Building a Collection #46
Piano Concerto no. 5 in E-flat major, Op. 73 “Emperor”
By Ludwig van Beethoven
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The train keeps rolling along in our list of the top 250 classical works of all-time which I have titled “Building a Collection”. We have reached #46 on our journey, and perhaps not surprisingly we now encounter Beethoven for the fifth time. Number 46 is Beethoven’s Piano Concerto no. 5, named the Emperor concerto in English speaking countries. His last complete piano concerto, the Emperor premiered in Leipzig in 1811 and has never looked back in becoming one of the most beloved piano concertos ever composed and in further defining the style and genius of Beethoven.
Ludwig van Beethoven
Because biographical details about Beethoven have been discussed previously, in order to reduce length this post will not get into those details except for the circumstances surrounding the composition of the Emperor concerto. If you would like to read further, there are some marvelous books on Beethoven you may want to explore, including:
Beethoven: Anguish and Triumph by Jan Swafford (2014)
Beethoven by Maynard Solomon (1979)
Beethoven: The Man Revealed by John Suchet (2013)
Beethoven: A Life by Jan Caeyers (2020)
Of course, there are mountains of resources online about Beethoven and his music, as well as entire institutions and organizations around the world devoted to the study of Beethoven’s life, his letters, and his music.
Piano Concerto no. 5 “Emperor”
Beethoven’s first two piano concertos, Piano Concerto no. 1 in C major and Piano Concerto no. 2 in B-flat major, should be reversed in numbering since no. 2 was the first concerto to be written and the C major concerto was the second. In any case both concertos have the hallmarks of springing from the classical period and owe a debt to Mozart in that they are more relaxed, less revolutionary in scope, and were written for the entertainment of their audience.
With his Piano Concerto no. 3 in C minor from 1802 we begin to see Beethoven’s own style maturing into something altogether more personal, somber, and even dark. His deafness was emerging, as well as his ambition to see the concerto be used to convey his emotions and rhythmic contrasts in ways the traditional classical structure could not contain.
Beethoven breaks with tradition even more in his Piano Concerto no. 4 in G major, creating a unique work from the outset with just the piano alone introducing the poetic main theme. The work is infused with Beethoven’s own reflections and hesitations with the central movement serving as a sort of cry of the heart, a statement of desolation, and a way of expressing what cannot be said in words.
Finally we arrive at the Emperor with both the composer’s deafness and his development as an artist having progressed. Beethoven began work on the concerto in 1809 as Vienna was being shelled by the French. The bombardment had a significant impact on him, as he found it quite difficult to tolerate. Peter Gutmann on his site quotes Beethoven as saying, "The whole course of events has affected my body and soul. What a disturbing, wild life around me; nothing but drums, cannons, men, misery of all sorts." Therefore it is all the more remarkable that this grand and noble concerto was composed under such conditions.
Beethoven retreated to his brother’s cellar while Vienna was under attack. Despite his distaste for the French siege, many have commented on the concerto’s militaristic characteristics, grandeur, and heroic nature. Indeed, some have noted its similarities with Beethoven’s earlier Eroica symphony in terms of themes. The first movement alone is long and has its own structure including the piano entering at the very outset and what might even be called a symphonic accompaniment from the orchestra. Beethoven also linked the second and third movements without a pause, a new idea at the time.
The biographer and musicologist Jan Swafford writes about the Emperor:
“Like most Beethoven works, the Emperor lays out its essential character and ideas in the first seconds. It is in E-flat major, often a heroic key for him, and so it is here. We hear a fortissimo chord from the orchestra, which summons bravura torrents of notes from the piano. Here the radical departure from the Mozart model is less the idea of beginning with the soloist than in the cadenza-like quality that will mark much of the solo part. A second towering chord from the orchestra is answered by more heroic peals from the piano, this time sinking to some quiet espressivo phrases that foreshadow the second movement. Only then does the orchestra set out on the leading theme, a grand and sweeping military tune that will dominate the movement. By now it’s clear that this piece is symphonic in scope, heroic in tone, and the hero is the soloist. The appearance of a softly lilting second theme in the esoteric key of E-flat minor presages a work marked by unusual key shifts, their effect ranging from startling to mysterious.
After an opening more consistently militant in style than in any other Beethoven concerto, the second movement unfolds in a serenely spiritual atmosphere, beginning with an eloquent theme in muted strings that Beethoven’s pupil Carl Czerny said was based on pilgrims’ hymns.
The rondo finale begins with a lusty, offbeat theme in the piano. Call its tone playfully heroic. As in the first movement, the opening theme dominates. Toward the end, a thrumming timpani accompanies what seems to be the approach of a cadenza, but once again there is none, because the soloist has been showing off all along. Beethoven’s last concerto ends with an ebullient burst of offbeat exclamations that land on the beat only at the last moment.”
I have always considered the second movement one of Beethoven’s most sublime creations, and its use in the movie Immortal Beloved was poignant and memorable.
The concerto was dedicated to Beethoven’s patron Archduke Rudolf of Austria. Where the “emperor” tag came from is unclear. In a note to his publisher, Beethoven wrote "The Concerto will be dedicated to Archduke Rudolph and has nothing in the title but Grand Concerto dedicated to Hs. Imp. Highness the Archduke Rudolph." There is speculation that English composer Johann Baptist Cramer dubbed the concerto Emperor, but if so it is not in reference to any particular emperor. It is unlikely Beethoven would have approved of the title given his anger at Napoleon (only a few years after Beethoven had scratched out Napoleon’s name as dedicatee of his Eroica symphony). There is the unlikely story of a French soldier yelling out "C'est l'empereur!" at the Vienna premiere. Yet we are struck by the aptness of the Emperor title given the work’s assertive and imperious tone and its triumphant and militaristic rhythms and themes.
The concerto was a success from the beginning, with critics raving about its ingenuity and beauty. Some complained about the length, but generally it was received very well. Franz Liszt apparently loved the work and performed it many times during his career as a pianist. Pianist Alfred Brendel has called it "a grand and radiant vision, a noble vision of freedom." Early Beethoven biographer Anton Schindler called it "the summit of all concerto music ever written." The Emperor is still the most performed concerto ever at the famed Carnegie Hall in New York.
Recommended Recordings
There are an overwhelming number of recordings of the Emperor concerto, at last count the streaming service idagio lists over 300 recordings. I have neither the time nor the desire to listen to all of them (even the Emperor gets old after many listenings!). Therefore, the recommendations I’ve listed here represent the best of the recordings I know, leaving a high likelihood there are some excellent recordings I have not heard. If you are fond of a particular recording not listed, let me know about it.
I believe none of us come to the music as blank slates. We all have our own preferences and biases, and I am no exception. Having said that, I also believe there are multiple approaches to playing the Emperor that have been shown to be effective on record and so in my recommendations below you will see a broad spectrum of styles, tempos, and interpretations. I tend to like performances which are a bit on the quicker side with full piano tone, along with crisp rhythmic playing from the orchestra. Resonant and realistic strings and brass are appreciated. Of course I make allowances for older, more historic sound if the performance is worthy.
There are a LOT of great recordings of the Emperor, perhaps more than any other work I’ve encountered. In addition to the recordings in the “recommended” category, the recordings listed under “notable” are all excellent as well but I felt were each missing a certain aspect or quality to make the recommended list. You are certainly allowed to disagree! If not listed at all, it either means I simply cannot recommend the recording for various reasons, or I haven’t heard it. I have an open mind about this, so feel free to send me a note about a recording you believe should be recommended. This is not a science, and a lot is based on feelings and impressions.
14 Emperors
I have chosen 14 recordings of the Emperor which all rise to the level of recommended. The recordings below are listed in chronological order by recording date.
Arthur Schnabel was probably the greatest Beethoven pianist of the 20th century, and his pioneering complete set of the Beethoven sonatas is a landmark in the history of classical music recordings. Schnabel was not known as a technician in his craft, but rather a true artist. What I mean is he was willing to play a wrong note here and there if it means the overall picture or impression creates something greater than the notes themselves. The whole is greater than the sum of its parts. It is said his legato technique was excellent, meaning that notes are played smoothly or tightly together. With Schnabel this gives the feeling of a unique flow and a specific mood tends to be the result. He recorded the Emperor in 1932 with Malcolm Sargent and the London Symphony Orchestra (available on Naxos) but the sound is rough and the piano can be difficult to hear.
It is Schnabel’s 1942 recording with the Chicago Symphony Orchestra and Frederick Stock on RCA (now part of a Schnabel collection from RCA/Sony) that is recommended. The sound is better than with Sargent, but you still need to know this is a 1942 mono recording with some rough patches and some shrillness in tutti passages. Stock’s direction is full-blooded and assertive, while Schnabel stays in the moment and is magically able to vary his tone, phrasing, and tempo to fit his interpretation. There are some missed notes, or at least some which are almost inaudible, but Schnabel carries you along spontaneously in a way very few other pianists have ever done. If you can tolerate the dated sound, this is a very worthwhile performance.
The 1951 Carnegie Hall recording on RCA (not recorded live) of the Emperor by Vladimir Horowitz and the RCA Victor Symphony Orchestra led by Fritz Reiner has been one of my favorites for a long time. It is true Horowitz did not do much Beethoven in his career, and when he was first asked to play it about a decade before this recording he had to learn the piece from scratch. First, he was very fortunate to have a terrific collaborator in Reiner, but also it is remarkable how such a “romantic” such as Horowitz could produce such a classically oriented performance. He shows a light touch where needed, and while he has plenty of power, I find his phrasing on target and never given to excess of emotion. There is also flexibility and personality on display, but never to extremes. It must be the most un-Horowitz like recording he ever made. But I am also biased, as I am a huge Horowitz fan. The sound is decent for 1951 (and certainly better than the same pair had for their live Rachmaninoff #3 from the same location the same year). Sparks fly with Horowitz and Reiner together.
I have a special place in my heart for the 1956 live recording of Walter Gieseking playing the Emperor with the New York Philharmonic under the young Toscanini mentee Guido Cantelli, a recording now available on Pristine and Stradivarius (the Pristine is better but expensive). Also recorded at Carnegie Hall, this concert was captured at a moment in time when nobody present would have been aware of the monumental tragedy about to occur with both of the primary musicians. Gieseking would fall ill and eventually die from pancreatitis (aged 60) in October 1956, while Cantelli (aged 36) would tragically die in a DC-6 plane crash in November 1956 while flying from France to the United States. Therefore, the recording takes on additional meaning for me at least, especially when you have one of the leading Beethoven interpreters in Gieseking and such a promising young talent in Cantelli (Cantelli had just been named the new director of La Scala Opera House in Milan one week earlier). In this live performance, Gieseking smudges a few notes but his complete command of the piece is evident, and he is able to alter his touch wonderfully throughout. Overall it is a strong, virtuosic account and my favorite of the Gieseking Emperors. The New York Philharmonic pushes forward throughout keeping the energy high. The sound is not bad, but don’t expect modern sound. It is worth looking past that in my opinion due to the authoritative nature of Gieseking’s playing and the spirited accompaniment by Cantelli and the NYPO.
Moving forward to 1957 we find the finest Emperor recording from another great Beethoven interpreter, Russian pianist Emil Gilels. Gilels would go on to record the Emperor later with George Szell in Cleveland for EMI, and I do love that recording too. But this earlier recording with the Philharmonia Orchestra and conductor Leopold Ludwig is the finer performance. Gilels and Ludwig also recorded Beethoven’s Fourth concerto, and that one has garnered more attention over the years than the Emperor paired with it. But this is a cracker of an Emperor too, a real achievement in terms of sound and breathtaking music making. The recorded sound from Walter Legge for EMI (now Warner) is very full and in front of you. The Philharmonia sounds like one of the best orchestras in the world (which they were at the time), the sound is glowing even for such an old recording. The radiant playing begins with the opening chords, and Gilels responds well. Gilels had an almost unmatched touch, so the second movement is moving and tender. The final movement is one of the most exciting ever put down. Gilels recorded the concerto many other times, but this is the pick of the lot.
German pianist Wilhelm Kempff was a Beethoven master, and the question has always been which of his two complete cycles of the piano concertos is preferable: the 1953 mono cycle with the Berlin Philharmonic and conductor Paul van Kempen, or the early 1960s stereo cycle with the Berlin Philharmonic and Ferdinand Leitner (both on the Deutsche Grammophon label)? Many critics and reviewers favor the earlier mono set for most of the concertos, but for the Emperor I still find the 1961 stereo version with the Berlin Philharmonic and Ferdinand Leitner the best in terms of sound and performance. To be clear Kempff’s interpretations didn’t change much over the years, and he was a straight -forward kind of pianist. You won’t find weird or fluctuating tempos, mannered phrasing, or anything else too radical. What you will find is refinement to a high degree both from Kempff and the BPO. For anyone coming brand new to this music, this just might be the best introduction. It is a traditional reading, and Kempff’s approach is relatively classical and unsentimental. That’s not to say there isn’t tremendous beauty in his playing, indeed he brings a sparkling tone matched by an intuitive feeling for phrasing that just feels right. It is a “smoother” sounding performance than the earlier mono Emperor, but that’s not a bad thing. When it sounds this good it is hard to resist.
Also, from 1961 comes another favorite Emperor, this time from American pianist Leon Fleisher and the Cleveland Orchestra under the legendary George Szell. Recorded for Columbia and for many years now on Sony Classical, the complete Beethoven concerto set has always been one of the best available. I’ve never been too excited about the sound as I always wished it was better (the most recent remastering has reduced some of the “tinny” sound in the piano, though not all), but the performance itself is a rousing triumph. Szell’s typically incisive and disciplined approach leads to rhythmic vitality and the tight ensemble he put together is a joy to hear. The young Fleisher is on fire, with the faster runs sounding incredibly easy for him, and his technique being almost flawless. Fleisher’s mentor was Arthur Schnabel, and it shows because what he brings from Schnabel is imagination and elasticity which gets inside the music in a way that feels organic. Fleisher and Szell also seem to have had a great rapport between them, and this can also be heard in their tremendous recordings of the Brahms’ concertos as well. Fleisher would later suffer a right-hand injury which would almost (but not quite) end his career. This is utterly convincing music-making which should be in every collection.
Greek pianist Gina Bachauer was once dubbed the “queen of pianists” due to her mastery of mostly romantic composers, but her Emperor is also one of her best. She is joined by Polish American conductor Stanisław Skrowaczewski and the London Symphony Orchestra in a Mercury Living Presence recording from 1962. Recorded in the warm and friendly acoustic of Watford Town Hall, London this is truly a classic and one of my favorites. Music critic Harold Schonberg once said that Bachauer played “like a man”, and the sexist comment aside I think he was referring to Bachauer’s power at the keyboard which was considerable. But Bachauer was also acutely tuned to the lyrical line of the music, and this she delivers marvelously on this recording. As always with the famous Mercury recordings the treble is emphasized at the expense of the bass, but this is probably one of the most balanced Mercury recordings I’ve heard. Skrowaczewski was an underrated conductor, and here he really delivers the goods with the LSO. The performance is alive and dynamic without a hint of routine. While in general it is notable how few female pianists have recorded the Emperor, Bachauer proves that gender is ultimately not an obstacle for delivering a tremendous performance.
The complete Beethoven concerto cycle from Stephen Kovacevich and Sir Colin Davis has been consistently recommended as one of the best, and the Emperor from the set still shines as one of the finest on record. Joined for the Emperor by the London Symphony Orchestra on Philips/Universal (the BBC Symphony Orchestra plays on the first four concertos), this is an energetic and great sounding recording. The young Kovacevich was hard to beat at the time of this recording (1969), and Davis was in his prime. From a recording standpoint, this is well-nigh perfect in terms of balance and full sound from both soloist and orchestra. The LSO is in fine form showing great polish and elan, and Kovacevich and Davis are in great sync with a collaboration that has stood the test of time. The sound is quite remarkable for 1969. I dare you to listen to the big crescendo at about 13’00 into the first movement and tell me another recording where it is done better. Keep in mind this is big and bold traditional Beethoven, but if that is what you like this is one of the best.
The next recommended Emperor is also led by Sir Colin Davis, this time with legendary Chilean pianist Claudio Arrau and the Staatskapelle Dresden. Recorded by Philips (Universal) in 1986, Arrau was 82 when he recorded this Emperor and he was still able to beguile the listener with his fingerwork. Arrau recorded the piece several other times, but none of them boasted the warm and upholstered yet detailed sound produced here. Once again this is big Beethoven, and Arrau is captivating with his lyrical finesse and touch. He is accompanied by the veteran Davis, and the Dresdeners sound great. I don’t believe the second movement Adagio has ever sounded as sublime as it does here, and the Rondo is stately and stylish rather than aggressive. Yes, it is slower than most recordings but it hardly matters because we are in the sure hands of Arrau and all we need to do is sit back and enjoy. The sound is exemplary.
I have a soft spot for Alfred Brendel’s first Emperor from 1961 for the Vox label with Zubin Mehta and the Vienna Symphony Orchestra. However, Brendel’s interpretation did progress over the years in a good way and although he laid down two other pretty good readings with Haitink (1977) and Levine (1984), it is his final recording with Sir Simon Rattle and the Vienna Philharmonic Orchestra on Philips (Universal) from 1998 that is the most complete and satisfying. Brendel still had all his technique at this point, and the interpretation was fully mature and compelling. I am not a big Rattle fan, but when this was done he hadn’t yet gone fully overboard for historically informed practices as he would later and his teamwork with Brendel is the best of any of the Brendel sets. I purchased this complete set when it was first out and I still believe the Emperor is the best performance from the set. Brendel sounds so comfortable here, imaginative, and very assured of his vision. I saw Brendel play the Emperor in Boston a few years after this recording and he seemed tired and unmotivated by comparison. The sound from the Musikverein in Vienna is exceptional.
The other female pianist on my recommended list is Hélène Grimaud recorded in 2007 with the Staatskapelle Dresden led by conductor Vladimir Jurowski on the Deutsche Grammophon label. Grimaud and Jurowski create sparks here in this extrovert performance which I absolutely love. Grimaud is one of the truly great pianists of our time, but performances have been uneven at times. Not here. The orchestra and pianist virtually burst into sound in what is an invigorating beginning. The sound is quite forward in the picture, so beware your volume. Grimaud can at times get stuck in her head and lose track of the music’s flow, but here that never happens as there seems to be a pulse and forward impetus which is kept going throughout. Jurowski does encourage some historically informed practices, but it is balanced by some well-considered tempos and dynamic changes which never go to extremes. Grimaud’s personality seems tailor made for the Emperor, as does Jurowski for that matter, and I’m happy to report they score big with this recording.
Russian-born British pianist Yevgeny Sudbin recorded the Emperor with the Minnesota Orchestra and conductor Osmo Vänskä in 2010 for the BIS label, roughly contemporary with Vänskä’s acclaimed complete Beethoven symphony cycle with the Minnesotans for the same label. While I have reservations about the symphonies, there are no such reservations here as Sudbin and Vänskä team up for an uplifting, vivacious, and enjoyable Emperor. Tempos are marginally faster than some other versions on my list, with Vänskä making the orchestra into a lean and muscular instrument employing some historically informed practices such as less vibrato and some sharper rhythmic accents and inflections. The Rondo is particularly engaging and fun. This is a more classically shaped performance, quite different from Arrau for example, as Sudbin doesn’t use much rubato and even clips a few notes here and there. But there is thoughtfulness in the phrasing and Sudbin has a delightful touch. Woodwinds and brass are heard very clearly, although the overall recording level is a bit low meaning you may need to turn up the volume at times. The BIS recording is excellent as expected from their fine label.
The final two recommendations on the list are both from 2019. The first is from the gifted young German pianist Martin Helmchen joined on his Alpha label recording by the Deutsches Symphonie-Orchester Berlin and their conductor (and previous period instrument and baroque specialist) Andrew Manze. What pops out more than anything else here is the sheer personality of Helmchen’s playing which is matched by Manze and his Berlin musicians. This is something special, as the entire concerto feels brand new. Tempos are faster again (as I expected from Manze) but never breathless and what is gained in terms of energy and expression is tremendous. Helmchen’s playing has sparkle as well as depth and is aided by exceptional sound engineering which puts the piano and orchestra in a nearly perfect balance and perspective. Even with all the outstanding recordings of this concerto, I don’t know any others that are as ebullient and joyful as this one.
Last but definitely not least is the 2019 Emperor taken from the complete set of Beethoven concertos released on Hyperion by British-Australian pianist Stephen Hough and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu. I am grateful Hyperion recordings are now available on streaming services, but this one I actually purchased for full price on CD when it was released. Such is my admiration for Hough that almost anything he records is extremely well done. That proves to be the case here as well. Hough is a consummate artist and a composer himself as well, but most of his recordings are from the romantics so I wasn’t sure what that would mean for Beethoven’s Emperor. I wasn’t very familiar with Lintu either before hearing this recording. As it happens this is a spectacular performance with equally stunning sound quality. Hough uses a light touch, and Lintu and the Finnish orchestra follow suit with a similar buoyant and infectious rhythmic drive. Like the Alpha recording above, the orchestra and piano are ideally balanced here, and details are heard quite well. Tuttis and climaxes are appropriately bracing but not at the expense of the overall picture. Hough is nothing short of brilliant, varying his dynamics precisely as needed, and using a legato tone when called for but also uses staccato when appropriate. Like the recordings listed just prior to this one, Hough and Lintu eschew making things sound too romantic or bloated. This is a lighter, more classically structured performance which never lingers too much. Two items to bring to your attention: One, Hough plays the first big chord on the piano with the orchestra, something I had never heard before and which I really like; Two, listen to the horns at about 3’40” into the first movement…you can actually hear the horn part! I could go on, but suffice it to say this is a terrific recording of the Emperor which you should hear.
Other Notable Recordings
London Symphony Orchestra / Arthur Schnabel / Malcolm Sargent (Naxos, 1932)
RSO Berlin / Walter Gieseking / Artur Rother (Various, 1945)
The Philadelphia Orchestra / Rudolf Serkin / Eugene Ormandy (Sony, 1951)
Philharmonia Orchestra / Edwin Fischer / Wilhelm Furtwängler (Warner, 1951)
New York Philharmonic / Robert Casadesus / Dmitri Mitropoulos (Sony, 1955)
Vienna Philharmonic Orchestra / Clifford Curzon / Hans Knappertsbusch (Decca, 1957)
Chicago Symphony Orchestra / Van Cliburn / Fritz Reiner (RCA, 1961)
Vienna Symphony Orchestra / Alfred Brendel / Zubin Mehta (Vox, 1961)
American Symphony Orchestra / Glenn Gould / Leopold Stokowski (Sony, 1966)
New Philharmonia Orchestra / Daniel Barenboim / Otto Klemperer (Warner, 1968)
The Cleveland Orchestra / Emil Gilels / George Szell (Warner, 1968)
Bavarian Radio Symphony Orchestra / Rudolf Serkin / Rafael Kubelik (Orfeo, 1977)
Vienna Philharmonic Orchestra / Maurizio Pollini / Karl Böhm (DG, 1978)
Vienna Symphony Orchestra / Arturo Benedetti Michelangeli / Carlo Maria Giulini (DG, 1979)
Royal Concertgebouw Orchestra / Murray Perahia / Bernard Haitink (Sony, 1987)
Berlin Philharmonic Orchestra / Maurizio Pollini / Claudio Abbado (DG, 1994)
Bavarian Radio Symphony Orchestra / Mitsuko Uchida / Kurt Sanderling (Philips, 1999)
Tonhalle Zurich / Yefim Bronfman / David Zinman (Arte Nova , 2006)
Staatskapelle Berlin / Daniel Barenboim, piano and conductor (Decca, 2007)
Orchestre Symphonique de Montreal / Till Fellner / Kent Nagano (ECM, 2010)
Mahler Chamber Orchestra / Leif Ove Andsnes, piano and conductor (Sony, 2014)
Netherlands Symphony Orchestra / Hannes Minnaar / Jan Willem de Vriend (Challenge, 2020)
The Philadelphia Orchestra / Haochen Zhang / Nathalie Stutzmann (BIS, 2021)
Grand Teton / Garrick Ohlsson / Donald Runnicles (Reference, 2023)
Swedish Radio Symphony Orchestra / Jonathan Biss / David Afkham (Orchid, 2024)
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Notes:
Cooper, Barry (2007). "Beethoven and the Double Bar". Music & Letters. 88 (3): 458–483. doi:10.1093/ml/gcm003. ISSN 0027-4224. JSTOR 30162867. Retrieved 12 June 2022.
Guttman, Peter. Ludwig van Beethoven: Piano Concerto no. 5 “Emperor”. Online at http://classicalnotes.net/classics6/emperor.html.
Schindler, Anton (1972) [1860]. MacArdle, Donald W. (ed.). Beethoven as I Knew Him. Translated by Jolly, Constance S. New York: W. W. Norton and Company, Inc. ISBN 0-393-00638-7.
Schwarm, Betsy (2011). Classical Music Insights: Understanding and Enjoying Great Music. Trafford Pub. ISBN 978-1-4269-9667-2.
Shen, Yan (May 2015). "Narrative Analysis of Beethoven's Piano Concerto No. 5" (PDF). uh-ir.tdl.org.
Steinberg, Michael (1998). The Concerto: A Listener's Guide. Oxford University Press. p. 71. ISBN 978-0-19-510330-4.
Swafford, Jan. Piano Concerto No. 5 in E-flat, Opus 73, Emperor. Boston Symphony Orchestra Program Notes. Online at https://www.bso.org/works/piano-concerto-no-5-emperor.
Walker, Alan (1987). Franz Liszt: The Virtuoso Years, 1811-1847. Cornell University Press. ISBN 978-0-8014-9421-5.
Wallace, Robin (2018). The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 73 to Op. 85 (PDF). Center for Beethoven Research Boston University. ISBN 978-0-692-12921-0.
https://en.wikipedia.org/wiki/Piano_Concerto_No._5_(Beethoven)