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Klavierkonzert Nr. 3 c-Moll op. 37 - 9. Teil

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    Titel Klavierkonzert Nr. 3 c-Moll op. 37 - 9. Teil
    Titelzusatz Piano Concerto No. 3, part 9
    Spieldauer 00:04:26
    Urheber/innen Beethoven, Ludwig van [Komponist/in] [GND]
    Mitwirkende Kolessa, Lubka [Klavier] [GND]
    Böhm, Karl [Dirigent] [GND]
    Sächsische Staatskapelle Dresden [Orchester]
    Electrola [Label]
    Electrola Gesellschaft m. b. H. [Produzent]
    Datum 1939 [Vermutliches Datum]
    Ort Wien, Theater an der Wien [Ortsbezug]
    Schlagworte Musik ; E-Musik ; Konzert - Konzert für Klavier und Orchester ; Besetzung - Orchester ; Instrumente - Klavier ; Publizierte und vervielfältigte Aufnahme
    19. Jahrhundert
    Typ audio
    Format SCS [Schallplatte, Schellack]
    Nummern D. B. 5510 [Bestellnummer]
    2RA 4026 [Katalognummer]
    2RA 4026 2 □ [Matrizennummer]
    Sprache Englisch
    Signatur Österreichische Mediathek, 2-01341_b_b01_k02
    Medienart Mp3-Audiodatei
    Theater an der Wien. Bild: CC BY-SA 3.0 AT. Österreichische Mediathek 2020

    Theater an der Wien. Bild: CC BY-SA 3.0 AT. Österreichische Mediathek 2020

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    Many of Beehoven’s works were written in the building known as the Pasqualati House, where the composer lived at various times between 1804 and 1815. One of the pieces he wrote there was his Third Piano Concerto, op. 37, in C minor. Beethoven himself was at the piano for the first performance, given at a recital held on 5 April 1803 at the Theater an der Wien.
    The excerpt reproduced here includes the final section of the concluding Rondo. Beethoven had to switch the key from C minor to C major at the end of the concerto. This change is highlighted in the dramatic stretta, where the rhythm changes from 2/4 to 6/8 time.

    This recording of the concerto was made in 1939, and features the Sächsische Staatskapelle Dresden conducted by Karl Böhm. The pianist is Lubka Kolessa (1902–1997), and this performance would turn out to be one of the most significant of her career. After making her debut with the Berlin Philharmonic in 1924, Kolessa gave concerts all over Europe between the wars, performing with some of the most respected orchestras and conductors of the period. Bruno Walter described her as “certainly one of the most outstanding pianists of our time.” In 1928, she made the last ever recordings of classical music for Welte-Mignon reproducing piano. She moved to Britain shortly before the Second World War and later went on to Canada, where she had a successful career as a soloist and music teacher.
    (Constanze Köhn)

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