With this fifth volume, Jonathan Biss concludes one of the most ambitious and innovative Beethoven release series of the 21st century. Beethoven's Third Piano Concerto is many things, but foremost, it is a thrillingly taut construction, grabbing the listener by the collar and not letting go. It is the first work to take full advantage of the dramatic potential inherent in the concerto genre, pitting the soloist against the orchestra in often uneasy confrontation. In it's slow movement, it becomes something completely different, the tonality transporting us to a faraway place, time suddenly elastic, ferocity giving way to spirituality. The whole piece is a marvel. It is therefore very exciting to hear a voice as singular as Caroline Shaw's grapple with Beethoven's concerto and the process through which it was conceived. Shaw writes that her Watermark is "woven from strands and patches and patterns" of the earlier work. She imagines Beethoven imagining it, and in doing so, creates something wholly original. "This album brings to a close the Beethoven/5 project, which has challenged and stimulated me for the past decade. I look forward to spending the rest of my life with the ten remarkable pieces that comprise it."