left quite unprotected. On the very day that the explosives were positioned, a French officer who admired Beethoven’s music sought out the composer when out delivering a message. Unfortunately, the Frenchman was in uniform. “Do I have the honour of speaking with monsieur Beethoven?” he asked. “Yes, sir! But I must tell you that I know very little French”, Beethoven replied drily. Not much later, once the shelling of the city had started, he was obliged to move in with his brother Johann. There, in the basement, he waited with pillows over his head until the guns had stopped booming.
It was a very lonely time. His noble patrons left the city. Friends, weakened by the conditions of war, died. Joseph Haydn, his former teacher and a person whom he greatly admired, died shortly after the bombardment. Beethoven’s mood was sombre. He made some idle sketches for a new piano concerto but had to tell his publisher that he had a hard time setting himself to work, and could only put some disconnected notes to paper. “Life all around me is destructive and chaotic. Nothing but drums, cannons and human suffering...”
But meanwhile. When you are Beethoven, you persevere. Some hear in Piano Concerto no. 5 Beethoven’s response to the suffering of war and the rising tide of Napoleonic victories. But Beethoven certainly does not sit back and watch; this work was not written from the point of view of a victim. When it premiered on 28 November 1811, not in Vienna but in the Gewandhaus in Leipzig, it was immediately very well received on account of its martial character and the huge strength it emanates. The concerto opens with a clear statement: a powerful chord produced by the orchestra – the masses – is immediately answered by vast arpeggios from the single piano. Twice the orchestra repeats its contention, and only then gives its permission to the piano to launch the main theme. Like two soldiers, the first and third movements carry the stretcher of the Adagio, which bears an injured combatant. This is how Beethoven wrote his Piano Concerto no. 5, this unyielding music that he dedicated to his patron and faithful friend, Archduke Rudolf (perhaps it should even be called the “Archduke Concerto”), a work that guns can never destroy.

Stephen Westra
Translation: Carol Stennes/Muse Translations
Vernieuwende samenwerking voert uit: Beethovens pianoconcerten
Dit is het eerste album van een nieuwe, complete set van de pianoconcerten van Beethoven. Het is tot stand gekomen door een intrigerende samenwerking: de jonge pianist Hannes Minnaar samen met de ervaren dirigent Jan Willem de Vriend. Hannes Minnaar is Nederlands meest veelbelovende jonge pianist sinds hij de derde prijs won tijdens de Koningin Elisabethwedstrijd. Jan Willem de Vriend heeft als dirigent van het Nederlands Symfonieorkest onder andere alle symfonieën van Beethoven opgenomen.

In totaal heeft Beethoven vijf pianoconcerten gecomponeerd. Dit zijn er niet veel, maar dit neemt niet weg dat het belangrijke hoogtepunten in de muziekgeschiedenis zijn. Met name zijn laatste twee pianoconcerten − nummer 4 en 5 − worden door zowel experts als het publiek geprezen. Dit album brengt deze laatste twee concerten samen. Na het luisteren zult u het jammer vinden dat Beethoven voor zijn pianoconcert nummer 6 (in D-majeur, 1815) nooit verder dan een schets is gekomen.
Die Reihe startet mit den Klavierkonzerten Nr. 4 & 5. Fünf Konzerte für Klavier und Orchester schrieb Beethoven. Das klingt eher bescheiden, wenn man bedenkt, dass sein Fast-Zeitgenosse Mozart es immerhin auf 27 Werke gebracht hat. Dennoch ist Beethovens Beitrag, so klein er umfangmäßig sein mag, ein wahres Monument der Musikgeschichte. Mit den ersten zwei Klavierkonzerten hatte er sich von seinem Vorbild Mozart freikomponiert: dessen letztes Pianokonzert stammte aus dem Jahr 1791, Beethovens erstes wurde 1795 fertiggestellt. Mit dem Dritten verlieh Beethoven den dramatischen Möglichkeiten der Gattung neue Dimensionen, und die Konzerte 4 und 5 sind bis heute unübertroffene Vertreter ihres Genres: Das strahlende Vierte wurde von den Experten quasi heiliggesprochen, während das Fünfte ein großer Publikumsliebling ist. In ihrer Gesamtheit machen die fünf Werke – mit knapp 25 Jahren zwischen Beethovens ersten Entwürfen und dem Doppelstrich, den er unter sein letztes Klavierkonzert setzte – eine Entwicklung sichtbar, die sich über mehr als ein halbes Komponistenleben erstreckte.
Auf der vorliegenden CD stehen die beiden letzten Konzerte. Wer sie hört, bedauert, dass Beethoven bei einem sechsten Klavierkonzert (in D-Dur) nicht weiter als einige Skizzen gekommen ist (1815). Aus der letzten Schaffensperiode des Komponisten gibt es überhaupt keine Solokonzerte. Zu erwähnen bleibt in diesem Zusammenhang dafür noch ein hübsches Klavierkonzert, das Beethoven im Alter von 14 Jahren schuf, und das grandioseViolinkonzert, von ihm für Klavier und Orchester transkribiert, weil es seinen Zeitgenossen nicht gefallen hatte.

Artist(s)

Hannes Minnaar (piano)

Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (2010, 3rd prize) and the Geneva International Music Competition (2008, 2nd prize) and being awarded a Borletti-Buitoni Trust Fellowship (2011). He studied with Jan Wijn at the Amsterdam Conservatory, graduating with the highest distinction and took master classes with Menahem Pressler and Ferenc Rados. In addition, he studied organ with Jacques van Oortmerssen. Minnaar was soloist with various orchestras, including the Royal Concertgebouw Orchestra, during which time he worked with conductors such as Marin Alsop, Jiří Bělohlávek, Herbert Blomstedt, Frans Brüggen, Eliahu Inbal, Edo de Waart and Xian Zhang. He gives recitals in many European countries and around the world. He performed at the Royal Concertgebouw (Amsterdam), Konzerthaus...
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Hannes Minnaar received international acclaim after winning prizes at the Queen Elisabeth Competition (2010, 3rd prize) and the Geneva International Music Competition (2008, 2nd prize) and being awarded a Borletti-Buitoni Trust Fellowship (2011). He studied with Jan Wijn at the Amsterdam Conservatory, graduating with the highest distinction and took master classes with Menahem Pressler and Ferenc Rados. In addition, he studied organ with Jacques van Oortmerssen.
Minnaar was soloist with various orchestras, including the Royal Concertgebouw Orchestra, during which time he worked with conductors such as Marin Alsop, Jiří Bělohlávek, Herbert Blomstedt, Frans Brüggen, Eliahu Inbal, Edo de Waart and Xian Zhang. He gives recitals in many European countries and around the world. He performed at the Royal Concertgebouw (Amsterdam), Konzerthaus (Berlin), Musashino Hall (Tokyo) and the Great Hall of the Tchaikovsky Conservatory (Moscow) and was invited to the festivals of La Roque d’Anthéron, Bordeaux (Jacobins) and Guangzhou.
Minnaar is also active as a chamber musician. As a member of the Van Baerle Trio he won prizes at competitions in Lyon (2011, CIMCL, 1st prize) and Munich (2013, ARD, 2nd prize). The trio gave 18 concerts in an international tour in the “Rising Stars” series in 2014, including the Barbican (London), Musikverein (Vienna) and Cité de la Musique (Paris). Minnaar also performed with musicians such as Janine Jansen, Isabelle van Keulen and Mischa Maisky.
His two solo albums are highly acclaimed. His debut album was awarded an Edison and Gramophone published a full-page article about this album. The same magazine wrote about his second album “Bach inspirations”: “After Minnaar’s debut disc, this makes two hits in a row”. BBC Music Magazine selected it as “Instrumental choice of the month” with 5 stars.
Minnaar is currently recording all of Beethoven’s piano concertos for Challenge Classics. Other future concert highlights include Liszt’s Totentanz and a new concerto by Robert Zuidam with the Radio Philharmonic Orchestra under the baton of Markus Stenz – at which occiasion he will be awarded the Dutch Music Prize by the Dutch Minister of Culture – and Beethoven’s Third Piano Concerto with the London Philharmonic Orchestra conducted by Daniele Rustioni.


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The Netherlands Symphony Orchestra

The Netherlands Symphony Orchestra is based in Enschede, in the province of Overijssel. Performing at an international level, as evidenced by its highly acclaimed CDs and invitations for international tours, the orchestra is firmly rooted in society. Jan Willem de Vriend has been its artistic director and chief conductor since 2006. He will be succeeded by Ed Spanjaard in 2017. Under De Vriend’s leadership, the orchestra has expanded its repertoire to cover music from four centuries. Its use of period instruments in the Classical repertoire gives the orchestra a distinctive and highly individual character. The Netherlands Symphony Orchestra performs amongst others in Amsterdam, Rotterdam, Utrecht, Enschede, Zwolle and Deventer. In addition, it has made successful tours of the United States, Spain and...
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The Netherlands Symphony Orchestra is based in Enschede, in the province of Overijssel. Performing at an international level, as evidenced by its highly acclaimed CDs and invitations for international tours, the orchestra is firmly rooted in society.
Jan Willem de Vriend has been its artistic director and chief conductor since 2006. He will be succeeded by Ed Spanjaard in 2017. Under De Vriend’s leadership, the orchestra has expanded its repertoire to cover music from four centuries. Its use of period instruments in the Classical repertoire gives the orchestra a distinctive and highly individual character.
The Netherlands Symphony Orchestra performs amongst others in Amsterdam, Rotterdam, Utrecht, Enschede, Zwolle and Deventer. In addition, it has made successful tours of the United States, Spain and England and it often works with the Dutch National Touring Opera Company. In its home town Enschede, the orchestra builds on a symphonic tradition of more than 80 years, and it is known as one of the most modern and entrepreneurial orchestras in the Netherlands.
The Netherlands Symphony Orchestra created a number of ensembles, such as a chamber orchestra, the Baroque Academy of the Netherlands Symphony Orchestra (BANSO) and various chamber music ensembles. The orchestra’s commitment to expanding its social relevance is also reflected in the large number of projects in which education is a key element.
The orchestra has worked with distinguished conductors, such as its former chief conductor Jaap van Zweden, Vasily Petrenko, Edo de Waart, Claus Peter Flor and Tan Dun. It also has accompanied many celebrated soloists, including Gidon Kremer, Ronald Brautigam, Natalia Gutman, Charlotte Margiono, Jean-Yves Thibaudet and Thomas Zehetmair.

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Jan Willem de Vriend (conductor)

Jan Willem de Vriend, designated “a godsend from the Netherlands” by the Neue Zürcher Zeitung, is driven by the pioneering spirit of historically informed perfomance practice. As music director of the Combattimento Consort Amsterdam, which he founded in 1982, he specialised in repertoire of the 17th and 18th centuries, reviving a wealth of rarely heard works through historically informed performances on modern instruments, praised by Gramophone magazine for their “technical finesse and a lively feeling for characterization”. An award-winner for his creative contribution to classical music, Jan Willem de Vriend has more than 50,000 followers on Spotify and is in demand as a conductor around the world, appearing regularly with such orchestras as the Royal Concertgebouw Amsterdam, Rotterdam Philharmonic, Residentie Orkest...
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Jan Willem de Vriend, designated “a godsend from the Netherlands” by the Neue Zürcher Zeitung, is driven by the pioneering spirit of historically informed perfomance practice. As music director of the Combattimento Consort Amsterdam, which he founded in 1982, he specialised in repertoire of the 17th and 18th centuries, reviving a wealth of rarely heard works through historically informed performances on modern instruments, praised by Gramophone magazine for their “technical finesse and a lively feeling for characterization”.
An award-winner for his creative contribution to classical music, Jan Willem de Vriend has more than 50,000 followers on Spotify and is in demand as a conductor around the world, appearing regularly with such orchestras as the Royal Concertgebouw Amsterdam, Rotterdam Philharmonic, Residentie Orkest Den Haag, Belgian National Orchestra, Tonhalle Zurich, Orchestre National de Lyon, Bergen Philharmonic, Warsaw Philharmonic, the symphony orchestras of Netherlands Radio and Hessischer Rundfunk (Frankfurt Radio Symphony), Melbourne Symphony, Yomiuri Nippon Symphony and Hong Kong Philharmonic. He is Principal Conductor Designate of the Vienna Chamber Orchestra, and Principal Guest Conductor of the City of Kyoto Symphony Orchestra, Principal Guest Conductor of the Stuttgart Philharmonic and Orchestre National de Lille, and former Principal Guest Conductor of the Orquestra Simfònica de Barcelona i Nacional de Catalunya and the Brabant Orchestra.
For the Challenge Classics label, de Vriend and the Netherlands Symphony Orchestra have recorded the complete Mendelssohn symphonies and all Beethoven’s symphonies and concertos with, among others, pianist Hannes Minnaar and violinist Liza Ferschtman. De Vriend’s interpretation of the Symphony No 7 prompted Classic FM to admire “a bounding flair that does real justice to the composer’s capacity for joy”. A further landmark of his recorded catalogue is his complete recording of the Schubert symphonies with the Residentie Orkest Den Haag.
De Vriend’s collaborative spirit is equally evident in his work for the stage, notably with opera director Eva Buchmann and Combattimento Consort Amsterdam. In addition to works by Monteverdi, Haydn, Handel and Telemann, their productions in Europe and the USA have included staged versions of Bach’s ‘Hunting’ and ‘Coffee’ Cantatas at the Bachfest Leipzig, and operas by Mozart, Rossini, Verdi and Cherubini, among them Mozart’s Don Giovanni und Rossini’s La gazzetta, both toured in Switzerland. De Vriend has also conducted operatic productions in Amsterdam (with the Nederlandse Reisopera), Barcelona, Strasbourg, Lucerne, Schwetzingen and Bergen.

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Composer(s)

Ludwig van Beethoven

Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include nine symphonies, five piano concertos, one violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Together with Mozart and Haydn, he was part of the First Viennese School.    Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob...
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Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include nine symphonies, five piano concertos, one violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Together with Mozart and Haydn, he was part of the First Viennese School. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

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Press

PCC winner (Klassieke Kinder Zaken): "what a beautiful combination. Young, sensitive, poetic and sparkling-combined with De Vriends hours of flight."
Klassieke Zaken, 01-4-2016

" [...] What a poetic pianist! The technique seems effortless, the phrasing is thought out and at the same time spontaneously (Yes it's possible!) and the result sounds pleasant [...] "
Klassieke Zaken, 01-4-2016

****- "There never is boredom, the concerts glows of lifelust: an ancient work sounds like it was made yesterday"
Elsevier, 17-3-2016

''Total service to the music''
Opus Klassiek, 01-2-2016

''Best is to play Beethoven as it is indicated in the score. That's precisely what Hannes Minnaar is doing. Middle of the road? In my view his' is the road.''
HRAudio.net, 30-1-2016

[''].. Pianist Minnaar shines in an angular Beethoven."
NRC Handelsblad, 21-9-2015

"Beginning a Beethoven cycle with the Fourth and Fifth Concertos is a bold move but one that pays off in all sorts of ways."
Gramophone, 01-9-2015

["].. The piano passagework, too, invariably bubbles with energy and subtlety of detail in Minnaar's hands, not least in the finale of the Fourth, where the timpani and brass add a pungent earthiness to the proceedings." “The pacing into the finale is well managed, and again there’s a terrific sense of energy and interplay that is very winning.”
Gramophone, 01-8-2015

"Hannes Minnaar exactly knows what is important: the mixture of lyrical moments, that are sensitively tared, and the radical, for Beethoven typical outbursts that need powerfull approach." Interpretation 4/6 Sound 5/6 Repertoire value 3/6
Piano News, 01-7-2015

"Rarely these two war horses sound so "freed", so pinpoint accurate, so aerial beautiful and so visinoary modern."
Crescendo, 01-6-2015

"Lets hope that Minnaar and De Vriend can finish their Beethoven cycle."  
Luister, 01-6-2015

In the opening movement of the fifth wants De Vriend every time a little faster than Minnaar, which inhibits him - an amusing detail for the listener. The recording quality of this production is exeptional: a perfect balance of sounds and a nice acousics.  
Klassieke Zaken, 01-6-2015

"A recent other recording that these two concerts feedback is that with Till Fellner (ECM) and he has probably has some more depth, but the spontaneity and naturalness of lover-it was a convenience without superficiality that irresistible reminds Arthur Rubinstein-its really enchanting." […] Jan Willem de Vriend conducted his Orchestra with great rigour and intelligence [...] "  
Crescendo Magazine, 18-5-2015

"Jan Willem de Vriend has developed into a strong brand. With one of enthusiasm vibrating tongue saves the managing violinist itself through life." 
De Limburger / Limburgs Dagblad, 07-5-2015

"Minaar plays beautifully, with a warm, embracing rone, and De Vriend accompanies energetic." 
Het Parool, 07-5-2015

"The adrenalin level rises to a great height, especially in the cadences." 
De Gelderlander, 16-4-2015

"Characteristic to this cd-recording is the non-equal temperament, which gives each key its own character."   
Luister, 01-4-2015

"Extremely vivid mix of sounds"
BR Klassiek, 24-3-2015

"The pianistic standard concert repertoire by Beethoven rarely approches one in such a energetic and fresh way as it does on this CD of Hannes Minaar, Jan Willem de Vriend and the Netherlands Symphony Orchestra."
BR Klassik, 24-3-2015

"Pointed, dynamic and sometimes almost stumbling of enthusiasm."
NRC Handelsblad, 09-3-2015

"The level of the young pianist is impeccably high."
Trouw, 27-2-2015

"Things work better if they happen to you. In this way I also want to make music: it's about passing music on instead of imposing my interpretation on the listener. The best moments are the unexpected ones." "Music is a kind of dream, in the same way immaterial and slippery. I live in my dream - or does this sound cheap?"
Trouw, 14-2-2015

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