# Favourite Beethoven Piano Concerto



## Somnifer

Don't we all love polls. 

My favourites are in the order of 4 - 5 - 3 - 1 - 2.


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## Aramis

It's impossible for me to tell which one of last three is greatest. They are equal to me.


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## mueske

3 - 1 - 4 - 5 - 2


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## maestro267

No. 4, with No. 3 coming a close second.


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## ecg_fa

Though I voted for no. 5, no. 4 is very close-- esp. in hearing recent Richard Goode
box set of the concertos , in which I think his playing of no. 4 is the best there.
All are great though and wonderful in their own ways.

Ed


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## Weston

I guess I'll be part of the herd and vote for No. 5. It does leave one satiated. 

And, not to be contrary, I rather like what I consider his Piano Concerto No. 4 and a half - the Violin concerto transcribed by Beethoven as a piano concerto. Indescribably lovely melodies there.


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## bdelykleon

My favorite is surely the No. 3, which is most probably the most deverivative of Beethoven's opus works. It is clearly and unmistakably based on Mozart's concerto in d minor with some bits of c minor, he loved these concertos and played them all his life, even composed a candeza to the no. 20. Beethoven surely is extremely original (perhaps THE most original composer) but he could achieve greatness even when he was not totally original.


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## Mirror Image

The 5th always wins for me. Beautiful, majestic piece of music.


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## LvB

Four for me, followed by three; after that it's more a matter of individual movements being among my favorites. I'll second Weston's favorable comment regarding the transcription concerto (which I think of as 'number 6'), even though there is reasonable evidence that not all of it was done by, or even under the supervision of, Beethoven; I especially like the cadenza for piano and timpani, written later and indubitably by Beethoven. I also enjoy, though could hardly count as a 'favorite,' the little Eb Concerto he write when he was twelve or thirteen; it's quite awkwardly structured, but in some ways has more vivacity than the next two.


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## Guest

Not really much choice, has to be the 5th


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## bdelykleon

LvB said:


> I especially like the cadenza for piano and timpani, written later and indubitably by Beethoven.


Me too. And I love when they use the Schnittke candeza for the concerto, which is a brilliant adaptation of this incridible candeza.


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## Conor71

The 4th - just slightly edging out the 5th for me!


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## classical

why not just have a "favorite beethoven work" thread? Would save some trouble for the members


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## Sid James

I like the profundity of the 4th, but didn't vote since I haven't heard 2 & 3. Everyone loves the 5th, but I think that the 1st is also a worthwhile work, very elegant & refined. He definitely was a master of this genre...


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## Cortision

I love the fifth concerto, but I had to vote for the fourth.


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## Rachmaninov

All Beethoven's 5 piano concertos and Piano Choral Fantasy as well are excellent, honestly it is hard to sort out the favourite, extremely difficult! But concerto No. 3 is I think will be the most powerful and strongest, so I'll vote for it.


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## Tchaikov6

This poll surprised me- the fourth concerto won by a long shot, and 5 and 3 were tied!


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## Art Rock

3>4>5>>>>>>>>>>>>2=1


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## gHeadphone

Hard to choose between 1, 4 and 5. 

I went with 1, though 4 was dangerously close!


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## Pugg

3 and 5 on spot one, 4-2-1


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## Rys

Voted for number 4, I'm surprised the emperor doesn't have the most votes.
My rankings match up with votes :lol: 4-5-3-1-2.


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## KenOC

What Rys said. .....................


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## Jacred

5 - 4 - 3 - 1 - 2 on an average day, I suppose. Sometimes, #3 or #4 is at the top. The last three concerti he wrote take turns.


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## KenOC

#2 is always last for me, and in fact it's pretty darned good!


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## Pat Fairlea

They're all fine pieces, with originality, intriguing structures, harmonic invention and sheer appeal. But #4 has all of the above with knobs on, and the best piano concerto opening of all, ever. 
If I had to put them in order, it would go something like:
4>3>5>>1>2
but that makes 1 and 2 look weak, when they're actually really good.


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## Manxfeeder

Rys said:


> Voted for number 4, I'm surprised the emperor doesn't have the most votes.


Another vote for the 5th. But the 4th is second by a nose.


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## Brahmsian Colors

four,three,one,five,two


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## AfterHours

5-4-3-1-2 ... _So close_ to improving with each one Ludwig!


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## Bettina

5 - 3 - 4 - 1 - 2. In fact, #5 is not only my favorite Beethoven piano concerto, it is quite possibly my favorite work of all time.


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## AfterHours

Bettina said:


> 5 - 3 - 4 - 1 - 2. In fact, #5 is not only my favorite Beethoven piano concerto, it is quite possibly my favorite work of all time.


Among my favorites too! I've heard it's extremely difficult to play, and it certainly sounds like it when I listen. I am mid revisiting dozens of Piano Concertos, this one very prominently among them of course. I am curious about any of your insights into it and also what makes it stand out from all others for you?


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## Bettina

AfterHours said:


> Among my favorites too! I've heard it's extremely difficult to play, and it certainly sounds like it when I listen. I am mid revisiting dozens of Piano Concertos, this one very prominently among them of course. I am curious about any of your insights into it and also what makes it stand out from all others for you?


I love the intensity of its motivic development, especially in the first movement. All of Beethoven's pieces develop in amazing ways, but he really outdid himself here! The main motive of the first movement has so much potential for variation, because of its interesting "profile" - the decorative turn around E-flat, the broken C-minor triad (the relative minor), the horn-call rhythm that wraps it all up.

Beethoven takes full advantage of all these features throughout the first movement, using fragments of the motive in clever ways. I'm absolutely spellbound by the way in which the whole movement, even its scale passagework, grows organically from one single motive! There's an incredible moment toward the end where the main motive dissolves into a chromatic scale. (If you're interested, I could find a Youtube video of the piece and identify the specific timestamp where that magical moment takes place.)


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## Pugg

Can't believe that 4 is in front.


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## AfterHours

Bettina said:


> I love the intensity of its motivic development, especially in the first movement. All of Beethoven's pieces develop in amazing ways, but he really outdid himself here! The main motive of the first movement has so much potential for variation, because of its interesting "profile" - the decorative turn around E-flat, the broken C-minor triad (the relative minor), the horn-call rhythm that wraps it all up.
> 
> Beethoven takes full advantage of all these features throughout the first movement, using fragments of the motive in clever ways. I'm absolutely spellbound by the way in which the whole movement, even its scale passagework, grows organically from one single motive! There's an incredible moment toward the end where the main motive dissolves into a chromatic scale. (If you're interested, I could find a Youtube video of the piece and identify the specific timestamp where that magical moment takes place.)


Wow, thank you, very well said. I listened to it twice in a row paying special attention to just how much development it goes through after its opening motive and was swept away as much as I've ever been with the work. Yes, I'd be interested in a Youtube video of that part and even if you want to elaborate further than that with any others.


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## Bettina

AfterHours said:


> Wow, thank you, very well said. I listened to it twice in a row paying special attention to just how much development it goes through after its opening motive and was swept away as much as I've ever been with the work. Yes, I'd be interested in a Youtube video of that part and even if you want to elaborate further than that with any others.


I'm glad that my comments were helpful! Here's a video of the final section of the first movement. The part that I was talking about starts at 2:09, where the main motive is gradually (and magically!) transformed into chromatic passagework.


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## hpowders

My favorite Beethoven Piano Concerto is No. 4. 

I realize many listeners would probably be seduced by the extroverted brilliance of No. 5.

I myself prefer the more cerebral, poetic No. 4.

The second movement of No. 4 is one of Beethoven's most profound compositions, an "argument" or "debate" between piano and orchestra...simply magnificent. Should be required listening for the dysfunctional US Congress.

The order of preference of the Beethoven Piano Concertos for me are:

4, 1, 5, 3, 2.

Glad to see No. 4 significantly out in front.


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## Animal the Drummer

Bettina said:


> 5 - 3 - 4 - 1 - 2. In fact, #5 is not only my favorite Beethoven piano concerto, it is quite possibly my favorite work of all time.


It was mine throughout my childhood and teenage years when I was first getting into, then immersing myself in, classical music. Mozart has since surpassed Beethoven in my affections but I'll always have a soft spot for this magnificent piece. Even though I voted no.1.


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## AfterHours

Bettina said:


> I'm glad that my comments were helpful! Here's a video of the final section of the first movement. The part that I was talking about starts at 2:09, where the main motive is gradually (and magically!) transformed into chromatic passagework.


Thank you Bettina, great to get your perspective here. I enjoy and pay attention to similar details, but your perspective is also honed from that of a pianist, with an added more "technical" insight into the work, which is really interesting and valuable.


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## CDs

I voted for #4.
Just got done listening to the Pollini/Abbado version.


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## advokat

I voted for No. 3 initially, but now I have Kempff/van Kempen 1953 version of No.4, and just cannot stop listenning to it. Incidentally, it is on the same disk, N 10 of the DG box "Wilhelm Kempf. Concerto recordings" where one also finds Brahms PC 1, with Franz Konwitschny and Staatskapelle Dresden, 1957 recording. Wonderfully analytical, that one.


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## bwv543

No. 3 has always been my favorite, but maybe that's because I just don't know No. 4 that well.


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## Xisten267

I voted for no. 5. My order of preference is 5-4-3-1-2, the reverse order of composition.


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## Brahmsianhorn

3 - 5 - 4 - 1 - 2


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## Kreisler jr

My favorite is number 4 although I am not the biggest fan of the famous middle movement. Then must follow 5 although I rarely listen to it. Despite some passages in the first movement that can get shallowly bombastic, it is a stunning piece and the slow movement is one of the most beautiful concerto movements ever. I also still love #3 but would put #1 almost on the same level. #2 is still a good piece, if played with the necessary energy in the outer movements and again the slow movement is already quite strong.


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## hawgdriver

4 - 4 - 4 - 4 - 4


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## Simon23

The adagio from the 5th is brilliant music, one of my favorite fragments in general. But in general, I vote for the 4th. Kempff, Gilels, Arrau, Solomon, Gieseking - so many great records.


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## Musicaterina

Here a recording of my favourite piano concerto by Beethoven (No. 4) on period instruments:






It is played by Steven Lubin (Fortepiano) and the Academy of Ancient Music conducted by Christopher Hogwood


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