9 October 2020

Krystian Zimerman, piano

Originally subscription E

Beethoven's Emperor Concerto

Tickets & Programme
This concert is unplaced. You can indicate with your order whether you want to sit in the main hall, on the balcony or on stage. Your seat will be designated by one of the staff of the Concertgebouw. Please notice: You are required to bring a face mask and wear it when entering and moving through the Concertgebouw. This applies to everyone over the age of 13.
October 2020 Friday 21:15
Het Concertgebouw, Amsterdam
The Netherlands
past concert
Christiaan Richter 2270 (commission, world premiere)
Ludwig van Beethoven Piano concerto No. 5

Of course the Concertgebouworkest celebrates Ludwig van Beethovens’s 250th anniversary. None other than Krystian Zimerman is the soloist in Beethoven’s Piano Concerto No. 5, also known as the Emperor Concerto. Gustavo Gimeno is at the helm. The young Dutchman Christiaan Richter composed a contemporary reflection of Beethoven.

Highly original mind

Beethoven’s Piano Concertos No. 4 and 5 proved how highly original the composer was. Both works met with misunderstanding and resistance in his time. Beethoven’s Piano Concerto No. 5, also known as the Emperor Concerto, is an impressive construction containing many fine details, a shimmering glow and dark corners. For the early 19th-century audience, this was too much. Now, over two centuries later, all that counts is Beethoven’s towering inventive mind.

Krystian Zimerman

Krystian Zimerman is one of the greatest pianists of our time. He does not perform often - only when he feels he completely understands the essence of the score. For over thirty years he has studied Beethoven’s Concertos, leading to a carefully balanced approach and a clear vision. The conductor is Gustavo Gimeno, whose remarkable international career began with the Concertgebouworkest.

Contemporary perspective: Richter

The young Dutchman Christiaan Richter composed his second work for the Concertgebouworkest: a companion piece to Beethoven’s concertos, more specifically the fourth, entitled 2270. ‘Doubling the anniversary time’ – 2270 will mark Beethoven’s 500th anniverary – implicates a whole range of questions, according to the composer: what is Beethoven’s relevance now and in the future? Have his political ideals been realised, are we getting closer, or do we seem to move away from them?’