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Track(s) taken from CKD336

Piano Concerto No 5 in E flat major 'Emperor', Op 73


Artur Pizarro (piano), Scottish Chamber Orchestra, Sir Charles Mackerras (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2008
Perth Concert Hall, Scotland
Produced by James Mallinson
Engineered by Philip Hobbs
Release date: May 2009
Total duration: 35 minutes 46 seconds

Cover artwork: Der Wanderer über des Nebelmeer (c1818) by Caspar David Friedrich (1774-1840)
Kunsthalle, Hamburg / AKG-Images, London


'Pizarro brings the same alacrity and individuality to every one of these works as he did on the stage … these are not performances lacking in explosive voltage, as Pizarro's lightening dexterity in the 'Emperor' proves conclusively' (The Scotsman)» More

'Originally intended to include just the Third and Fourth Concertos, the addition of the Emperor was the happy result of Pizarro, Mackerras and his crack Scottish band powering through the original programme to leave time enough to capture the coupling. It's a mark of the journey they make, from the stormy, experimental sonorities of the Third to the majestic rhetoric of the Fifth via the tender lyricism of the Fourth that this turns out to be a remarkably coherent, hugely enjoyable offering rich in invention and altogether assured in execution. These studio readings exult in the vital spontaneity and alert reciprocity more typical of a live performance. Pizarro's blend of perfectly proportioned poetry, dancing lyricism and muscular prowess calls to mind earlier performances by Kempff, Kovacevich and Gilels while bringing a fresh, questing dynamism all his own to bear. He negotiates the tempestuous currents of the Third with an almost insouciant nimbleness that serves the music's impetuous, truculent demeanour. In the Fourth, he is lullaby-tender and effusively lyrical yet manages to retain the darkly alluring gravity that underpins its nobility and poise' (bbc.co.uk)» More

'Mackerras' „Klaviertrilogie“ behauptet sich durchaus ebenbürtig neben anderen legendären Einspielungen. Frei und luftig transparent klingt der Klangkörper, gleichzeitig auch schlank und filigran. Artur Pizarros Spiel integriert sich immer homogen mit dem Orchesterpart, kein Zaudern oder Abwarten kennzeichnet sein Spiel. Losgelöst von der Erdenschwere früherer Deutungsmuster manifestiert sich hier ein sanfter Beethoven, dennoch voller Farben, Licht und Kraft. Die Aufnahme steht für eine musikdramaturgisch sehr stimmige Interpretation, in die es sich einzutauchen lohnt' (Klassik.com, Germany)» More
The success of his Piano Concerto No 4, first performed in 1808, may have induced Beethoven to begin another concerto almost immediately, early in 1809. However, his increasing deafness meant that he was never to play the ‘Emperor’ Piano Concerto No 5 in E flat major, Op 73, in public and although he began a sixth piano concerto in 1815, he reached only part way through the first movement before laying it aside.

In No 5, Beethoven again breaks with tradition by introducing the piano very early, but this time provides ornate decoration to three emphatic orchestral chords before the main theme gets under way. The second subject is heard first in the minor but then reappears, transformed in the major, and is later heard sounding like a majestic march. In this form, it is accompanied only by two alternating chords, so that the two timpani between them can play the entire bass line (if the music is in the right key). Therefore, as in No 3, Beethoven gives the timpani an important part to play.

Another feature that recalls No 3 is that the theme of the slow movement is again a disguised version of the second subject of the first movement—that march theme is now transformed into a serene, hymn-like melody. Again, Beethoven uses a remote key—this time B major—and omits the trumpets and timpani.

The music eventually modulates back to E flat major, with a tentative hint of the theme of the next movement, thus providing a seamless join to the finale. Here the theme is announced by the piano before being taken up by the orchestra. The main bass line for this theme uses only two notes, the same two as in the march theme in the first movement, and so it can again be played in its entirety by the timpani. Even in the final coda the timpani have an important part to play. In an extraordinary passage for just solo piano and timpani, the latter picks up an accompanying figure that had previously been played only by other instruments. Beethoven’s remarkable level of invention, whether of thematic manipulation, key relationships or orchestration, remains in evidence right to the very end.

from notes by Barry Cooper © 2009

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