Beethoven-5, Vol. 1 (Live) Jonathan Biss, Swedish Radio Symphony Orchestra & David Afkham

• Ludwig van Beethoven (1770 - 1827): Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor":
• 1 Beethoven: Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": I. Allegro (Live) 20:44
• 2 Beethoven: Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": II. Adagio un poco mosso (Live) 08:06
• 3 Beethoven: Piano Concerto No. 5 in E-Flat Major, Op. 73 "Emperor": III. Rondo. Allegro (Live) 10:28
• Brett Dean (b. 1961): Piano Concert "Gneixendorf Music - A Winter Journey":
• 4 Dean: Piano Concert "Gneixendorf Music - A Winter Journey": I. Gneixendorf? That Sounds Like a Breaking Axle! (Live) 14:00
• 5 Dean: Piano Concert "Gneixendorf Music - A Winter Journey": II. Difficult Decisions. Must It Be? (Live) 08:23
• 6 Dean: Piano Concert "Gneixendorf Music - A Winter Journey": III. Applause, Friends, the Comedy Is Over (Live) 02:57
• Total Runtime 01:04:38

Info for Beethoven-5, Vol. 1 (Live)

Im Jahr 2015 initiierte der Pianist Jonathan Biss das Beethoven / 5-Auftragsprojekt mit dem Saint Paul Chamber Orchestra und mehr als fünfzehn anderen Orchestern, was zu einer bahnbrechenden Zusammenarbeit über neun Jahre führte. Im Rahmen des Projekts entstanden fünf außergewöhnliche neue Klavierwerke von einigen der bedeutendsten Komponisten der Gegenwart, die auf Beethovens eigene Konzerte reagieren. Der erste Band, der mit dem Schwedischen Radiosinfonieorchester aufgenommen wurde, enthält Beethovens »Kaiserkonzert« und Brett Deans Begleitstück »Gneixendorfer Musik, A Winter’s Journey«.

Biss bemerkt dazu: »Brett Dean dabei zuzusehen, wie er sich mit Beethovens fünftem Klavierkonzert auseinandersetzt, war nicht nur erheiternd, sondern auch erbaulich. Gneixendorfer Musik ist ein rauschendes und bewegendes Essay über Beethovens Vitalität und Zerbrechlichkeit, und es nimmt sein fünftes Klavierkonzert als Ausgangspunkt, zitiert es großzügig, wenn auch immer durch eine verzerrende Linse, und immer mit Deans eigener unverwechselbarer Stimme im Vordergrund. Es ist ein Werk von verblüffender Kreativität, dessen Thema Beethovens verblüffende Kreativität ist.«

Das Projekt Beethoven / 5 setzt sich intensiv mit Beethovens Wirkung auseinander, indem es seine revolutionären und lebenswichtigen Beiträge in den Vordergrund stellt und seine Musik über verschiedene Traditionen und Stimmen hinweg in den Mittelpunkt rückt.

Jonathan Biss, Klavier
Swedish Radio Symphony Orchestra
David Afkham, Dirigent

Jonathan Biss
was born in 1980; his professional debut preceded this event by several months, when he performed, prenatally, the Mozart A Major Violin Concerto at Carnegie Hall, with the Cleveland Orchestra under the direction of Lorin Maazel.1 Subsequent violin performances have shown greater independence, though they have also been more likely to send listeners running in the opposite direction, wildly searching for Ear, Nose and Throat specialists, and - at times - strychnine.

Although the highlight of his career as a violinist took place when he was a fetus, Mr. Biss’s childhood was nonetheless saturated with music. With both of his parents playing the violin, and his older brother Daniel taking up the piano, he remembers music emanating from nearly every room in the house, including bathrooms, which, while modest in their decor, were valued for their acoustical properties.2

Given this background, Mr. Biss’s commencement of piano studies at the age of six might seem like a defensive move, but it was in fact entirely offensive: while this adjective may in fact describe the sounds he produced when he began studying, it is simply meant to convey that the motivation to play the piano was entirely his own - his parents had no extra bathrooms to practice in, after all, and were not keen to build an outhouse. Mr. Biss’s enthusiasm manifested itself from the very beginning of his studies, far exceeding his six year-old physical and intellectual capacities.3

This enthusiasm (or, if you take the word of Mr. Biss’s friends and associates, “obsessiveness” and “neurosis”) remains today, as does the feeling that doing justice to great music is an ever unattainable goal.4 While this doesn’t necessarily make life easy, it is Mr. Biss’s deeply held sentiment that any other approach would be unthinkable. Or, in his own words, “if I ever stop finding music challenging and life-altering, I’ll quit and become an accountant5.”

Growing up in Bloomington, Indiana, Mr. Biss was blessed with excellent teachers, starting with Karen Taylor - who as his first instructor, helped him give what is still regarded as the definitive performance of the “Middle C Piece,” - and continuing with Evelyne Brancart, who for six years was an invaluable source of information while Mr. Biss weathered what might best be termed an awkward adolescence. At the age of 17, Mr. Biss went to the Curtis Institute of Music, where he studied with Leon Fleisher, which proved a phenomenal learning experience whenever Mr. Biss stopped looking under the piano to see if magic or pharmaceuticals were involved in the production of Mr. Fleisher’s surreally beautiful sound.

Around the same time, Mr. Biss began concertizing, which has led to his present activities, described in other pages of this site. Highlights have included post-natal reengagements with Ms. Fried (with Mr. Biss a less reticent partner this time around), Maestro Maazel, and in November 2007, the Cleveland Orchestra.

While Mr. Biss’s life in music provides him with tremendous satisfaction, playing music remains ever a struggle. He regards it as a pleasure and privilege to live this struggle, and to share its results with other people.

This album contains no booklet.