There's a *lot* of structural cleverness going on here, and since I feel like the Emperor is one of those works (wonderful as it is) which is made about three times better if you know how it ticks (especially that audacious-to-the-point-of-becoming-ridiculous first movement), this is going to be a bit long: MVT I, Allegro, in Eb 00:00 - Introduction/cadenza (the scale built from leaping 4-note downward runs at 1:05 will become important). EXPOSITION I (Orchestra) 1:13 - Theme 1 (T1), made of 3 critical motifs in quick succession - a 3-note turn (M1), a 4-note descent (M2), and a very short dotted fanfare (M3). 1:35 - Transition Theme 1 (TrT1), built from M2 1:47 - TrT2 (the bass line returns later) 2:01 - TrT3 2:08 - T2 in Ebm, transformed immediately later into a lyrical passage (T2 Var.1) at 2:24 (listen especially to the French horns). In all of its recurrences T2 is always paired with a major version of itself. 2:39 - Transition, using M1 in the high and low strings. At 2:45, a brief syncopated octave line in the violins appears (M4), heralding the return of T1. T1 is diverted at 2:54 into a passage consisting of yet more instances of M1 strung together, decorated with M4 in all the woodwinds. The transition has its own little climax at 3:09, which is followed by an arpeggio descent made of M2 (expanded), with a wonderful entry of the trumpets/French horns in unison at 3:13. 3:16 - Cadential Theme 1 (CaT1), built off the passage at 1:05. 3:37 - CaT2, using M2 in every second bar. At 3:48 M3 enters and gradually grows more prominent. 3:52 - CaT3, which is actually a variant of TrT3! At 4:01, interrupted by M1, which in turns establishes a Bb7b9 chord over which the piano enters with a chromatic scale. EXPOSITION II (Piano) 4:17 - T1, broad, relaxed, lyrical. Diverted into a long fantasia-like passage. 4:47 - TrT1, orchestra 4:55 - TrT1, developed in the piano into a darkly syncopated version, modulating to Gb 5:07 - TrT2 in orchestra, piano with accompaniment 5:22 - Transition, built off inversion of 0:30 in the cadenza (lower chromatic neighbour tones there, upper neighbour tones here!) 5:33 - T2 Var.2, Bm., hushed and mystical, triplets. T2 Var.3 in B enters at 5:50. T2 Var.4, a sudden march in (unprepared) Bb, suddenly erupts in the orchestra at 6:11. 6:25 - Piano solo fill. At 6:36, a heavily modified TrT2 enters in the piano (note the rhythmic similarity), and is diverted into a downward scale. Call this TrT2*. 6:43 - M1 in RH, over LH chromatic descent. Sequential development. At 7:03, M4 appears in the RH, descending. M4 then moves into the clarinets/bassoon while the piano modulates. 7:21 - CaT1, in Cb. Note at 7:33 the orchestra’s material is based off a heavily augmented T2(!) 7:51 - M4 = variant of M3, in orchestra, with the piano providing diminished 7th arpeggios. At 7:58, the piano reiterates its opening RH chromatic scale, now joined by its LH counterpart from 6:43. 8:02 - T2 in orchestra, Bb. Follows pattern in expo 1, with CaT1 following an appearance (8:29). At 8:48, M3 in the horns, making a modulation to 8:51 - CaT3, in G. at 9:01, M3 fanfares and another chromatic scale leads into the DEVELOPMENT 9:12 - Trill on new tonic, followed by borrowed slow arpeggio texture from T2 Var.3 (9:16, cf 5:50). 9:32 - T1, Cm. M2 is now transformed into a long, partially chromatic descent in the woodwinds. Modulates to Gm, then into 10:02 - Development of M2 (in the orchestra(, initially in Fm. Modulates into 10:22 - M3 fanfare in Cb, leading into 10:35 - Extended parallel octave passage, interrupted/accompanied by M3. This passage is built off multiple things you’ve heard before - some combination of TrT2*’s octave descent (6:38), an inversion of the passage at 7:33, and the melodic contour of T1 (M3, followed by a descent - originally an Eb chord, now scales). 11:15 - CaT3, bright and lyrical, in G. Modulates using M1 in the orchestra (11:23) into Db/Eb, then pauses on a floating (rootless) Bb7b9 arpeggio (11:53), while M1 sneaks in via the low strings, eventually intensifying an taking over the texture. This leads into the RECAPITULATION 12:16 - opening cadenza, now measured and thickened with tumbling octaves. 13:03 - T1. At 13:14 (after the orchestra plays a noble, chorale-like version of the last phrase), it is finally joined by the piano, playing a free, almost improvisatory version of T1. The woodwinds softly insert M3 where the piano leaves it out. 13:43 - TrT2. 14:09 - T2, undergoing the same transformations as in Expo II (though note at 14:44 the modulation is now tone by a tone, rather than up a major 3rd). 15:20 - M1, as in Expo II 15:57 - CaT1 16:38 - T1, orchestra + piano interjections, building into the cadential 6/4 (17:04) - 17:10 - But the expected piano cadenza isn’t there (B. even writes “Do not play a cadenza” directly in the score). We get instead a short solo passage built off M1, diverting at 17:14 into a chromatic texture borrowed from the LH at 7:03. We pause on a dominant trill which suddenly changes mode, leading into 17:35 - T2 Var.5, the most delicate variant yet, beautifully followed by T2 Var.6 (17:53), the warmest variant (those French horns!). 18:10 - Transition, using M1, with descending chromatic scales in the piano leading into CODA 18:20 - T1, fully shared with the piano now. At 18:35, modulations enter, leading into 18:44 - The heart-stopping climactic statement of CaT2, heard only for the second time in the work. 18:59 - CaT3, leading into M3 (19:08). We get the piano’s opening chromatic scale yet again (19:15), now leading into a long sparkling descent. This brings us to the 19:33 - Final cadence, with M3 in the orchestra. MVT II, Adagio un poco moto, in B 20:07 - Theme 21:23 - Var.1. I’ll go out on a limb and say this is the saddest major scale written in all classical music. 22:36 - Var.2 in D. There’s a wonderful change in texture at 23:19 - Brahmsian all of a sudden, maybe even a bit harsh. And of course the hair-raising trills after. 24:12 - Var.3. Sounds to me compassionate, odd word though that may be. 25:07 - Var.4 (begins proper at 25:41, but the new texture enters earlier, so it feels like the variation starts here). Piano for the first time gains a little of its own momentum, becoming uplifting. 27:33 - Transition MVT III, Rondo, allegro ma non troppo, in Eb EXPOSITION 28:11 - [A SECTION] Theme 1. Such a fun thing - fat chords, brashly syncopated (basically hemiola-ized into ¾ ), and then the pungent chromatic sliding descent after (with the LH written to put an accent on the second quaver of each beat). 29:08 - Bridge 1 29:17 - Bridge 2 29:50 - [B SECTION] Theme 2, Bb 29:58 - Bridge 3. A bunch of I/V/IV chords, though made to sound haloed with brightness. At the end the b9 makes an appearance (30:13, highlighted by those treacherous two-octave leaps) in, recalling Mvt 1’s prominent use of the same colour. 30:19 - [A SECTION] Theme 1 DEVELOPMENT [C SECTION] 30:40 - Theme 1, Var.1, in Eb, modulating 31:18 - Theme 1, Var.2, in C, introducing a new tail in place of the original chromatic descent (31:29) which will be retained across remaining variations. Interesting to note how different this variant sounds from the original - deeper, more spacious, even though very little in the texture has changed. 31:50 - Theme 1, Var.3, in Ab. Lyrical, with chromatic elaboration. The new tail from the previous variation is retained. 32:35 - Theme 1, Var.4, in E. Arpeggio variant in RH. 32:57 - New developmental theme in Em, modulating. The orchestra from 33:08 onwards recalls the use of M3 from Mvt 1. Ends in a long dominant prolongation and a trill on Bb. 33:32 - A new variant of Theme 1 returns, revisiting the transition from the previous movement into this one (it’s possible also to read this section as a deceptive return of the recap, since it’s in the right key). RECAPITULATION 33:44 - [A SECTION] Theme 1 34:40 - Bridge 1 34:48 - Bridge 2 35:24 - [B SECTION] Theme 2, in Eb 35:32 - Bridge 3 CODA 35:53 - Theme 1 [A SECTION], now full shared between piano/orchestra. At 36:14, the first full statement of the theme by the orchestra. At 36:34, the piano takes over the melody, which becomes diverted into a new (and really lovely) descending closing statement (36:42). This gets elaborated between the orchestra/piano. The timpani starts softly echoing the defining rhythmic motif of this movement at 37:16, while the piano places a series of rising scales that eventually dissolve into soft, almost chorale-like chords. 37:35 - The last recollection of Theme 1 in the LH, while the timpani gently guides the music to a halt. 37:50 - Finale, recalling Bridge 1.

One of my favorite moments in Beethoven's music is the transition into the Rondo: the held B goes down a half-step, a new theme starts tentatively, then leaps into the joyous Rondo. Makes my heart leap with joy every time I hear it.

00:00 - Mvt 1, Allegro 20:07 - Mvt 2, Adagio un poco moto 28:10 - Mvt 3, Rondo, Allegro ma non troppo

My favourite of the 5 concerti. The 1st movement is so heroic, the 2nd so beautiful, and the 3rd so joyous.

All my life I've been transfixed by the adagio - the opening is so simple and so ethereal. What Beethoven does with simple, single descending notes.

Thanks for uploading! This is surely one of the best renditions of the 5th concerto I've ever listened to!

I remember watching/listening to this the first time. During the third movement I loved how Bernstein looked so happy conducting this piece. Makes me love it even more xD

The perfect balance between the piano and orchestra. What an amazing piano concerto!

I absolutely love that ALL of Beethoven's music ends with massive catastrophic head and brain injury.

This concerto has had a huge impact on me since my early ears as a listener of classical music. Among so many wonderful concertos it takes a top place aside with the second concerto of Brahms.

I really love the fat chords starting at 10:26, it just sounds incredible!

Thank You for your wonderful commentary. It wasn't too long for me. :) I fell in love with this piece at age 15 many years ago listening to Wilhelm Kempff. It still remains my all time favorite with Rach 2. There is so much joy in this piece and such profound sorrow and beauty in the middle. Beethoven's compositional process with the 2nd movement went through change after change until he finally wrote what we have today. It was fascinating his trial and error process of getting it just right. Grimaud's playing is wonderful here.

masterpiece

This concerto had a huge influence on me. I learned so many tips & tricks in the double-exposition form from it!

Thanks for uploading!

When you first hear 20:37 to 21:08 its beauty is staggering, but what is almost as beautiful is the immediately following bars.

Gawd, this is gorgeous music... delicious.

Soothing...thank you...

Just listened to Helmchen. Would not have appreciated the articulation without your spotlight on it. The ensemble with the orchestra was astonishing at times! Can I possibly stand this level of great music so soon again? We'll see. BTW, you clearly have yet to embrace the concept of an all benevolent emperor. Of course, so did Beethoven. Thanks for the great music!

Great analysis, as usual. Would love an upload of the full Chopin PC 1.

The Emperor Concerto is one of my desert island picks. The first movement especially has such a perfect form and logic one thing following after another and then all wrapped up and tied with a bow. It gives me the chills every time.

Nice, have been waiting for this one. Btw the way Grimaud captures the passage at 17:34 is absolutely unique and spectacular.

Jurowski! I love his interpretations.

Thanks so much for the sheet music.

i love you, ashish

FROM THE BEGINNING

Interesting that typically when you upload a video with multiple performances the first performance gets significantly more views, but, after uploading these two as separate videos, the second performance gets over three times the views.

Прекрасная музыка из Бетховен!!

This is a great rendition from Grimaud! The way she plays it does indeed sound very Brahmsian, given her background with the composer!

6:11 is the most powerful part un this concerto, I still remember the first time i heard ir

Any chance of an upload on Pogorelich’s performance of Chopin’s 3rd Piano Sonata? It’s one of the best performances I’ve ever heard.

5:48 held me in a strange limp euphoric state until it got more intense.

Kumar, thanks so much for this analysis! But I'm confused by 8:02 (in mvt 1) being marked as "T2 in orchestra." This sounds instead like what happens at 2:39 "Transition, using M1 in the high and low strings."

Interesting, patient phrasing

"Not that uncommon these days, actually, but Grimaud takes the opening arpeggio with measured tuplets." I only heard Glenn Gould doing that before.

I always wondered if Bernstein stole the melody from West Side Story's "Somewhere" from the 2nd movement :)

Good afternoon. It's absolutely perfect concert for piano. I like it ❤ . 14524

My second favorite concerto apart from concerto no3.....

What kind of instrument is "Bl"? What does it stand for?

Am I the only one who kinda imagines storylines when listening to music? In this Beethoven concerto, theres this passage where I always imagine myself an kinda stupid scene: 11:15 A woman and her husband, sound asleep under the bedsheets. 11:23 (Opening her eyes) "What's that noise?" 11:28 Husband: "Honey, it's probably nothing. Go back to sleep." 11:32 "If you say so..." (Closing her eyes) 11:36 "No but seriously, what's that noise downstairs?" 11:39 (Groaning) "Honey, it's nothing! Really." 11:42 Starting to sleep once again 11:46 No but actually this is stressing me out I need to go check 11:53 Tiptoeing down the stairs, in the dark... 11:58 (Hearing the cellos) What's that noise in the kitchen? 12:05 Opening the door, the woman sees a vague shadow... 12:07 The shadow starts moving, approaching the woman...! 12:11 The shadow LEAPS 12:16 "Mom, it's just me!" 12:18 "Oh my god! I was so scared!" 12:21 The son's echoing laughs 12:26 (Chord) Scolding her child for scaring her at 2AM... 12:27 What a relief ! 12:30 The son's laughs echoing again 12:35 (Chord) I swear, if you do that again... 12:37 Back up the stairs, the woman enters her bedroom 12:49 Sliding under the bedsheets... 12:55 "What a fright that was!" 12:57 Closing her eyes once again...

This is what I heard in a concert.

26:26 - 26:48

Com Beethoven a textura eleva-se. É um grande prazer escutar acuradamente as tantas jogadas harmônicas, rítmicas melódicas e orquestrais enfim.

이런곡 작곡한베토벤도 대단하다

I heard Brendel play this in the 1908s. It was fantastic, clear, crisp, understated at times, bucolic at others, the tempi were perfect in my opinion, it was very different from this version, which I really do not like.

4:07 20:07 28:11 19:18

You're killing it, with two great uploads at the same time - thank you and please continue! I love this execution, even though I grew up with the Pollini/Böhm version in my ears, and for me it's the best, in particular the Rondo (kzfaq.info/get/bejne/nbGCjbWDtLDPZnk.html), which I've never heard done in a more breathless way.

i love this concerto's climax that here starts from 9:30 and climaxes almost 1 min later, but grimaud has no power for such passage listen to zimerman or something

17:32. 💕💕💕 ♾️. 🌼 💕

9:30

💕💕💕💕💕💕💕 ♾️

It's so perfect that looks like a sin

In all fairness to Hélène Grimaud, but her Mozart and Beethoven interpretations don't really satisfy. She uses way too much pedal, her articulation isn't crisp enough... she lacks a certain clarity in the way she's playing which is so important for the pieces of the first viennese school... This may be an unpopular opinion but this comes from someone whose favourite interpretations of the Beethoven concerti come from Mitsuko Uchida.

It is too Brahmsian, to be honest... 😂

Who is name this opera ???????????