Among the five numbered piano concertos left by Beethoven, Piano Concerto No. 5 is indeed the largest one, but the title "Emperor" was not named by Beethoven himself. It cannot be related to a specific "emperor". It is generally accepted that this piece was hailed as the undisputed "King of Concertos" at the time, so it got its name and is still in use today. In this piece, Beethoven, who has superb composition skills, has devised many new ideas. The whole work contains magnificent waves and endlessly changing melodies in its stable structure, especially the first movement that starts with the lead piano , giving the audience an extremely grand and gorgeous impression from the beginning.

Since I started listening to classical music, this Piano Concerto No. 5 is not only the first piano concerto I have listened to in its entirety, but it will also continue to flow in the blood of my life as I age. At least, after 16 years of listening to it, this feeling of passion but without losing any solemnity and magnificence has not changed. This work was composed during the war, and was premiered in Leipzig on November 28, 1811. It was an unprecedented success, and newspapers praised it as "the most unique, most imaginative, most expressive, and also the most difficult piece of music ever written." Concerto One".

First movement: Allegro

The first movement opens with a majestic gesture, with the entire orchestra playing three sonorous chords, interspersed with piano taps. Arpeggio coming. After the dazzling piano section, the orchestra plays the majestic main melody of this movement. The piano does not appear until bar 95, and uses a simple ascending scale as an introduction to gently bring out the theme played by the orchestra. Then the piano and the orchestra started a long dialogue, with ups and downs of emotions. In one section, the piano responded with heavy chords and wind instruments, which seemed to be inspired by the battle between the French and Austrian troops in Vienna. The basic theme of this movement constantly appears in the various mutually opposing interlude changes, and in the tension composed of chords, wonderful passages appear, like a quiet and comfortable oasis amidst the momentum of the rushing river. The conversation in the Development Ministry is one of deep drama. And the piano cadenza phrases that constantly emerge in the development of the brilliant band have become a special decoration.

Second movement: Slightly faster Adagio un poco mosso

At the beginning of this section, the strings are used to play a gentle and poetic section in pianissimo. , which makes the whole movement add a sense of tranquility in the late night. After that, it becomes very simple - the piano plays a solo with a fantasy descending melody, and the opening section is moved to the later stage for further development, making the content extremely refined. This movement presents free variations. The basic theme consists of a very weak string chant and two passionate dramatic monologues on the piano. In the variations, the piano has been weaving its beautiful melody pattern leisurely, like a hot couple whispering to each other. The latter part of this movement begins to give birth to the glorious final effect.

Third movement: Rondo - Allegro (Rondo - Allegro)

As the second movement gradually weakens, the lead piano begins to repeatedly remind the theme of the third movement. , suddenly the lead piano played the brilliant theme explosively and with extremely violent power, marking the beginning of the third movement of the whole song. This theme is then repeated by the orchestra. Although the second theme has subtle development in this movement, the basic theme still shows majestic momentum in various variations and tonal decorations. The lead piano then introduces a tortuous new theme, and the symphony and concerto complement each other with exquisite techniques, fully reflecting Beethoven's heroic and superhuman writing skills. At the end of the movement, the tempo speeds up again, and the lead piano suddenly jumps up for the final sprint, and finally the orchestral part ends the piece powerfully.

This recording recommends the performance recordings of Maurizio Pollini & Karl Boehm and the Vienna Philharmonic Orchestra.

Pollini's big-hand demeanor brought Beethoven's kingly aura to the extreme on the keyboard; Pollini maintained his consistent objectivity, calmness, rationality, and complete technique when touching keys. The sound of the piano in his hands is very solemn and thick, but also very clean. Boehm's handling of the band part is very linear and soft. The gorgeousness of the band part is supplemented by the lead piano, which is like crowning a king and is the icing on the cake.

In a special period like the war epidemic, Beethoven’s work, which makes people excited when listening to it at first but calms down after listening to it again, is enough to convey to every struggling person: Establishing a leader’s positioning It depends not only on luck and timing, but also on the determination to fight while others stop and watch. With this song, we pay tribute to all those who are fighting at the scene of the epidemic, and remember all the heroes who have dedicated themselves to the war against the epidemic - "First there is the country, then there is family. Once upon a time, the epidemic was raging and the whole country was worried; under the sky, everything was Throughout the ages, there has never been a land that has been more unruly and hot than here. Ordinary people put on armor and whistled loudly, risking their lives to support each other." In exchange, the current epidemic situation has improved, and the strength demonstrates the "style of a great country."