In 2015, pianist Jonathan Biss initiated the Beethoven/5 commissioning project with The Saint Paul Chamber Orchestra and more than fifteen other orchestras, resulting in a groundbreaking collaboration over nine years. The project yielded five extraordinary new piano works by some of today's most significant composers, responding to Beethoven's own concerti. Volume Three sees Timo Andres’s third piano concerto, which takes its title from “Schubertiana,” by the Swedish poet Tomas Transtromer, and envisions a “blind banister that finds its way in the darkness.” As his banister, Timo Andres seizes on the cadenza Beethoven wrote for the first movement of the Second Concerto.
In 2015, pianist Jonathan Biss initiated the Beethoven/5 commissioning project with The Saint Paul Chamber Orchestra and more than fifteen other orchestras, resulting in a groundbreaking collaboration over nine years. The project yielded five extraordinary new piano works by some of today's most significant composers, responding to Beethoven's own concerti. Volume Three sees Timo Andres’s third piano concerto, which takes its title from “Schubertiana,” by the Swedish poet Tomas Transtromer, and envisions a “blind banister that finds its way in the darkness.” As his banister, Timo Andres seizes on the cadenza Beethoven wrote for the first movement of the Second Concerto.
In 2015, pianist Jonathan Biss initiated the Beethoven/5 commissioning project with The Saint Paul Chamber Orchestra and more than fifteen other orchestras, resulting in a groundbreaking collaboration over nine years. The project yielded five extraordinary new piano works by some of today's most significant composers, responding to Beethoven's own concerti. Volume Three sees Timo Andres’s third piano concerto, which takes its title from “Schubertiana,” by the Swedish poet Tomas Transtromer, and envisions a “blind banister that finds its way in the darkness.” As his banister, Timo Andres seizes on the cadenza Beethoven wrote for the first movement of the Second Concerto.