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("Second Piano Concerto
in B-flat Major, Opus 19")
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Official YIFY movies site:
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[Girl] Hey.
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It's a good practice room.
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00:00:22,322 --> 00:00:23,239
Have fun!
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There are different ambitions.
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00:00:31,806 --> 00:00:35,436
As a pianist, my ambition
is always to develop,
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00:00:35,436 --> 00:00:39,353
to get better, to understand
this music better.
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00:00:40,969 --> 00:00:44,430
I've always liked to go into one composer,
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00:00:44,430 --> 00:00:46,001
to have certain projects,
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00:00:46,001 --> 00:00:49,430
so for a while I would
concentrate on Schumann's Sonatas.
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00:00:49,430 --> 00:00:53,305
Before five years, I was
doing CD project of Liszt,
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00:00:53,305 --> 00:00:55,356
I was doing a couple of Haydn recordings,
15
00:00:55,356 --> 00:00:59,456
that made me really focus
quite a lot on one composer.
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00:00:59,456 --> 00:01:02,703
As a pianist, you have such
a variety of repertoire
17
00:01:02,703 --> 00:01:05,338
and possibilities, so this opportunity
18
00:01:05,338 --> 00:01:07,601
to go a little bit deeper into something
19
00:01:07,601 --> 00:01:09,268
is important for me.
20
00:01:15,227 --> 00:01:17,247
I felt increasingly the last years
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that Beethoven is really,
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00:01:20,915 --> 00:01:23,832
the most meaningful music there is.
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00:01:25,772 --> 00:01:28,803
I love so many aspects
of Beethoven's music,
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00:01:28,803 --> 00:01:33,252
the energy, the sound, the
drama, the storytelling,
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00:01:33,252 --> 00:01:34,994
the feeling that there's always a goal,
26
00:01:34,994 --> 00:01:36,623
there's always somewhere to go.
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00:01:36,623 --> 00:01:39,021
He knows where he's going and
he knows what he's telling,
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00:01:39,021 --> 00:01:41,604
and he's telling something big.
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00:01:43,643 --> 00:01:47,200
This music is so potent,
it's so full of virility,
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00:01:47,200 --> 00:01:49,495
original ideas, and surprises.
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00:01:49,495 --> 00:01:51,629
It's so rich, and that's why I really feel
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00:01:51,629 --> 00:01:53,232
I can work four years on this music
33
00:01:53,232 --> 00:01:55,392
and never get tired of it.
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00:01:55,392 --> 00:01:57,642
(applause)
35
00:02:04,393 --> 00:02:06,453
Beethoven is considered by many
36
00:02:06,453 --> 00:02:09,921
the greatest composer that ever lived.
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00:02:09,921 --> 00:02:13,761
I've heard most of it,
his symphonies, masses,
38
00:02:13,761 --> 00:02:18,171
sonatas, trios, quartets,
quintets, and opera,
39
00:02:18,171 --> 00:02:21,380
but above all for me it's
the five piano concertos
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00:02:21,380 --> 00:02:24,666
that have been popular since
the day they were written.
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00:02:24,666 --> 00:02:27,114
Five piano concertos that reveal much
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00:02:27,114 --> 00:02:29,782
about Beethoven's life and work.
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00:02:29,782 --> 00:02:32,514
Five piano concertos that, at some point,
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00:02:32,514 --> 00:02:37,025
basically every concert
pianist decides to tackle.
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00:02:37,025 --> 00:02:41,192
("Second Piano Concerto
in B-flat Major, Opus 19")
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00:03:03,575 --> 00:03:06,035
The Beethoven Journey is more
or less a four year period
47
00:03:06,035 --> 00:03:08,358
where I am really working in depth
48
00:03:08,358 --> 00:03:11,215
on the five piano concertos by Beethoven.
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00:03:11,215 --> 00:03:12,929
And not only the five piano concertos,
50
00:03:12,929 --> 00:03:16,758
but also other Beethoven pieces,
the sonatas for piano solo,
51
00:03:16,758 --> 00:03:19,915
but the main focus are
the five piano concertos,
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00:03:19,915 --> 00:03:23,975
and I'm making recordings of
them over a three year period.
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00:03:23,975 --> 00:03:27,277
The last year I am doing
several residencies
54
00:03:27,277 --> 00:03:31,392
in several cities, playing
all the five piano concertos.
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00:03:31,392 --> 00:03:33,868
I will play in over 50 cities,
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00:03:33,868 --> 00:03:36,785
maybe 150 performances, maybe more.
57
00:03:41,386 --> 00:03:43,355
It's really a big, big journey for me
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00:03:43,355 --> 00:03:45,733
and I hope to learn a lot about Beethoven
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00:03:45,733 --> 00:03:47,650
in these years as well.
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00:03:51,772 --> 00:03:54,864
Obviously I'm searching to find my own
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00:03:54,864 --> 00:03:57,185
interpretation of these pieces,
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00:03:57,185 --> 00:04:01,074
and that's part of the journey as well.
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00:04:01,074 --> 00:04:03,413
It's really for me a journey
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00:04:03,413 --> 00:04:06,163
that I wanted to make for myself.
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00:04:19,828 --> 00:04:22,137
The basic story is well known,
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00:04:22,137 --> 00:04:26,476
born in Bonn on the
river Rhine in Germany.
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00:04:26,476 --> 00:04:29,461
I believe it was a
mid-December day in 1770
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00:04:29,461 --> 00:04:32,961
that he was born in a top floor apartment.
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00:04:37,174 --> 00:04:39,655
His father was a musician at the court
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00:04:39,655 --> 00:04:44,298
and Ludwig obviously
followed in his footsteps.
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00:04:44,298 --> 00:04:47,787
At age seven he gave his first concert.
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00:04:47,787 --> 00:04:51,954
By age 13, he had the best
teachers that Bonn could provide.
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00:04:57,221 --> 00:04:58,796
I don't know this pedal system.
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00:04:58,796 --> 00:05:01,069
(speaking in foreign language)
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00:05:01,069 --> 00:05:03,652
(piano chords)
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00:05:04,840 --> 00:05:05,923
And this one?
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00:05:08,704 --> 00:05:11,160
(speaking in foreign language)
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00:05:11,160 --> 00:05:13,691
Beethoven's music makes
such an impact to a child,
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00:05:13,691 --> 00:05:15,883
I mean, to a sensitive child,
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00:05:15,883 --> 00:05:20,046
if you play the first bars
of the Moonlight Sonata,
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00:05:20,046 --> 00:05:23,537
("Moonlight Sonata")
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00:05:23,537 --> 00:05:27,262
there's such an immediate
atmosphere to that,
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that the child will get sad
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or get a strong emotional reaction to it.
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00:05:36,710 --> 00:05:39,844
From there, there is a whole rainbow
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00:05:39,844 --> 00:05:44,011
of ideas and of emotions and
of reactions to this music.
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00:05:47,264 --> 00:05:49,039
My parents always encouraged me
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00:05:49,039 --> 00:05:52,882
and I would say even at
this age when I was 11, 12,
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00:05:52,882 --> 00:05:55,263
I didn't really want to play the piano.
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00:05:55,263 --> 00:05:59,140
I wanted to do more social
things with my friends.
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They rather pushed me to
go through that period
92
00:06:02,689 --> 00:06:05,994
because they saw that I had a real talent.
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00:06:05,994 --> 00:06:08,994
("Kreutzer Sonata")
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00:06:14,552 --> 00:06:18,484
I think I was 14, 15
before I suddenly realized
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00:06:18,484 --> 00:06:21,414
that, oh my goodness, I'm a pianist,
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00:06:21,414 --> 00:06:24,831
I am really a pianist, I can't stop this.
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00:06:26,340 --> 00:06:29,518
I felt so at home, I felt
that this was my language,
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00:06:29,518 --> 00:06:32,321
this was my way of communicating,
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00:06:32,321 --> 00:06:34,488
much more than by talking.
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00:06:39,617 --> 00:06:42,235
I was on tour in Sao Paulo a few years ago
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00:06:42,235 --> 00:06:44,356
and I checked into a hotel
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00:06:44,356 --> 00:06:47,698
and realized that they were playing,
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00:06:47,698 --> 00:06:50,062
in the lifts they were playing a CD
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00:06:50,062 --> 00:06:53,481
of Beethoven's first and
second piano concertos
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00:06:53,481 --> 00:06:55,564
in a loop the whole week.
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00:06:57,782 --> 00:07:02,659
After two days, I thought this
would make me absolutely mad,
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00:07:02,659 --> 00:07:04,778
but the opposite happened,
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00:07:04,778 --> 00:07:08,945
and I realized that listening
to 37 seconds of these pieces
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00:07:09,973 --> 00:07:14,365
each time I entered the
lift was quite wonderful,
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00:07:14,365 --> 00:07:16,937
because I could just hear that bit
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00:07:16,937 --> 00:07:19,766
and I thought, "Oh, how beautiful is that
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00:07:19,766 --> 00:07:21,807
"and how original and how strange
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00:07:21,807 --> 00:07:25,549
"and how fresh and how
different from any other music."
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00:07:25,549 --> 00:07:29,621
And I thought, "Now is the
time for me to tackle that,
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00:07:29,621 --> 00:07:32,977
"now it is time for me to do Beethoven."
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00:07:32,977 --> 00:07:37,144
("Second Piano Concerto
in B-flat Major, Opus 19")
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00:07:38,254 --> 00:07:40,902
I grew up on a small Norwegian island,
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00:07:40,902 --> 00:07:44,622
and then as a 16 year old
I moved to a city, Bergen,
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00:07:44,622 --> 00:07:47,806
to study and to try to start a career.
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00:07:47,806 --> 00:07:52,273
Beethoven was obviously among
the composers that I studied.
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00:07:52,273 --> 00:07:54,956
He, too, moved from the provincial Bonn
122
00:07:54,956 --> 00:07:57,490
to the music capital of the world, Vienna,
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00:07:57,490 --> 00:07:58,875
and it's there that he wrote
124
00:07:58,875 --> 00:08:02,042
some of the greatest music in history.
125
00:08:07,769 --> 00:08:12,700
I'm early in my journey in
understanding Beethoven,
126
00:08:12,700 --> 00:08:14,256
but I want to understand more,
127
00:08:14,256 --> 00:08:17,339
I want to know more, what it was like
128
00:08:18,280 --> 00:08:21,706
in the beginning of the
19th century, in Vienna,
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00:08:21,706 --> 00:08:25,873
what the particular reasons
why he wrote like he wrote.
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00:08:58,906 --> 00:09:01,538
The second concerto is
actually the first concerto,
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00:09:01,538 --> 00:09:02,954
but he got it published second,
132
00:09:02,954 --> 00:09:05,118
that's why we call it second.
133
00:09:05,118 --> 00:09:07,631
It was really a work in progress for him
134
00:09:07,631 --> 00:09:11,000
because he started it
as a teenager in Bonn,
135
00:09:11,000 --> 00:09:14,667
and then presented it
years later in Vienna.
136
00:09:32,914 --> 00:09:35,365
I think the audiences will have noticed
137
00:09:35,365 --> 00:09:39,141
this incredible vitality
and this virtuosity,
138
00:09:39,141 --> 00:09:41,722
this new sound also from the orchestra,
139
00:09:41,722 --> 00:09:44,622
very strong and bold choices.
140
00:09:44,622 --> 00:09:48,025
In the first movement, has
this suddenly this unison.
141
00:09:48,025 --> 00:09:50,762
("Second Piano Concerto
in B-flat Major, Opus 19")
142
00:09:50,762 --> 00:09:54,095
And then just moving it up to this soft,
143
00:09:55,429 --> 00:09:58,125
and then it's in a very different key.
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00:09:58,125 --> 00:10:00,235
(humming)
145
00:10:00,235 --> 00:10:04,402
And that kinda music, one
wouldn't have heard before.
146
00:10:05,327 --> 00:10:06,697
[Beethoven] The state of music here
147
00:10:06,697 --> 00:10:08,851
is becoming worse and worse.
148
00:10:08,851 --> 00:10:12,320
Conditions are worst of all
at the Theater of der Wien.
149
00:10:12,320 --> 00:10:15,787
The musicians were enraged
when, from sheer carelessness
150
00:10:15,787 --> 00:10:18,065
a mistake had been made in the simplest
151
00:10:18,065 --> 00:10:20,356
and most straight forward
passage in the world,
152
00:10:20,356 --> 00:10:22,561
I suddenly make them stop playing
153
00:10:22,561 --> 00:10:26,233
and called out in a
loud voice, "Once more."
154
00:10:26,233 --> 00:10:29,191
Such a thing had never
happened to them before.
155
00:10:29,191 --> 00:10:32,624
On the day before my concert,
they so went to pieces.
156
00:10:32,624 --> 00:10:37,016
It was as if they had
suffered a shipwreck.
157
00:10:37,016 --> 00:10:41,183
("Second Piano Concerto
in B-flat Major, Opus 19")
158
00:10:56,014 --> 00:10:59,681
(string instruments tuning)
159
00:11:05,731 --> 00:11:09,713
I had a vision that it
would be absolutely wonderful
160
00:11:09,713 --> 00:11:13,046
to work with a great chamber orchestra,
161
00:11:13,962 --> 00:11:18,856
which I now am working with
the Mahler Chamber Orchestra.
162
00:11:18,856 --> 00:11:20,818
The Mahler Chamber
Orchestra has a crucial role
163
00:11:20,818 --> 00:11:23,323
in this project, in that
I'm recording the concertos
164
00:11:23,323 --> 00:11:25,933
with them and we do many, many tours.
165
00:11:25,933 --> 00:11:28,980
They are such a fantastic group of people
166
00:11:28,980 --> 00:11:31,119
and of musicians.
167
00:11:31,119 --> 00:11:33,760
I get so many ideas from them.
168
00:11:33,760 --> 00:11:37,093
(energetic piano music)
169
00:11:38,909 --> 00:11:41,858
It's young orchestra, but
it's not youth orchestra.
170
00:11:41,858 --> 00:11:43,726
There is a young energy to it,
171
00:11:43,726 --> 00:11:46,310
but they are also very
experienced musicians.
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00:11:46,310 --> 00:11:48,719
They have been around,
they have done a lot
173
00:11:48,719 --> 00:11:52,219
with great people, so
it's a very good mix,
174
00:11:52,219 --> 00:11:56,386
and also interesting that there
are so many nationalities.
175
00:11:57,279 --> 00:12:00,779
(lively orchestral music)
176
00:12:05,277 --> 00:12:08,336
This is an orchestra so full of vitality
177
00:12:08,336 --> 00:12:11,511
and such an ability to find and discover
178
00:12:11,511 --> 00:12:14,150
all the different
characteristics and possibilities
179
00:12:14,150 --> 00:12:15,979
in these magic pieces.
180
00:12:15,979 --> 00:12:19,896
Amazing musicians, and
I get so much from them.
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00:12:27,061 --> 00:12:29,108
It's often frustrating for a soloist
182
00:12:29,108 --> 00:12:32,105
that you work with a conductor
who has different ideas,
183
00:12:32,105 --> 00:12:33,579
who's a little bit on the side.
184
00:12:33,579 --> 00:12:35,638
You sit in the solo position,
185
00:12:35,638 --> 00:12:37,667
sort of far from the orchestra.
186
00:12:37,667 --> 00:12:39,619
Here, I'm sitting in the
middle of the orchestra,
187
00:12:39,619 --> 00:12:41,382
in the middle of the action.
188
00:12:41,382 --> 00:12:44,253
We are looking at each other,
we have such direct contact.
189
00:12:44,253 --> 00:12:46,770
We're hearing each other extremely well,
190
00:12:46,770 --> 00:12:48,355
which is important in this music
191
00:12:48,355 --> 00:12:52,499
because there's such a feeling
of dialogue so many times.
192
00:12:52,499 --> 00:12:55,735
There's also often a fight
between the piano and orchestra.
193
00:12:55,735 --> 00:12:58,235
It's mixed in these concertos.
194
00:13:05,022 --> 00:13:06,981
When I'm there conducting in the middle,
195
00:13:06,981 --> 00:13:10,981
I feel I'm in the drama
of the music constantly.
196
00:13:48,874 --> 00:13:51,161
They wouldn't have had a
conductor at that time.
197
00:13:51,161 --> 00:13:53,514
A conductor often can get in the way,
198
00:13:53,514 --> 00:13:57,424
it's an extra added element
which is not really necessary
199
00:13:57,424 --> 00:14:01,306
because we really mostly
need to listen to each other.
200
00:14:01,306 --> 00:14:04,786
Of course an orchestra
needs a center, a focus,
201
00:14:04,786 --> 00:14:06,653
somebody who gives energy,
202
00:14:06,653 --> 00:14:08,787
and that's why I'm also
conducting a little bit
203
00:14:08,787 --> 00:14:11,167
and certainly rehearsing with them,
204
00:14:11,167 --> 00:14:14,521
but they are also so
capable of giving character
205
00:14:14,521 --> 00:14:16,907
to the music when they
listen to my playing,
206
00:14:16,907 --> 00:14:20,140
and also by their own playing.
207
00:14:20,140 --> 00:14:24,307
("Second Piano Concerto
in B-flat Major, Opus 19")
208
00:15:20,634 --> 00:15:22,807
This is the first piano concerto
209
00:15:22,807 --> 00:15:26,506
in which people hear
Beethoven play in Vienna,
210
00:15:26,506 --> 00:15:30,428
and he had to mark himself as an original,
211
00:15:30,428 --> 00:15:32,824
he was an original.
212
00:15:32,824 --> 00:15:35,337
One thing, for instance, is the ending
213
00:15:35,337 --> 00:15:37,203
of the second movement.
214
00:15:37,203 --> 00:15:39,306
The orchestra has big chords.
215
00:15:39,306 --> 00:15:43,473
("Second Piano Concerto
in B-flat Major, Opus 19")
216
00:15:50,622 --> 00:15:53,789
Stops very open, and the piano starts.
217
00:16:03,551 --> 00:16:06,914
So simple, and he asks the performer
218
00:16:06,914 --> 00:16:09,914
to keep the pedal down all the time.
219
00:16:15,834 --> 00:16:19,667
And then the orchestra
comes in, and whispers.
220
00:16:34,213 --> 00:16:36,229
He asks for me to keep the pedal down
221
00:16:36,229 --> 00:16:37,582
the whole ending here.
222
00:16:37,582 --> 00:16:40,350
Of course, he didn't play on a Steinway,
223
00:16:40,350 --> 00:16:43,036
and the piano at that time wouldn't
224
00:16:43,036 --> 00:16:45,927
have the same length of resonance,
225
00:16:45,927 --> 00:16:48,940
so I have to take into
consideration that when I play
226
00:16:48,940 --> 00:16:51,045
and maybe change the pedal slightly.
227
00:16:51,045 --> 00:16:53,970
But he wanted a very specific
effect, a blurry effect.
228
00:16:53,970 --> 00:16:56,470
He didn't want it to be clean.
229
00:17:00,298 --> 00:17:02,380
[Beethoven] I should
never have written down
230
00:17:02,380 --> 00:17:05,502
this kind of piece, had
I not already noticed
231
00:17:05,502 --> 00:17:08,456
fairly often how some people in Vienna,
232
00:17:08,456 --> 00:17:11,755
after hearing me
extemporize of an evening,
233
00:17:11,755 --> 00:17:14,483
would note down on the following day
234
00:17:14,483 --> 00:17:17,222
several peculiarities of my style
235
00:17:17,222 --> 00:17:21,448
and hand them off with pride as their own.
236
00:17:21,448 --> 00:17:24,074
I resolve to forestall those people,
237
00:17:24,074 --> 00:17:27,209
to embarrass those Viennese pianists,
238
00:17:27,209 --> 00:17:30,042
some of whom are my sworn enemies.
239
00:17:47,814 --> 00:17:49,247
He was really going for it.
240
00:17:49,247 --> 00:17:53,378
He writes (speaks in foreign
language) on this long note,
241
00:17:53,378 --> 00:17:56,185
very clearly, which
means that he wants this
242
00:17:56,185 --> 00:17:58,214
really to be emphasized.
243
00:17:58,214 --> 00:18:01,669
("Second Piano Concerto
in B-flat Major, Opus 19")
244
00:18:01,669 --> 00:18:03,488
He wants to show that,
245
00:18:03,488 --> 00:18:07,655
lets put the emphasis on
the weak part of the bar,
246
00:18:10,222 --> 00:18:11,948
to make a sort of collision
247
00:18:11,948 --> 00:18:15,031
between the right and left hand here.
248
00:18:16,454 --> 00:18:18,163
I'm sure he was not shying away from it.
249
00:18:18,163 --> 00:18:21,633
He was showing it very
clearly to his audience.
250
00:18:21,633 --> 00:18:23,379
[Beethoven] I am not wicked.
251
00:18:23,379 --> 00:18:25,087
Hot blood is my fault.
252
00:18:25,087 --> 00:18:27,908
My crime is that I am young.
253
00:18:27,908 --> 00:18:32,072
Even though wildly surging
emotions may betray my heart,
254
00:18:32,072 --> 00:18:34,140
yet my heart is good.
255
00:18:34,140 --> 00:18:38,307
To do good whenever one can,
to love liberty above all else,
256
00:18:39,825 --> 00:18:41,825
never to deny the truth.
257
00:19:07,374 --> 00:19:09,039
I love to play for an audience.
258
00:19:09,039 --> 00:19:10,858
I love to communicate music,
259
00:19:10,858 --> 00:19:13,634
to say, "Look how wonderful this is."
260
00:19:13,634 --> 00:19:16,118
But then I think
ultimately it is very much
261
00:19:16,118 --> 00:19:17,721
an internal process.
262
00:19:17,721 --> 00:19:19,784
It's very much about the moments
263
00:19:19,784 --> 00:19:22,007
that I have alone with the piano.
264
00:19:22,007 --> 00:19:25,661
If I didn't love sitting at
the piano for hours and hours,
265
00:19:25,661 --> 00:19:28,288
to find out how this music works
266
00:19:28,288 --> 00:19:30,298
and how I can develop it,
267
00:19:30,298 --> 00:19:32,645
it also wouldn't work
in front of an audience.
268
00:19:32,645 --> 00:19:36,058
So that internal process is
very, very important to me
269
00:19:36,058 --> 00:19:39,905
and I've felt that since I
was eight, nine years old,
270
00:19:39,905 --> 00:19:42,926
this was the place I wanted to be.
271
00:19:42,926 --> 00:19:47,093
("First Piano Concerto
in C Major, Opus 15")
272
00:20:30,503 --> 00:20:33,615
The first concerto is even
more confident, I think.
273
00:20:33,615 --> 00:20:36,632
He's more sure of what he wants.
274
00:20:36,632 --> 00:20:40,215
You feel a longer line
also in the phrases.
275
00:20:41,172 --> 00:20:42,672
It's not as short.
276
00:20:43,707 --> 00:20:47,342
It's not yet as epic as the later ones,
277
00:20:47,342 --> 00:20:50,425
but it has stronger tread through it,
278
00:20:51,362 --> 00:20:54,279
and even more tension, I would say.
279
00:20:56,961 --> 00:20:59,359
You can ask a lot of pianists
about Beethoven's first,
280
00:20:59,359 --> 00:21:02,776
and they would say, "Ooh, difficult one."
281
00:21:39,656 --> 00:21:42,850
I think that he is clearly trying to show
282
00:21:42,850 --> 00:21:45,657
what he can do, in so many ways.
283
00:21:45,657 --> 00:21:49,854
I mean, both in terms of
virtuosity as a pianist,
284
00:21:49,854 --> 00:21:52,018
he was more famous as a pianist
285
00:21:52,018 --> 00:21:54,029
than as a composer in the beginning,
286
00:21:54,029 --> 00:21:56,718
though at that time,
they didn't distinguish
287
00:21:56,718 --> 00:21:59,274
between the two terms.
288
00:21:59,274 --> 00:22:01,081
But he's also so much trying to show off
289
00:22:01,081 --> 00:22:04,498
what he can do in the way of composition.
290
00:22:14,166 --> 00:22:16,439
Beethoven was a master of development,
291
00:22:16,439 --> 00:22:20,426
and what he does with this
in this grand first movement,
292
00:22:20,426 --> 00:22:24,593
it's not a small concerto, it's
a big concerto, is amazing.
293
00:22:29,258 --> 00:22:32,137
The space, the provocation,
294
00:22:32,137 --> 00:22:34,680
this sort of, look what I can do,
295
00:22:34,680 --> 00:22:38,847
the enormous contrast, it's
all there from the start.
296
00:22:44,485 --> 00:22:48,652
[Beethoven] I have cursed
my Creator and my existence.
297
00:22:49,501 --> 00:22:52,075
Vienna's flooded with musicians,
298
00:22:52,075 --> 00:22:54,762
and thus, even the most deserving
299
00:22:54,762 --> 00:22:57,679
find it difficult to make a living.
300
00:23:00,193 --> 00:23:01,897
He wanted to show off.
301
00:23:01,897 --> 00:23:03,851
He wanted to show off how
well he could play the piano
302
00:23:03,851 --> 00:23:05,711
and how well he could write for the piano
303
00:23:05,711 --> 00:23:07,397
and how well he could compose.
304
00:23:07,397 --> 00:23:09,121
He's terribly confident at this point.
305
00:23:09,121 --> 00:23:10,384
I mean, he writes,
306
00:23:10,384 --> 00:23:14,551
("First Piano Concerto
in C Major, Opus 15")
307
00:23:24,941 --> 00:23:26,633
all these sort of technical things.
308
00:23:26,633 --> 00:23:28,198
Okay, suddenly there are triplets
309
00:23:28,198 --> 00:23:31,544
with short staccatos in there
in the left hand, 16 notes.
310
00:23:31,544 --> 00:23:34,048
I mean, this was terribly exciting for him
311
00:23:34,048 --> 00:23:35,869
to show off what he could do,
312
00:23:35,869 --> 00:23:38,124
and there's such a potency in that.
313
00:23:38,124 --> 00:23:40,457
It's meant to be virtuosity.
314
00:24:53,472 --> 00:24:56,146
[Beethoven] My dearest friend Eleonore,
315
00:24:56,146 --> 00:24:59,355
I should very much like to
be the fortunate possessor
316
00:24:59,355 --> 00:25:02,239
of another waistcoat of angora wool,
317
00:25:02,239 --> 00:25:05,072
knitted by you, my beloved friend.
318
00:25:05,907 --> 00:25:10,074
("First Piano Concerto
in C Major, Opus 15")
319
00:25:21,439 --> 00:25:23,262
I must tell you a secret,
320
00:25:23,262 --> 00:25:25,651
namely that there is a touch of vanity
321
00:25:25,651 --> 00:25:28,579
fundamentally connected to my request,
322
00:25:28,579 --> 00:25:30,795
for I want to be able to say
323
00:25:30,795 --> 00:25:33,092
that I have received a present
324
00:25:33,092 --> 00:25:37,259
from one of the best and
most adorable girls in Bonn.
325
00:25:42,027 --> 00:25:43,971
I live entirely in my music,
326
00:25:43,971 --> 00:25:46,530
and hardly have I
completed one composition
327
00:25:46,530 --> 00:25:49,248
when I have already begun another.
328
00:25:49,248 --> 00:25:51,141
At my present rate of composing,
329
00:25:51,141 --> 00:25:55,308
I often produce three or
four works at the same time.
330
00:26:02,644 --> 00:26:04,056
[Leif] Reading Beethoven's letters,
331
00:26:04,056 --> 00:26:05,842
you can tell what an extraordinary time
332
00:26:05,842 --> 00:26:07,485
it must have been in Vienna.
333
00:26:07,485 --> 00:26:09,466
Mozart had died prematurely young,
334
00:26:09,466 --> 00:26:11,634
but left a remarkable legacy.
335
00:26:11,634 --> 00:26:13,824
Haydn was still alive and working,
336
00:26:13,824 --> 00:26:15,713
and were many other composers.
337
00:26:15,713 --> 00:26:17,854
The Austrian Hungarian
emperor and his nobles
338
00:26:17,854 --> 00:26:21,100
had been active commissioning new works.
339
00:26:21,100 --> 00:26:23,814
Mind you, you can sense in his letters
340
00:26:23,814 --> 00:26:27,807
the unease the 1789 Revolution
in France had created.
341
00:26:27,807 --> 00:26:29,502
You might have expected seriousness
342
00:26:29,502 --> 00:26:33,354
and high-minded thoughts, but
actually, he's quite witty,
343
00:26:33,354 --> 00:26:35,437
quite funny about things.
344
00:26:38,225 --> 00:26:41,252
[Beethoven] We are having
very hot weather here,
345
00:26:41,252 --> 00:26:43,609
and the Viennese are afraid that soon
346
00:26:43,609 --> 00:26:47,002
they will not be able to
get anymore ice cream,
347
00:26:47,002 --> 00:26:51,519
for as the winter was
so mild, ice is scarce.
348
00:26:51,519 --> 00:26:55,885
Here, various important
people have been locked up.
349
00:26:55,885 --> 00:26:59,688
It is said that a revolution
is about to break out,
350
00:26:59,688 --> 00:27:02,802
but I believe that so long as an Austrian
351
00:27:02,802 --> 00:27:06,572
can get his brown ale
and his little sausages,
352
00:27:06,572 --> 00:27:08,822
he is not likely to revolt.
353
00:27:09,788 --> 00:27:12,627
People say that the gates
leading to the suburbs
354
00:27:12,627 --> 00:27:14,761
are to be closed at 10:00pm.
355
00:27:14,761 --> 00:27:17,328
The soldiers have loaded their muskets.
356
00:27:17,328 --> 00:27:19,940
You dare not raise your voice here,
357
00:27:19,940 --> 00:27:23,357
or the police will take you into custody.
358
00:27:46,508 --> 00:27:49,097
The man who writes this music
359
00:27:49,097 --> 00:27:52,930
is a man extremely happy
about what he can do.
360
00:27:53,972 --> 00:27:56,810
The message is, of course, so big,
361
00:27:56,810 --> 00:28:00,739
for eternity, for humanity,
it's so meaningful.
362
00:28:00,739 --> 00:28:03,948
But it's also somebody really celebrating
363
00:28:03,948 --> 00:28:05,709
that he can do it.
364
00:28:05,709 --> 00:28:09,876
("First Piano Concerto
in C Major, Opus 15")
365
00:28:25,370 --> 00:28:26,827
I was reading the other day
366
00:28:26,827 --> 00:28:29,111
that two days before the first performance
367
00:28:29,111 --> 00:28:32,963
of the first concerto, he
wrote the last movement.
368
00:28:32,963 --> 00:28:35,205
He was feeling not very well,
369
00:28:35,205 --> 00:28:39,372
and he writes this extremely
funny, good humored music.
370
00:28:41,264 --> 00:28:42,964
You know, with this,
371
00:28:42,964 --> 00:28:47,131
("First Piano Concerto
in C Major, Opus 15")
372
00:28:48,752 --> 00:28:52,335
dancing, slightly
Turkish march like theme.
373
00:28:54,727 --> 00:28:58,038
And then he gets to
where they are performing
374
00:28:58,038 --> 00:29:01,895
and the piano is half a tone too low,
375
00:29:01,895 --> 00:29:06,062
so he has to transpose the
piano part up to C sharp major.
376
00:29:07,451 --> 00:29:11,695
That, for me, tells one
very important thing:
377
00:29:11,695 --> 00:29:14,583
he was an incredible virtuoso.
378
00:29:14,583 --> 00:29:16,382
That is a really difficult beginning
379
00:29:16,382 --> 00:29:19,643
of a movement of a piano concerto.
380
00:29:19,643 --> 00:29:21,456
To transpose that, then,
381
00:29:21,456 --> 00:29:24,206
I mean, I wouldn't have a chance.
382
00:29:26,616 --> 00:29:29,495
And, from there on, (laughing)
383
00:29:29,495 --> 00:29:30,328
what did he do?
384
00:29:30,328 --> 00:29:32,251
He did it on the spot.
385
00:29:32,251 --> 00:29:33,418
What a genius.
386
00:30:13,861 --> 00:30:15,958
When I think about humor in music,
387
00:30:15,958 --> 00:30:17,405
I'm always thinking about this place
388
00:30:17,405 --> 00:30:21,546
in the last movement of Beethoven's first.
389
00:30:21,546 --> 00:30:25,713
("First Piano Concerto
in C Major, Opus 15")
390
00:30:27,883 --> 00:30:28,770
It's so funny,
391
00:30:28,770 --> 00:30:31,388
I actually feel we have missed something
392
00:30:31,388 --> 00:30:33,634
if we don't make people
laugh in the concert hall,
393
00:30:33,634 --> 00:30:34,915
or at least smile.
394
00:30:34,915 --> 00:30:37,645
Because this music is clearly intended
395
00:30:37,645 --> 00:30:40,990
to put a smile on people's faces.
396
00:30:40,990 --> 00:30:45,089
I always feel with the
orchestra we start laughing.
397
00:30:45,089 --> 00:30:47,256
It's like a boogie woogie.
398
00:30:53,621 --> 00:30:56,697
And it's so wild, to write,
399
00:30:56,697 --> 00:30:57,530
you see?
400
00:30:57,530 --> 00:30:58,920
It's very difficult
401
00:30:58,920 --> 00:31:00,978
(laughing) to play this left hand.
402
00:31:00,978 --> 00:31:04,311
I can't remember anything
from that period,
403
00:31:04,311 --> 00:31:08,922
I mean, we're talking 1801,
which sounds like that,
404
00:31:08,922 --> 00:31:11,505
and the sort of jazzy emphasis.
405
00:31:15,423 --> 00:31:18,564
That's how he writes his emphasis.
406
00:31:18,564 --> 00:31:20,514
It's just so funny.
407
00:31:20,514 --> 00:31:24,681
("First Piano Concerto
in C Major, Opus 15")
408
00:31:38,886 --> 00:31:40,834
When playing and listening to this music,
409
00:31:40,834 --> 00:31:44,903
I'm thinking, "This is
not the sort of miserable,
410
00:31:44,903 --> 00:31:47,570
"stately figure that we so often
411
00:31:49,171 --> 00:31:53,338
"think of with Beethoven,"
and we see on all these busts.
412
00:31:55,203 --> 00:31:57,835
This is a really lively person
413
00:31:57,835 --> 00:32:02,002
who loved to sit down and
improvise, play with his friends.
414
00:32:03,614 --> 00:32:07,184
I think he must've been
really happy in this period.
415
00:32:07,184 --> 00:32:09,601
This is music of a happy man.
416
00:33:05,111 --> 00:33:07,361
(applause)
417
00:33:11,889 --> 00:33:13,490
With these two concertos,
418
00:33:13,490 --> 00:33:16,740
Beethoven clearly
established himself in Vienna
419
00:33:16,740 --> 00:33:20,019
as a great pianist and a great composer.
420
00:33:20,019 --> 00:33:22,751
Audiences must have been thinking
421
00:33:22,751 --> 00:33:26,751
and been very eager to
know, what's coming next?
422
00:33:29,028 --> 00:33:32,111
(gentle piano music)
423
00:33:33,075 --> 00:33:34,968
The main reason for
recording here in Prague
424
00:33:34,968 --> 00:33:37,820
is this wonderful, wonderful
hall, the Rudolfinum,
425
00:33:37,820 --> 00:33:40,189
which I think is perfect for this music
426
00:33:40,189 --> 00:33:43,978
because it's reverberated as
a beautiful, golden sound,
427
00:33:43,978 --> 00:33:46,157
and it's not too large.
428
00:33:46,157 --> 00:33:48,689
I think for pieces like
this you need real acoustic.
429
00:33:48,689 --> 00:33:51,094
You need real rooms when
you're recording as well.
430
00:33:51,094 --> 00:33:53,955
To record in a studio is not the same,
431
00:33:53,955 --> 00:33:56,993
and then we're doing
recordings live as well,
432
00:33:56,993 --> 00:33:59,776
which hopefully will give the performances
433
00:33:59,776 --> 00:34:02,188
some vitality and energy that is difficult
434
00:34:02,188 --> 00:34:04,271
to achieve in the studio.
435
00:34:05,623 --> 00:34:08,802
Good, good, and that's probably
better than what we did.
436
00:34:08,802 --> 00:34:12,969
("Third Piano Concerto
in C Minor, Opus 37")
437
00:34:15,837 --> 00:34:17,815
We'll have to do it a few times.
438
00:34:17,815 --> 00:34:19,001
Okay?
439
00:34:19,001 --> 00:34:21,667
I'm so happy with the
recordings right now,
440
00:34:21,667 --> 00:34:23,490
and I hope we can keep that level
441
00:34:23,490 --> 00:34:25,383
but of course I hope to grow, as well.
442
00:34:25,383 --> 00:34:27,410
I hope we discover new things.
443
00:34:27,410 --> 00:34:29,792
It should feel like a warm towel.
444
00:34:29,792 --> 00:34:30,625
Yes.
445
00:34:30,625 --> 00:34:31,641
When you come out the shower,
446
00:34:31,641 --> 00:34:33,599
you know how that should feel.
447
00:34:33,599 --> 00:34:35,845
(laughing)
448
00:34:35,845 --> 00:34:38,445
You know, obviously
there is a development.
449
00:34:38,445 --> 00:34:40,060
It's not a cycle of pieces,
450
00:34:40,060 --> 00:34:41,852
they are independent pieces,
451
00:34:41,852 --> 00:34:45,151
and from number three it becomes more epic
452
00:34:45,151 --> 00:34:48,475
and then it becomes
more and more original.
453
00:34:48,475 --> 00:34:50,086
Just great inventions,
454
00:34:50,086 --> 00:34:52,651
but that doesn't mean that the
two first are student pieces.
455
00:34:52,651 --> 00:34:53,484
Very far from it.
456
00:34:53,484 --> 00:34:55,626
I often read that when I read
about the five concertos,
457
00:34:55,626 --> 00:34:58,039
that, you know, oh he
learned from Haydn, Mozart,
458
00:34:58,039 --> 00:35:01,441
and then later on developed his own style.
459
00:35:01,441 --> 00:35:03,084
Absolutely not true.
460
00:35:03,084 --> 00:35:05,150
He's Beethoven from the start,
461
00:35:05,150 --> 00:35:09,641
but he's becoming more and
more daring, of course.
462
00:35:09,641 --> 00:35:13,808
("Third Piano Concerto
in C Minor, Opus 37")
463
00:35:23,288 --> 00:35:26,060
Beethoven must clearly have known
464
00:35:26,060 --> 00:35:28,971
Mozart's C minor concerto, which goes,
465
00:35:28,971 --> 00:35:33,138
("Piano Concerto No.24 in C minor, K.491")
466
00:35:36,528 --> 00:35:38,229
very sort of shadowy.
467
00:35:38,229 --> 00:35:41,373
Then when Beethoven
writes his third concerto,
468
00:35:41,373 --> 00:35:44,283
it starts with the same two first notes,
469
00:35:44,283 --> 00:35:48,450
("Third Piano Concerto
in C Minor, Opus 37")
470
00:35:50,482 --> 00:35:52,360
in a way that's much more primitive,
471
00:35:52,360 --> 00:35:54,578
that's more elemental.
472
00:35:54,578 --> 00:35:57,212
But what he does with
it through the piece,
473
00:35:57,212 --> 00:36:00,078
that's extremely sophisticated.
474
00:36:00,078 --> 00:36:04,245
("Third Piano Concerto
in C Minor, Opus 37")
475
00:37:35,237 --> 00:37:39,914
A solo cadenza is a very
important part of these pieces,
476
00:37:39,914 --> 00:37:43,886
and there are sometimes
several cadenzas in one piece,
477
00:37:43,886 --> 00:37:47,898
but the main one comes at
the sort of culmination point
478
00:37:47,898 --> 00:37:49,400
of the first movement,
479
00:37:49,400 --> 00:37:51,626
after things have been really building up
480
00:37:51,626 --> 00:37:53,448
and you feel the struggle
481
00:37:53,448 --> 00:37:57,051
and there's anticipation of
something great to happen.
482
00:37:57,051 --> 00:38:00,616
Then the soloist gets the possibility
483
00:38:00,616 --> 00:38:04,569
to show his skills as
a virtuoso performer,
484
00:38:04,569 --> 00:38:07,486
and at that time, as an improviser.
485
00:38:10,292 --> 00:38:12,216
What we have from Beethoven, fortunately,
486
00:38:12,216 --> 00:38:14,544
are his improvisations,
he wrote them down,
487
00:38:14,544 --> 00:38:16,567
and some of the cadenzas, so, so great.
488
00:38:16,567 --> 00:38:20,522
I cannot imagine playing other
composers' attempts on these.
489
00:38:20,522 --> 00:38:23,826
Like in this third
concerto, it's so dramatic
490
00:38:23,826 --> 00:38:27,659
and he just throws himself
out there on stage.
491
00:38:56,328 --> 00:38:59,286
And with such a passage,
he's gone completely wild
492
00:38:59,286 --> 00:39:02,860
and he's going to the extremes
of what the piano could do.
493
00:39:02,860 --> 00:39:07,305
Because at that time, he
didn't have the register
494
00:39:07,305 --> 00:39:08,919
at his disposal.
495
00:39:08,919 --> 00:39:11,800
His pianos would go up
approximately to here
496
00:39:11,800 --> 00:39:12,755
and down to here,
497
00:39:12,755 --> 00:39:15,647
and he's always going to
the extremes, Beethoven.
498
00:39:15,647 --> 00:39:19,564
He's going to the top
note, to the bottom note.
499
00:39:37,494 --> 00:39:40,868
At the end of this gigantic solo cadenza,
500
00:39:40,868 --> 00:39:44,738
he ends with long trills on
the piano, typically for him.
501
00:39:44,738 --> 00:39:48,905
("Third Piano Concerto
in C Minor, Opus 37")
502
00:39:58,032 --> 00:40:01,788
And now, this chord from
the orchestra will come in,
503
00:40:01,788 --> 00:40:06,368
and at the same time,
the timpani is playing,
504
00:40:06,368 --> 00:40:08,285
and then I'm answering.
505
00:40:09,651 --> 00:40:12,002
And, (humming)
506
00:40:12,002 --> 00:40:14,815
and this, if you remember
this theme from the beginning,
507
00:40:14,815 --> 00:40:15,732
this motif.
508
00:40:17,414 --> 00:40:19,831
It's now only in the timpani,
509
00:40:22,269 --> 00:40:26,019
under these very mysterious
and scary chords,
510
00:40:26,931 --> 00:40:30,745
and it's like this has
become a heartbeat for me.
511
00:40:30,745 --> 00:40:32,165
It's just really remarkable
512
00:40:32,165 --> 00:40:36,332
how he turned that motif into
something so significant.
513
00:40:39,278 --> 00:40:41,533
It's much more epic, this concerto.
514
00:40:41,533 --> 00:40:42,806
You feel it from the beginning,
515
00:40:42,806 --> 00:40:46,690
the ambition and the
storytelling goes further.
516
00:40:46,690 --> 00:40:50,857
("Third Piano Concerto
in C Minor, Opus 37")
517
00:41:09,828 --> 00:41:13,997
The second movement, after
the first movement has ended
518
00:41:13,997 --> 00:41:16,927
with this huge explosion in C minor,
519
00:41:16,927 --> 00:41:19,368
the second movement starts with E major,
520
00:41:19,368 --> 00:41:22,501
which is very far away from C minor.
521
00:41:22,501 --> 00:41:26,668
("Third Piano Concerto
in C Minor, Opus 37")
522
00:41:32,167 --> 00:41:36,150
And that is a mild shock, one can say,
523
00:41:36,150 --> 00:41:37,983
because this music is,
524
00:41:42,089 --> 00:41:46,006
caressing us so much,
and it's in such a dream.
525
00:41:47,542 --> 00:41:48,728
It's so far away.
526
00:41:48,728 --> 00:41:52,895
That's a huge development
from the two first concertos.
527
00:42:40,287 --> 00:42:41,813
All the time he's reaching out
528
00:42:41,813 --> 00:42:43,639
for something greater than himself,
529
00:42:43,639 --> 00:42:45,462
and that's what makes
his music so fascinating,
530
00:42:45,462 --> 00:42:48,016
because it's so human on one side
531
00:42:48,016 --> 00:42:49,638
and it's celebrating human life
532
00:42:49,638 --> 00:42:53,805
and so full of dances and
earthly behavior and struggles.
533
00:42:55,758 --> 00:42:59,672
And at that same time,
there are these moments
534
00:42:59,672 --> 00:43:03,089
of stretching out, and it's so spiritual.
535
00:43:06,264 --> 00:43:09,282
[Beethoven] Dear Franz, how is Letzte?
536
00:43:09,282 --> 00:43:12,134
I am dreadfully lazy
about writing letters,
537
00:43:12,134 --> 00:43:15,891
and it takes me a long time to
write down instead of notes,
538
00:43:15,891 --> 00:43:18,641
some dry letters of the alphabet.
539
00:43:19,988 --> 00:43:23,286
I am very sorry that you, my
beloved and worthy colleague
540
00:43:23,286 --> 00:43:25,961
in the art of music, did not let me know
541
00:43:25,961 --> 00:43:29,407
something about your
financial problems sooner,
542
00:43:29,407 --> 00:43:33,267
for I could have given you
some of my quartets to sell,
543
00:43:33,267 --> 00:43:35,434
and also many other works.
544
00:43:38,284 --> 00:43:42,048
I hope that if works of
art can produce any profit,
545
00:43:42,048 --> 00:43:46,205
it will fall to the lot of
genuine and true artists,
546
00:43:46,205 --> 00:43:48,539
rather than to that of mere tradesmen.
547
00:43:48,539 --> 00:43:50,677
For the time being, I am offering you
548
00:43:50,677 --> 00:43:55,109
the following compositions,
including my first symphony.
549
00:43:55,109 --> 00:43:57,200
How much that sum amounts to
550
00:43:57,200 --> 00:43:58,984
in your (speaking foreign language)
551
00:43:58,984 --> 00:44:01,771
does not concern me, because I am really
552
00:44:01,771 --> 00:44:05,938
an incompetent businessman
who is bad at arithmetic.
553
00:44:06,891 --> 00:44:10,810
There ought to be in the
world a market for art,
554
00:44:10,810 --> 00:44:14,821
where the artist would only
have to bring his works
555
00:44:14,821 --> 00:44:17,821
and take as much money as he needed.
556
00:44:19,127 --> 00:44:23,280
But, as it is, an artist has
to be, to a certain extent,
557
00:44:23,280 --> 00:44:25,113
a businessman as well.
558
00:44:25,992 --> 00:44:28,492
I call it a tiresome business.
559
00:44:32,629 --> 00:44:33,766
Dear Ferdinand,
560
00:44:33,766 --> 00:44:36,641
see immediately, dear
friend, whether the proof
561
00:44:36,641 --> 00:44:39,219
of the piano concerto is correct.
562
00:44:39,219 --> 00:44:42,138
My health problems do
not allow me to do this,
563
00:44:42,138 --> 00:44:45,022
and the matter permits no further delay.
564
00:44:45,022 --> 00:44:46,978
When you have corrected the proof,
565
00:44:46,978 --> 00:44:48,895
bring it to me at once.
566
00:44:50,880 --> 00:44:52,442
When I started this journey,
567
00:44:52,442 --> 00:44:54,320
I actually didn't know that Beethoven
568
00:44:54,320 --> 00:44:57,254
developed his deafness very early on.
569
00:44:57,254 --> 00:45:00,790
At least the beginning of it,
when he was in his early 20's,
570
00:45:00,790 --> 00:45:03,168
he already knew that he had a problem,
571
00:45:03,168 --> 00:45:07,058
and it gradually developed
into a serious handicap.
572
00:45:07,058 --> 00:45:11,649
But that means that absolutely
most of his major works
573
00:45:11,649 --> 00:45:14,836
are written in this kind of situation,
574
00:45:14,836 --> 00:45:17,040
where he knows that he
is not going to be able
575
00:45:17,040 --> 00:45:18,707
to keep his hearing.
576
00:45:23,836 --> 00:45:26,917
The third is a remarkable and strong work
577
00:45:26,917 --> 00:45:29,338
and so full of human struggles,
578
00:45:29,338 --> 00:45:31,650
and it's always difficult to know
579
00:45:31,650 --> 00:45:35,817
what is reflected from
Beethoven's life in these pieces.
580
00:45:37,253 --> 00:45:39,578
One cannot help to think
that this was the period
581
00:45:39,578 --> 00:45:44,186
when he was really realizing
that he was turning deaf.
582
00:45:44,186 --> 00:45:45,609
There's a lot of darkness,
583
00:45:45,609 --> 00:45:48,112
there's a lot of suffering in this piece.
584
00:45:48,112 --> 00:45:50,410
A lot of isolation.
585
00:45:50,410 --> 00:45:54,577
("Third Piano Concerto
in C Minor, Opus 37")
586
00:47:59,323 --> 00:48:01,595
It's not sad, it's not angry,
587
00:48:01,595 --> 00:48:03,204
and it's also not happy.
588
00:48:03,204 --> 00:48:05,123
It's ambiguous, and that's what's so great
589
00:48:05,123 --> 00:48:06,967
with so much of this music.
590
00:48:06,967 --> 00:48:11,134
It has a little bit of all
different kind of emotions.
591
00:48:34,501 --> 00:48:37,280
It's a journey from the
first note to the last,
592
00:48:37,280 --> 00:48:40,862
and all these valleys
and mountains and lakes
593
00:48:40,862 --> 00:48:44,099
you have to visit, and the
flowers you have to smell.
594
00:48:44,099 --> 00:48:47,982
You get to know that the
more you play for people,
595
00:48:47,982 --> 00:48:51,954
it's not only how to study
in the practice room.
596
00:48:51,954 --> 00:48:56,121
("Third Piano Concerto
in C Minor, Opus 37")
597
00:50:03,561 --> 00:50:05,811
(applause)
598
00:50:16,211 --> 00:50:18,436
What's striking me about
Beethoven and his music
599
00:50:18,436 --> 00:50:21,278
is how hard he works to make it all seem
600
00:50:21,278 --> 00:50:24,240
so natural and effortless.
601
00:50:24,240 --> 00:50:26,972
For example, I've looked
at Beethoven's manuscripts,
602
00:50:26,972 --> 00:50:29,168
and it's just full of changes.
603
00:50:29,168 --> 00:50:31,801
He's erasing, he's scratching out,
604
00:50:31,801 --> 00:50:34,884
taking out things, adding new things.
605
00:50:39,061 --> 00:50:41,628
It's interesting that whenever he could,
606
00:50:41,628 --> 00:50:44,778
he headed to the countryside for relief.
607
00:50:44,778 --> 00:50:46,600
I've always felt the same.
608
00:50:46,600 --> 00:50:50,099
200 plus days of airports
and foreign hotels,
609
00:50:50,099 --> 00:50:54,012
different faces, and you
just need to recharge.
610
00:50:54,012 --> 00:50:55,602
For me as a Norwegian,
611
00:50:55,602 --> 00:50:58,483
I need to get into my own countryside.
612
00:50:58,483 --> 00:51:00,707
Once a year, for example,
I go to an estate
613
00:51:00,707 --> 00:51:03,797
at Rosendal for a small,
intimate performance
614
00:51:03,797 --> 00:51:06,055
that I've been doing since I was young,
615
00:51:06,055 --> 00:51:07,999
and it really means as much to me
616
00:51:07,999 --> 00:51:11,354
as Carnegie Hall or Royal Festival Hall.
617
00:51:11,354 --> 00:51:14,386
And right now, it's a chance
to play something else
618
00:51:14,386 --> 00:51:17,136
from Beethoven's enormous output.
619
00:51:20,260 --> 00:51:23,935
The concerto, only one
part of Beethoven's output,
620
00:51:23,935 --> 00:51:26,030
of course, and I wanted
the Beethoven Journey
621
00:51:26,030 --> 00:51:30,422
to also include chairman music
and solo pieces and sonatas.
622
00:51:30,422 --> 00:51:32,989
I'm basically playing my first recital
623
00:51:32,989 --> 00:51:35,733
with Vilde Frang, who is an absolutely
624
00:51:35,733 --> 00:51:38,238
wonderful young Norwegian violinist
625
00:51:38,238 --> 00:51:40,876
now making a big international career.
626
00:51:40,876 --> 00:51:43,524
We have chosen the best piece of all,
627
00:51:43,524 --> 00:51:46,184
Beethoven's Kreutzer Sonata.
628
00:51:46,184 --> 00:51:49,184
("Kreutzer Sonata")
629
00:52:02,689 --> 00:52:04,794
When I was 22, when I first came here,
630
00:52:04,794 --> 00:52:08,170
I think I was struggling quite
a bit with finding my way
631
00:52:08,170 --> 00:52:10,036
in this strange profession,
632
00:52:10,036 --> 00:52:12,536
because I wasn't sure how much
633
00:52:13,832 --> 00:52:16,830
repertoire can I allow myself to do.
634
00:52:16,830 --> 00:52:18,523
I was very restrictive, actually.
635
00:52:18,523 --> 00:52:21,180
I did one recital program per season
636
00:52:21,180 --> 00:52:22,461
and a couple of concertos,
637
00:52:22,461 --> 00:52:24,171
and I felt already it was too much
638
00:52:24,171 --> 00:52:26,424
if I had agreed to
study a couple of pieces
639
00:52:26,424 --> 00:52:29,744
for the next season, and
I wouldn't sleep well.
640
00:52:29,744 --> 00:52:32,721
I would cancel sometimes
things far in advance
641
00:52:32,721 --> 00:52:36,888
because I didn't feel in
control of the situation.
642
00:52:40,847 --> 00:52:44,085
It was only when I was 25, 26,
643
00:52:44,085 --> 00:52:47,128
that I allowed myself to do more
644
00:52:47,128 --> 00:52:48,902
and to do different things,
645
00:52:48,902 --> 00:52:51,985
and I felt a certain kind of freedom.
646
00:52:54,574 --> 00:52:57,574
("Kreutzer Sonata")
647
00:53:03,509 --> 00:53:04,662
This is my room.
648
00:53:04,662 --> 00:53:08,065
I have to say for me, it's very important,
649
00:53:08,065 --> 00:53:11,898
now and then, to come
back to the small rooms,
650
00:53:13,675 --> 00:53:15,769
and this is a really small room.
651
00:53:15,769 --> 00:53:18,039
It seats about 70 people.
652
00:53:18,039 --> 00:53:20,863
It's extreme, and a modern instrument
653
00:53:20,863 --> 00:53:23,263
would maybe not work in this room,
654
00:53:23,263 --> 00:53:25,898
'cause it would be too
loud, it would scream.
655
00:53:25,898 --> 00:53:28,815
I'm playing here on an 1860 Pleyel,
656
00:53:29,850 --> 00:53:32,675
which is also a unique experience,
657
00:53:32,675 --> 00:53:37,369
and this feeling that the
instrument can speak and whisper,
658
00:53:37,369 --> 00:53:39,036
it's a conversation.
659
00:53:42,981 --> 00:53:44,648
It feels very honest
660
00:53:45,972 --> 00:53:49,930
in a way that sometimes in
the big hall it doesn't.
661
00:53:49,930 --> 00:53:52,930
("Kreutzer Sonata")
662
00:53:57,615 --> 00:53:59,865
(applause)
663
00:54:03,633 --> 00:54:06,770
This decision now, to
devote these four years
664
00:54:06,770 --> 00:54:09,982
mainly to Beethoven is, it feels great,
665
00:54:09,982 --> 00:54:14,149
because this music is so
great and it deserves it.
666
00:54:16,004 --> 00:54:18,167
It becomes easier to play this music
667
00:54:18,167 --> 00:54:19,910
because the more you work on the language,
668
00:54:19,910 --> 00:54:21,993
the better you get at it.
669
00:54:23,777 --> 00:54:26,584
You understand not only
the obvious messages
670
00:54:26,584 --> 00:54:28,338
but the awkward messages
671
00:54:28,338 --> 00:54:31,397
and the transitional works
and the transitional passages,
672
00:54:31,397 --> 00:54:33,625
the strangeness of it, and the enigma,
673
00:54:33,625 --> 00:54:37,125
which is also part of Beethoven's oeuvres.
674
00:55:05,450 --> 00:55:07,275
We have this image of Beethoven
675
00:55:07,275 --> 00:55:10,329
as a very lonely character, don't we?
676
00:55:10,329 --> 00:55:14,204
And quite an impossible man to be with.
677
00:55:14,204 --> 00:55:16,762
Maybe that image is very wrong.
678
00:55:16,762 --> 00:55:20,346
I mean, it seems like he
was very close to people.
679
00:55:20,346 --> 00:55:23,651
He worshiped his friends
and his social life.
680
00:55:23,651 --> 00:55:24,651
I'm cooking.
681
00:55:27,406 --> 00:55:28,656
I love cooking.
682
00:55:30,847 --> 00:55:34,014
It's the most relaxing thing there is.
683
00:55:42,506 --> 00:55:44,168
An important part of my Beethoven Journey
684
00:55:44,168 --> 00:55:46,676
is actually to get all kinds
of different experiences
685
00:55:46,676 --> 00:55:48,216
of Beethoven performances,
686
00:55:48,216 --> 00:55:50,947
but I'm also working
with different conductors
687
00:55:50,947 --> 00:55:52,992
and different orchestras.
688
00:55:52,992 --> 00:55:54,779
Now I'm in Los Angeles playing
689
00:55:54,779 --> 00:55:56,294
with the Los Angeles Philharmonic.
690
00:55:56,294 --> 00:55:58,711
That's a very different ensemble
691
00:55:58,711 --> 00:56:00,535
from the Mahler Chamber Orchestra.
692
00:56:00,535 --> 00:56:01,368
Sunglasses?
693
00:56:01,368 --> 00:56:02,948
(speech drowned out by laughing)
694
00:56:02,948 --> 00:56:04,482
The speech study had a long line?
695
00:56:04,482 --> 00:56:06,815
No no, no, no no no no no.
696
00:56:07,997 --> 00:56:09,547
I've been very lucky to play
697
00:56:09,547 --> 00:56:12,706
with some excellent
conductors and orchestras,
698
00:56:12,706 --> 00:56:15,338
and what I find as I'm growing up,
699
00:56:15,338 --> 00:56:18,592
I'm playing more and more with conductors
700
00:56:18,592 --> 00:56:22,175
from my generation, or
even younger than me
701
00:56:23,222 --> 00:56:24,722
like with Gustavo.
702
00:56:26,188 --> 00:56:27,786
You can't get away from the fact
703
00:56:27,786 --> 00:56:30,661
that it's easier somehow
to feel free to say things.
704
00:56:30,661 --> 00:56:32,679
I mean, with Gustavo,
he's such a personality
705
00:56:32,679 --> 00:56:35,358
where there's no vanity involved,
706
00:56:35,358 --> 00:56:37,612
and I hate those kind of vanities.
707
00:56:37,612 --> 00:56:41,018
I want conductors to say
to me whatever they want,
708
00:56:41,018 --> 00:56:44,282
and whatever their
opinion is about the music
709
00:56:44,282 --> 00:56:47,131
or how we're doing or how
the performance feels.
710
00:56:47,131 --> 00:56:48,913
And I want to have the same freedom
711
00:56:48,913 --> 00:56:51,550
to tell them anything, and that feels
712
00:56:51,550 --> 00:56:53,878
extremely freeing with Gustavo.
713
00:56:53,878 --> 00:56:58,045
("Third Piano Concerto
in C Minor, Opus 37")
714
00:57:00,824 --> 00:57:04,435
Sometimes we do feel
connected to artists.
715
00:57:04,435 --> 00:57:06,924
They build up a life together,
716
00:57:06,924 --> 00:57:10,782
so we can see where our life as a musician
717
00:57:10,782 --> 00:57:12,345
and as an artist together,
718
00:57:12,345 --> 00:57:14,527
because I'm sure this
is not the last time.
719
00:57:14,527 --> 00:57:17,729
We will do this cycle,
and I hope that we will do
720
00:57:17,729 --> 00:57:21,130
more Mozart or whatever,
Rachmaninoff, whatever composer.
721
00:57:21,130 --> 00:57:22,942
And it's also a
question of trust, right?
722
00:57:22,942 --> 00:57:23,868
Mm hmm, exactly.
723
00:57:23,868 --> 00:57:27,402
After a while, one really,
really trusts each other.
724
00:57:27,402 --> 00:57:29,744
(vocalizing)
725
00:57:29,744 --> 00:57:31,466
In Spanish.
726
00:57:31,466 --> 00:57:34,064
(speaking in foreign language)
(laughing)
727
00:57:34,064 --> 00:57:36,257
We respect the music,
we respect each other.
728
00:57:36,257 --> 00:57:38,956
We love music, and we love each other.
729
00:57:38,956 --> 00:57:40,845
The most important thing.
730
00:57:40,845 --> 00:57:43,095
(laughing)
731
00:57:44,398 --> 00:57:47,372
Mahler Chamber
Orchestra plays this music
732
00:57:47,372 --> 00:57:49,883
with much less vibrato,
and when they use vibrato
733
00:57:49,883 --> 00:57:51,225
maybe it means more.
734
00:57:51,225 --> 00:57:53,390
Maybe I prefer that way, but you know,
735
00:57:53,390 --> 00:57:54,973
a big American orchestra like this
736
00:57:54,973 --> 00:57:58,387
has such qualities, it can
give other things to it.
737
00:57:58,387 --> 00:58:00,501
And certainly with Gustavo,
738
00:58:00,501 --> 00:58:04,648
it's incredible the rhythmic
impulse and insition
739
00:58:04,648 --> 00:58:06,956
and happiness he can bring.
740
00:58:06,956 --> 00:58:11,857
("Third Piano Concerto
in C Minor, Opus 37")
741
00:58:11,857 --> 00:58:13,779
In most collaborations like this,
742
00:58:13,779 --> 00:58:18,694
there are moments at least,
where I learn something.
743
00:58:18,694 --> 00:58:20,303
That's why I'm doing this,
744
00:58:20,303 --> 00:58:21,396
this is a journey.
745
00:58:21,396 --> 00:58:23,391
I want to learn, and
certainly with a conductor
746
00:58:23,391 --> 00:58:26,308
like Gustavo, I am always learning.
747
00:58:32,266 --> 00:58:35,046
[Beethoven] I am well, very well.
748
00:58:35,046 --> 00:58:38,237
My art is winning me friends and renown,
749
00:58:38,237 --> 00:58:40,176
and what more do I want?
750
00:58:40,176 --> 00:58:44,085
And this time I shall
make a good deal of money.
751
00:58:44,085 --> 00:58:47,277
I shalt remain here
for a few weeks longer,
752
00:58:47,277 --> 00:58:51,110
and then travel to
Dresden, Latze, and Berlin.
753
00:58:54,931 --> 00:58:56,886
I'm playing about 80 concerts a year
754
00:58:56,886 --> 00:58:59,342
and I'm traveling about half the year,
755
00:58:59,342 --> 00:59:03,505
and I don't want to feel like
I'm living in a suitcase.
756
00:59:03,505 --> 00:59:06,775
So even if I'm in a hotel room
just for three or four nights
757
00:59:06,775 --> 00:59:10,151
I will unpack my suitcase
and I will put things
758
00:59:10,151 --> 00:59:12,085
in the cupboard and try to feel like
759
00:59:12,085 --> 00:59:15,085
I have a little home for a few days.
760
00:59:17,061 --> 00:59:19,241
Well we're Skyping almost every day.
761
00:59:19,241 --> 00:59:20,494
It's just wonderful, I am so happy
762
00:59:20,494 --> 00:59:22,279
to be part of Skype generation.
763
00:59:22,279 --> 00:59:24,336
I mean, I want to see
my daughter every day.
764
00:59:24,336 --> 00:59:26,640
She wants to play with
me and I'm not there,
765
00:59:26,640 --> 00:59:29,950
but at least she sees a
glimpse of me every day
766
00:59:29,950 --> 00:59:32,631
and she doesn't forget me.
767
00:59:32,631 --> 00:59:34,460
[Beethoven] The connection
with foreign countries
768
00:59:34,460 --> 00:59:37,846
is always an advantage to
the reputation of an artist,
769
00:59:37,846 --> 00:59:41,243
particularly if he
starts traveling abroad.
770
00:59:41,243 --> 00:59:44,529
I intend to sell the
following six new works
771
00:59:44,529 --> 00:59:48,428
to a firm of publishers in
France, to one in England,
772
00:59:48,428 --> 00:59:52,034
and to one in Vienna simultaneously,
773
00:59:52,034 --> 00:59:54,625
but on condition that
they shall not appear
774
00:59:54,625 --> 00:59:57,503
until after a day to be fixed.
775
00:59:57,503 --> 01:00:00,105
The works are a symphony, an overture,
776
01:00:00,105 --> 01:00:02,786
a violin concerto, three quartets,
777
01:00:02,786 --> 01:00:05,556
the violin concerto
arranged for the piano,
778
01:00:05,556 --> 01:00:07,639
and a new piano concerto.
779
01:00:09,136 --> 01:00:10,750
The beginning of the fourth concerto
780
01:00:10,750 --> 01:00:13,706
would have been a shock for
the listeners at the time.
781
01:00:13,706 --> 01:00:17,896
The first shock would be that
the piano starts the concerto.
782
01:00:17,896 --> 01:00:19,870
The normal thing would
be, in a piano concerto,
783
01:00:19,870 --> 01:00:21,921
that the orchestra has an introduction
784
01:00:21,921 --> 01:00:24,208
presenting all the material,
785
01:00:24,208 --> 01:00:27,796
and that the soloist would
enter after a couple of minutes.
786
01:00:27,796 --> 01:00:29,769
But here, the piano enters.
787
01:00:29,769 --> 01:00:32,403
And the second shock is, it enters softly,
788
01:00:32,403 --> 01:00:34,820
not with the normal fanfares,
789
01:00:36,155 --> 01:00:37,388
just with a chord,
790
01:00:37,388 --> 01:00:41,555
and out of this amazingly
beautiful G major chord,
791
01:00:42,515 --> 01:00:43,897
organically,
792
01:00:43,897 --> 01:00:47,859
("Fourth Piano Concerto
in G Major, Opus 58")
793
01:00:47,859 --> 01:00:49,109
a theme occurs.
794
01:00:58,072 --> 01:01:00,322
It's so simple, so heavenly.
795
01:01:00,322 --> 01:01:03,121
Third shock, the orchestra responds,
796
01:01:03,121 --> 01:01:07,038
but in such a surprising
key suddenly, B major,
797
01:01:08,181 --> 01:01:09,514
and even softer.
798
01:01:25,074 --> 01:01:28,201
I mean that beginning, you have a sense of
799
01:01:28,201 --> 01:01:29,793
what journey have we begun here.
800
01:01:29,793 --> 01:01:32,105
This is such a new ambition,
801
01:01:32,105 --> 01:01:35,438
so different from any music, until then.
802
01:02:03,429 --> 01:02:05,225
What I sense in Beethoven's music
803
01:02:05,225 --> 01:02:07,214
and more and more on this journey,
804
01:02:07,214 --> 01:02:10,221
is the love that sits at it's heart.
805
01:02:10,221 --> 01:02:13,084
It's remarkable when you
think of what he faced
806
01:02:13,084 --> 01:02:14,907
on a day to day basis,
807
01:02:14,907 --> 01:02:18,678
the difficulties of the
life in 19th century Vienna,
808
01:02:18,678 --> 01:02:22,845
sanitation, food, disease,
money, political instability.
809
01:02:24,388 --> 01:02:26,937
And he bore three additional burdens,
810
01:02:26,937 --> 01:02:29,891
his increasing deafness,
his health problems,
811
01:02:29,891 --> 01:02:32,764
I mean he frequently had
such serious stomach problems
812
01:02:32,764 --> 01:02:34,503
that he couldn't work.
813
01:02:34,503 --> 01:02:38,670
And then, his unsuccessful
attempts to find a wife.
814
01:02:39,917 --> 01:02:42,546
[Beethoven] Now you can
help me look for a wife.
815
01:02:42,546 --> 01:02:45,881
Indeed, you might find
some beautiful girl,
816
01:02:45,881 --> 01:02:49,818
one who'd perhaps grant
a sigh to my harmonies.
817
01:02:49,818 --> 01:02:53,986
She must be beautiful, because
it is impossible for me
818
01:02:53,986 --> 01:02:57,236
to love anything that is not beautiful.
819
01:03:05,397 --> 01:03:07,793
It's tough to think
that he never managed
820
01:03:07,793 --> 01:03:11,660
to find a partner, so that
he didn't have children,
821
01:03:11,660 --> 01:03:16,265
but especially that he couldn't
find a partner in life.
822
01:03:16,265 --> 01:03:20,274
Because when you feel
this incredible warmth
823
01:03:20,274 --> 01:03:23,364
and how this music embraces you,
824
01:03:23,364 --> 01:03:26,531
he must have had so much love to give.
825
01:03:35,757 --> 01:03:38,895
Around Christmas time, we got to know that
826
01:03:38,895 --> 01:03:41,228
Ragnild was expecting twins,
827
01:03:43,440 --> 01:03:45,361
which was the first shock.
828
01:03:45,361 --> 01:03:48,813
We hadn't planned to
have such a big family,
829
01:03:48,813 --> 01:03:50,969
but of course it's great.
830
01:03:50,969 --> 01:03:55,205
The twins arrived much
too early, 12 weeks early,
831
01:03:55,205 --> 01:03:59,018
and there was no way I could
do the recording and the tour.
832
01:03:59,018 --> 01:04:02,216
I mean, seeing these two tiny babies.
833
01:04:02,216 --> 01:04:07,144
They were born very extreme
premature, and so fragile,
834
01:04:07,144 --> 01:04:08,734
and we were very concerned
835
01:04:08,734 --> 01:04:11,423
about what would happen with them.
836
01:04:11,423 --> 01:04:14,543
I just needed to be with my family.
837
01:04:14,543 --> 01:04:16,210
They are doing well.
838
01:04:18,696 --> 01:04:22,720
This is where I get my exercise every day.
839
01:04:22,720 --> 01:04:24,620
(laughing)
840
01:04:24,620 --> 01:04:26,668
Unexpected things can happen to a journey,
841
01:04:26,668 --> 01:04:29,944
and in this case, I had to
cancel quite a few concerts
842
01:04:29,944 --> 01:04:31,718
and delay a recording.
843
01:04:31,718 --> 01:04:32,667
So what?
844
01:04:32,667 --> 01:04:34,250
Family comes first.
845
01:04:36,417 --> 01:04:40,584
("Fourth Piano Concerto
in G Major, Opus 58")
846
01:04:53,574 --> 01:04:56,846
Beethoven seemed to have
had problems with love,
847
01:04:56,846 --> 01:04:59,961
and if relationship will change the music,
848
01:04:59,961 --> 01:05:02,044
how can we know such things?
849
01:05:02,044 --> 01:05:05,782
His music is so full of
everything one thinks of
850
01:05:05,782 --> 01:05:09,909
that has to do with
relationships and love.
851
01:05:09,909 --> 01:05:12,885
It embraces life so fully.
852
01:05:12,885 --> 01:05:15,678
How could it be richer if he had known
853
01:05:15,678 --> 01:05:18,036
a different private life?
854
01:05:18,036 --> 01:05:19,369
Hard to imagine.
855
01:05:23,888 --> 01:05:26,711
Time and again, Beethoven
sought partnership
856
01:05:26,711 --> 01:05:29,861
with countesses or the
daughters of nobility,
857
01:05:29,861 --> 01:05:34,027
and time and again, this
mere musician was rejected.
858
01:05:34,027 --> 01:05:37,887
He was, literally, seeking
a wife outside of his class,
859
01:05:37,887 --> 01:05:39,617
and it was not to be.
860
01:05:39,617 --> 01:05:41,686
That's in the music too, I think,
861
01:05:41,686 --> 01:05:43,603
a struggle, a yearning.
862
01:05:46,303 --> 01:05:48,311
In the later pieces especially
863
01:05:48,311 --> 01:05:52,478
there is a feeling that
things doesn't add up anymore.
864
01:05:53,925 --> 01:05:55,638
There's a lonely feeling,
865
01:05:55,638 --> 01:05:57,926
and there's a very spiritual feeling
866
01:05:57,926 --> 01:06:00,727
of wanting to know something about life
867
01:06:00,727 --> 01:06:04,144
and maybe not getting the answer anymore.
868
01:06:05,094 --> 01:06:07,061
Maybe this is because he was isolated
869
01:06:07,061 --> 01:06:08,668
because of the deafness.
870
01:06:08,668 --> 01:06:11,900
Maybe it was because he
was isolated in his life,
871
01:06:11,900 --> 01:06:13,730
didn't have a family.
872
01:06:13,730 --> 01:06:15,816
Difficult to know.
873
01:06:15,816 --> 01:06:19,983
("Fourth Piano Concerto
in G Major, Opus 58")
874
01:06:25,397 --> 01:06:28,291
It's my job to make
these pieces come alive
875
01:06:28,291 --> 01:06:31,651
so that people can recognize
in them the greatness,
876
01:06:31,651 --> 01:06:33,802
and that they can recognize themselves
877
01:06:33,802 --> 01:06:36,123
and their feelings and
their struggles in life,
878
01:06:36,123 --> 01:06:37,326
and their joys.
879
01:06:37,326 --> 01:06:40,262
I think that's what we do
with a great piece of art,
880
01:06:40,262 --> 01:06:43,629
we come out from a concert
and, having heard this,
881
01:06:43,629 --> 01:06:47,555
we think, "Oh my goodness, he
experienced all the troubles
882
01:06:47,555 --> 01:06:50,014
"and joys and sorrows
that I have in my life,
883
01:06:50,014 --> 01:06:53,213
"all the longing, and he could express it
884
01:06:53,213 --> 01:06:56,213
"in this pure form, which is music."
885
01:07:09,966 --> 01:07:12,208
For me, as an interpreter,
886
01:07:12,208 --> 01:07:16,375
I don't think it's necessary
that I have suffered a lot
887
01:07:17,686 --> 01:07:21,217
or felt all these struggles
that these composers
888
01:07:21,217 --> 01:07:23,362
often felt in their lives.
889
01:07:23,362 --> 01:07:27,112
But I have, at least,
to have the imagination
890
01:07:28,451 --> 01:07:32,972
to get into these feelings,
to feel the ecstasy,
891
01:07:32,972 --> 01:07:34,555
to feel the sorrow.
892
01:07:56,896 --> 01:07:59,808
The most shocking discovery
anyone learns about Beethoven
893
01:07:59,808 --> 01:08:02,386
is that, at this time when he seems
894
01:08:02,386 --> 01:08:04,593
to be at the top of his game
895
01:08:04,593 --> 01:08:07,923
and he's writing quartets,
symphonies, and so on,
896
01:08:07,923 --> 01:08:12,088
self-sufficient financially,
in itself, highly unusual,
897
01:08:12,088 --> 01:08:14,793
he's respected by the court and so on,
898
01:08:14,793 --> 01:08:16,565
one finds that beneath the surface
899
01:08:16,565 --> 01:08:18,834
there was a deep unhappiness,
900
01:08:18,834 --> 01:08:22,417
leading him to question
his very existence.
901
01:08:34,632 --> 01:08:37,851
[Beethoven] Oh ye who think
or declare me to be hostile,
902
01:08:37,851 --> 01:08:40,733
morose, or misanthropical.
903
01:08:40,733 --> 01:08:42,858
How little you know me.
904
01:08:42,858 --> 01:08:46,868
I've been attacked by an incurable malady,
905
01:08:46,868 --> 01:08:50,470
born with a passionate
and excitable temperament,
906
01:08:50,470 --> 01:08:54,088
keenly susceptible to
the pleasures of society.
907
01:08:54,088 --> 01:08:56,735
I was yet obliged early in life
908
01:08:56,735 --> 01:09:00,735
to pass my existence in
solitude, for I am deaf.
909
01:09:15,882 --> 01:09:18,952
What humiliation, when anyone beside me
910
01:09:18,952 --> 01:09:23,119
hears a flute in the far
distance, while I, nothing.
911
01:09:25,910 --> 01:09:29,341
Or when others hear a shepherd singing,
912
01:09:29,341 --> 01:09:30,591
and I, nothing.
913
01:09:31,921 --> 01:09:35,577
Such things brought me to
the verge of desperation,
914
01:09:35,577 --> 01:09:39,660
and well nigh caused me
to put an end to my life.
915
01:09:47,442 --> 01:09:49,275
Out alone deterred me,
916
01:09:50,502 --> 01:09:54,099
how could I possibly quit the world
917
01:09:54,099 --> 01:09:56,974
before bringing forth all that I felt
918
01:09:56,974 --> 01:09:59,224
was my vocation to put use?
919
01:10:03,339 --> 01:10:05,089
In a way, this kind of music
920
01:10:05,089 --> 01:10:07,756
is the beginning of romanticism.
921
01:10:10,511 --> 01:10:12,984
What would come a couple of decades later
922
01:10:12,984 --> 01:10:17,217
from Schumann, Chopin, all
this very confessional music
923
01:10:17,217 --> 01:10:21,384
for one to one, but here
it's like it's the essence.
924
01:10:22,727 --> 01:10:24,894
It hasn't become sick yet.
925
01:10:27,313 --> 01:10:31,761
It's so pure, maybe that's
why it's also so touching,
926
01:10:31,761 --> 01:10:33,897
it's in its pure form.
927
01:10:33,897 --> 01:10:38,064
It doesn't exploit the
relationship to the listener.
928
01:10:38,944 --> 01:10:41,027
It's remarkably touching.
929
01:10:51,637 --> 01:10:53,913
[Beethoven] You will
realize what a sad life
930
01:10:53,913 --> 01:10:55,695
I must now lead.
931
01:10:55,695 --> 01:10:59,739
In my present condition, I
must withdraw from everything,
932
01:10:59,739 --> 01:11:02,965
and my best years will rapidly pass away
933
01:11:02,965 --> 01:11:06,100
without my being able to
achieve all that my talent
934
01:11:06,100 --> 01:11:09,433
and my strength have commanded me to do.
935
01:11:17,089 --> 01:11:21,031
This conflict between the
orchestra and the pianist here
936
01:11:21,031 --> 01:11:24,551
might also reflect how he
was getting more and more
937
01:11:24,551 --> 01:11:28,304
isolated in society,
because of his handicap,
938
01:11:28,304 --> 01:11:31,054
because he couldn't hear anymore.
939
01:11:41,876 --> 01:11:43,293
At the same time,
940
01:11:44,383 --> 01:11:47,641
I'm thinking maybe this is why this music
941
01:11:47,641 --> 01:11:51,808
became so free, so different
from any other music,
942
01:11:53,105 --> 01:11:57,272
that he didn't anymore have
to confront his outer ear,
943
01:11:58,230 --> 01:12:01,480
he could really follow his inner voice.
944
01:13:18,953 --> 01:13:21,940
The very end of this concerto,
it always gets to me,
945
01:13:21,940 --> 01:13:25,118
and what is it that it
does, it's just magic.
946
01:13:25,118 --> 01:13:27,547
It's like he's trying to fly.
947
01:13:27,547 --> 01:13:30,264
("Fourth Piano Concerto
in G Major, Opus 58")
948
01:13:30,264 --> 01:13:32,764
It's just G major and D major.
949
01:13:37,405 --> 01:13:39,572
And finally there is wind.
950
01:13:45,467 --> 01:13:47,372
And off he goes.
951
01:13:47,372 --> 01:13:49,699
For me that's total ecstasy.
952
01:13:49,699 --> 01:13:53,866
See, I get the chills. (laughing)
953
01:14:07,196 --> 01:14:09,446
(applause)
954
01:14:18,899 --> 01:14:22,923
I have a wish for people to
love what I'm loving, basically.
955
01:14:22,923 --> 01:14:25,079
I think that is a driving force,
956
01:14:25,079 --> 01:14:29,120
and therefore I'm also
doing press and I'm doing TV
957
01:14:29,120 --> 01:14:32,719
and whatever I can to
bring this to people.
958
01:14:32,719 --> 01:14:35,398
Of course, the music gives
me the impulse to do this,
959
01:14:35,398 --> 01:14:36,592
but it's also really fun.
960
01:14:36,592 --> 01:14:37,996
I mean, what a life I have.
961
01:14:37,996 --> 01:14:40,988
I have the opportunity,
the last months now
962
01:14:40,988 --> 01:14:42,885
I've played with Philharmonia in London,
963
01:14:42,885 --> 01:14:45,333
I'm in Los Angeles, with great orchestras.
964
01:14:45,333 --> 01:14:48,929
All of these orchestras, also,
they play for full houses.
965
01:14:48,929 --> 01:14:53,795
This week I'm playing basically
for eight or 9,000 people.
966
01:14:53,795 --> 01:14:57,841
What a privilege to share this
music with so many people.
967
01:14:57,841 --> 01:15:00,388
[Cashier] 41.69 please.
968
01:15:00,388 --> 01:15:04,790
("Bagatelle Opus 33, Number One")
969
01:15:04,790 --> 01:15:07,873
The CD has been received very well.
970
01:15:08,826 --> 01:15:12,859
There's been so many reviews,
and largely very good ones.
971
01:15:12,859 --> 01:15:14,543
I'm extremely happy about it.
972
01:15:14,543 --> 01:15:17,823
There's great competition
out there with these pieces,
973
01:15:17,823 --> 01:15:20,718
there are many good recordings before,
974
01:15:20,718 --> 01:15:25,063
but I think we have something,
if not new, then different,
975
01:15:25,063 --> 01:15:27,133
saying it in a different way.
976
01:15:27,133 --> 01:15:28,800
To Brian and Eden.
977
01:15:30,110 --> 01:15:33,066
I think actually the concerts
are driving people to the CD
978
01:15:33,066 --> 01:15:34,230
rather than the opposite.
979
01:15:34,230 --> 01:15:36,194
That's how it works these days.
980
01:15:36,194 --> 01:15:39,876
The record industry is not
that blossoming anymore,
981
01:15:39,876 --> 01:15:42,089
but people come to concerts, and actually,
982
01:15:42,089 --> 01:15:46,048
concert venues are places
for also selling CDs.
983
01:15:46,048 --> 01:15:49,798
That's why I will agree
to sign Beethoven CDs
984
01:15:50,661 --> 01:15:52,457
after Beethoven performances,
985
01:15:52,457 --> 01:15:55,957
because I think, maybe people want to have
986
01:15:57,098 --> 01:15:58,780
a memory from the concert and go home
987
01:15:58,780 --> 01:16:01,133
and listen to the same piece.
988
01:16:01,133 --> 01:16:02,377
Thank you so much.
989
01:16:02,377 --> 01:16:04,196
This is for my nephew, Joey.
990
01:16:04,196 --> 01:16:06,549
I always find there's all
these other necessary things
991
01:16:06,549 --> 01:16:08,958
in my life, other than the
traveling and meeting people
992
01:16:08,958 --> 01:16:11,765
and talking to press and
marketing for my concerts,
993
01:16:11,765 --> 01:16:12,898
for my recordings.
994
01:16:12,898 --> 01:16:14,974
That's all so superficial.
995
01:16:14,974 --> 01:16:17,943
When I get down to the
piano, I always remember
996
01:16:17,943 --> 01:16:20,199
that's why I am here.
997
01:16:20,199 --> 01:16:23,420
[Beethoven] My compositions
bring me in a good deal,
998
01:16:23,420 --> 01:16:26,100
and I may say that I'm
offered more commissions
999
01:16:26,100 --> 01:16:28,831
than it is possible for me to carry out.
1000
01:16:28,831 --> 01:16:31,521
I stake my price, and they pay.
1001
01:16:31,521 --> 01:16:34,463
For instance, I see a friend in need,
1002
01:16:34,463 --> 01:16:37,236
and it so happens that
the state of my purse
1003
01:16:37,236 --> 01:16:40,042
does not allow me to help him immediately,
1004
01:16:40,042 --> 01:16:42,955
I only have to sit down and compose
1005
01:16:42,955 --> 01:16:46,538
and in a short time,
I can come to his aid.
1006
01:16:47,473 --> 01:16:50,556
My purpose in life is
not to become a profiteer
1007
01:16:50,556 --> 01:16:53,563
in musical art, one who composes solely
1008
01:16:53,563 --> 01:16:57,133
in order to become rich, god forbid.
1009
01:16:57,133 --> 01:17:00,392
But, I like to live independently,
1010
01:17:00,392 --> 01:17:04,848
and that I cannot do
without a small income.
1011
01:17:04,848 --> 01:17:06,537
Well the beginning of the fifth,
1012
01:17:06,537 --> 01:17:10,204
again, is another really
surprising opening.
1013
01:17:11,144 --> 01:17:15,949
This time, just begins with a
huge chord in the orchestra,
1014
01:17:15,949 --> 01:17:19,809
followed by what is a tsunami
of a passage in the piano.
1015
01:17:19,809 --> 01:17:20,931
First this chord,
1016
01:17:20,931 --> 01:17:22,805
("Fifth Piano Concerto in
E-flat Major, Opus 73")
1017
01:17:22,805 --> 01:17:23,638
and then.
1018
01:17:31,373 --> 01:17:34,246
I find there's such an ecstasy in that,
1019
01:17:34,246 --> 01:17:36,732
and it's, for me, like he's saying,
1020
01:17:36,732 --> 01:17:39,232
finally, finally we got there.
1021
01:17:44,287 --> 01:17:47,239
You know, we were struggling
through all these concertos
1022
01:17:47,239 --> 01:17:48,906
and finding our way,
1023
01:17:49,952 --> 01:17:53,260
and for me, that marks
so much of the feeling
1024
01:17:53,260 --> 01:17:54,967
of the rest of this movement,
1025
01:17:54,967 --> 01:17:59,134
which is so much a celebration
of liberty and freedom.
1026
01:18:04,200 --> 01:18:07,011
It doesn't have so much
the searching qualities
1027
01:18:07,011 --> 01:18:08,924
and the struggles of the other concertos.
1028
01:18:08,924 --> 01:18:12,684
It has shadows, it has
questions, but less of it.
1029
01:18:12,684 --> 01:18:15,455
I find it a sort of divine piece of music
1030
01:18:15,455 --> 01:18:17,455
that celebrates freedom.
1031
01:18:34,947 --> 01:18:37,707
There is such a sense
of mastering the fifth,
1032
01:18:37,707 --> 01:18:40,612
and there is, not a sense
of the same struggle
1033
01:18:40,612 --> 01:18:44,695
as some times in the third
and fourth especially.
1034
01:18:52,274 --> 01:18:56,334
His mastery, his craft of
writing these pieces was,
1035
01:18:56,334 --> 01:18:58,189
it's so incredible,
1036
01:18:58,189 --> 01:18:59,899
that you feel there's a liberty to it.
1037
01:18:59,899 --> 01:19:03,232
There's such a confidence in this piece.
1038
01:19:27,222 --> 01:19:31,300
It was by far the most played
concerto in the 19th century,
1039
01:19:31,300 --> 01:19:35,450
and everything which
came after Chopin, Liszt,
1040
01:19:35,450 --> 01:19:38,499
Schumann, Brahms,
Tchaikovsky, Rachmaninoff,
1041
01:19:38,499 --> 01:19:41,355
Grieg, all these popular piano concertos,
1042
01:19:41,355 --> 01:19:45,278
they are dealing with the
same sort of heroic, heroism,
1043
01:19:45,278 --> 01:19:46,842
which you have in this concerto.
1044
01:19:46,842 --> 01:19:48,630
Actually, the soloist is being thrown out
1045
01:19:48,630 --> 01:19:52,438
on the gladiator stage
here from the beginning,
1046
01:19:52,438 --> 01:19:54,521
with these huge passages,
1047
01:19:55,372 --> 01:19:58,160
and it's very much a statement
like in the Greek concerto.
1048
01:19:58,160 --> 01:20:03,144
("Piano Concerto in A
Minor, Opus 16" by Grieg)
1049
01:20:03,144 --> 01:20:05,639
In the show manner, you know, here I am.
1050
01:20:05,639 --> 01:20:07,925
That came from Beethoven.
1051
01:20:07,925 --> 01:20:12,092
("Fifth Piano Concerto in
E-flat Major, Opus 73")
1052
01:21:26,438 --> 01:21:29,756
[Beethoven] My heart and
mind were ever from childhood
1053
01:21:29,756 --> 01:21:33,103
prone to the most tender
feelings of affection,
1054
01:21:33,103 --> 01:21:38,052
and I was always disposed to
accomplish something great.
1055
01:21:38,052 --> 01:21:41,962
Yet I was obliged early
in life to isolate myself.
1056
01:21:41,962 --> 01:21:44,815
I was deficient in that very sense
1057
01:21:44,815 --> 01:21:48,011
which ought to have been perfect,
1058
01:21:48,011 --> 01:21:51,761
but art prevented me
from taking my own life.
1059
01:21:54,625 --> 01:21:56,227
Do not forget me.
1060
01:21:56,227 --> 01:21:58,744
I deserve this from you,
1061
01:21:58,744 --> 01:22:03,191
because during my life I
wish to make you happy.
1062
01:22:03,191 --> 01:22:07,358
("Fifth Piano Concerto in
E-flat Major, Opus 73")
1063
01:22:08,362 --> 01:22:10,991
I find it very hard
with some pieces of music,
1064
01:22:10,991 --> 01:22:13,824
and this second movement
of the fifth concerto
1065
01:22:13,824 --> 01:22:14,979
is among them.
1066
01:22:14,979 --> 01:22:18,135
To imagine a man sitting
down writing this music,
1067
01:22:18,135 --> 01:22:20,885
it's like it's always been there,
1068
01:22:22,308 --> 01:22:25,558
and it remains so hauntingly beautiful.
1069
01:22:58,190 --> 01:23:00,946
This idea, a lot of
people say that Beethoven
1070
01:23:00,946 --> 01:23:03,544
couldn't write melodies,
just because he was a master
1071
01:23:03,544 --> 01:23:06,107
of putting together motifs and creating
1072
01:23:06,107 --> 01:23:08,662
great structures out of that,
1073
01:23:08,662 --> 01:23:10,929
doesn't mean that he
couldn't write a melody.
1074
01:23:10,929 --> 01:23:15,327
I mean, this is the most
beautiful thing I, I know.
1075
01:23:15,327 --> 01:23:19,494
("Fifth Piano Concerto in
E-flat Major, Opus 73")
1076
01:23:37,970 --> 01:23:41,020
What a melody, and what
heartbreaking harmonies
1077
01:23:41,020 --> 01:23:42,187
to go with it,
1078
01:23:43,965 --> 01:23:45,465
that last forever.
1079
01:24:48,709 --> 01:24:52,943
To know how isolated he
was at this point in life,
1080
01:24:52,943 --> 01:24:55,026
and how he had discovered
1081
01:24:57,032 --> 01:25:00,156
really the seriousness about his handicap.
1082
01:25:00,156 --> 01:25:02,774
He couldn't play this piece.
1083
01:25:02,774 --> 01:25:06,607
That must have been such
a feeling of failure.
1084
01:25:08,124 --> 01:25:09,791
And then this music,
1085
01:25:11,078 --> 01:25:12,914
that is so touching.
1086
01:25:12,914 --> 01:25:16,414
There is never for me a trace of self pity
1087
01:25:17,779 --> 01:25:19,529
in Beethoven's music,
1088
01:25:20,452 --> 01:25:23,119
even with that difficult a life.
1089
01:25:25,690 --> 01:25:29,857
("Fifth Piano Concerto in
E-flat Major, Opus 73")
1090
01:27:02,602 --> 01:27:04,683
This is a piece that my
father loves very much,
1091
01:27:04,683 --> 01:27:07,747
and when I was little,
he would play for me
1092
01:27:07,747 --> 01:27:09,539
an uppi that we had,
1093
01:27:09,539 --> 01:27:12,419
and especially he was
crazy about the transition
1094
01:27:12,419 --> 01:27:14,779
from the second to third movements,
1095
01:27:14,779 --> 01:27:16,612
which is very special.
1096
01:27:18,290 --> 01:27:19,499
It dies down,
1097
01:27:19,499 --> 01:27:23,666
("Fifth Piano Concerto in
E-flat Major, Opus 73")
1098
01:27:25,792 --> 01:27:26,625
very calm,
1099
01:27:28,255 --> 01:27:30,597
wonderful, sort of lullaby like
1100
01:27:30,597 --> 01:27:32,347
version of the theme,
1101
01:27:33,207 --> 01:27:35,040
and then from B major,
1102
01:27:35,965 --> 01:27:37,298
we go to B flat.
1103
01:27:39,674 --> 01:27:43,652
Where we go now, a new
theme is being introduced,
1104
01:27:43,652 --> 01:27:44,985
in like a dream.
1105
01:28:00,227 --> 01:28:01,394
Am I dreaming?
1106
01:28:04,904 --> 01:28:06,654
No, I'm not dreaming.
1107
01:28:11,458 --> 01:28:12,958
That's incredible.
1108
01:29:05,013 --> 01:29:07,272
One can wonder why he didn't write
1109
01:29:07,272 --> 01:29:10,272
more piano concertos after this one.
1110
01:29:12,148 --> 01:29:15,331
I think the main reason is
that he couldn't play anymore
1111
01:29:15,331 --> 01:29:16,480
because of his deafness.
1112
01:29:16,480 --> 01:29:17,901
He couldn't play this concerto.
1113
01:29:17,901 --> 01:29:22,068
It was the first one, the only
one he didn't play himself.
1114
01:29:24,418 --> 01:29:28,585
And then also, what do you
do after a piece like this?
1115
01:30:00,389 --> 01:30:02,677
On this journey I've learned
1116
01:30:02,677 --> 01:30:06,010
how full of life and love this music is.
1117
01:30:07,134 --> 01:30:11,057
The key word for me now,
after the journey, is freedom.
1118
01:30:11,057 --> 01:30:13,974
This music is just full of freedom.
1119
01:30:15,322 --> 01:30:18,604
This kind of music is
something that I will
1120
01:30:18,604 --> 01:30:20,815
never grow tired of in life.
1121
01:30:20,815 --> 01:30:24,057
I can play these pieces endlessly.
1122
01:30:24,057 --> 01:30:28,172
Of course there is Bach,
there is Mozart, but Beethoven
1123
01:30:28,172 --> 01:30:32,172
is really the greatest
composer that ever lived.
1124
01:30:47,907 --> 01:30:50,157
(applause)
1125
01:31:18,600 --> 01:31:20,504
I think we can call that a success.
1126
01:31:20,504 --> 01:31:22,754
(laughing)
1127
01:31:31,650 --> 01:31:32,483
Thank you.
1128
01:31:41,869 --> 01:31:44,119
(cheering)
1129
01:31:59,424 --> 01:32:02,507
(indistinct chatter)
83906
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