I would recommend getting to know Radu Lupu and Murray Perahia's 1981 live recording as well. It may not be as technically perfect as this one (very few stray wrong notes here and there, though nothing inexcusable), but Lupu's and Perahia's rendition is much more rhythmically taut, the scales nearing the end of the Finale sound less muddy, and it stays closer to Brahms' original written articulation (e.g.: compare the entrance of Freire in Variation 6 with Perahia's entrance), in my experience. At the end of the day, who am I to judge? These world-class artists are all worth listening to. I hope I got to broaden your horizons!
To all of you who pointed out my error in dismissing Brahms as a mediocre composer, you were right I was very wrong and some of the pieces that you recommended are now regularly listened to, thank you
Schoenberg wrote about Brahms' ability as a progressive whilst looking backwards. No-one has bettered his skill in orchestration (although many are equal) and rightly takes his place as one of the 3 Bs. Ask the general public though and most will only have heard of Bach and Beethoven, a real shame given his mastery of all forms. Just a pity we didn't get an opera but then, Rinaldo is an epic cantata! My love for Brahms came as my piano teacher asked me to go out and buy his intermezzi and picked up his symphonies (Barenboim) and didn't look back. This particular piece I ignored for over 10 years. It was a stupid thing as it has one of the most beautiful themes I've heard, even if it's not Haydn (scholars can't prove this either way). Both this and op.56a are frontrunners in their respective genres, as this is a truly masterful set of variations.
Jack Fletcher I didn't see your original comment(s), but I'm glad you've come around to liking Brahms. I find him a great composer who connects with people emotionally as few have done. But dislike of Brahms among composers I love has always puzzled and troubled me. Benjamin Britten was notorious in his dismissal of Brahms; his putdowns could be scathing. Since I greatly admire both composers, it's hard for me to understand Britten's distaste, and I've wondered if it might have been something extra-musical that turned Britten off to Brahms.
I have heard people say Brahms is mediocre and uninspired, and incapable of evoking feeling. I have never understood this as Brahms' works are among the most inventive and innovative of any composer, and are passionate and full of sincere emotion. And this extends to his works in classical forms, like sonatas and theme and variations.
Thank you. This is just gorgeous music. I love the orchestral version, and Brahms's piano version is superb. Opp. 56 a and b! The way old Johannes wanted it.
Johannes Brahms:Változatok egy Haydn témára (2 zongorás változat) Téma: Chorale St. Antoni. Andante 00:00 1.variáció:Andante con moto (Poco più animato) 01:59 2.variáció:Vivace (Più vivace) 03:01 3.variáció: Con moto 03:58 4.variáció: Andante (Andante con moto) 05:44 5.variáció: Poco presto (Vivace) 07:29 6.variáció: Vivace 08:22 7.variáció: Grazioso 09:38 8.variáció: Poco presto (Presto non troppo) 12:24 Finálé:Andante 13:13 Martha Argerich és Nelson Freire-zongora
@@AndrewKierszenbaum oh oops not clear enough I meant in any form quartet, symphony. This is good I have it saved, I meant I hear sections i prefer in versions of a song
@@aceventura2237This is actually the original. The orchestral version is a transcription of this. It is Brahms's own transcription so there aren't the typical markings you'd expect for a transcription in the score (ie "transcribed for orchestra"/"arranged by") like you see in a piece like say, Pictures at an Exhibition (the nost common versions are by Stokowski and Ravel, but countless composers have transcribed it).
Not made, but it was inspired by this piece. And it was called Hamburger concerto because of it - Hamburg is Brahms city! Focus guys know a lot about classical music. They actually used it many other times. Moving Waves has the long suite on the B side of the LP inspired by Bartok's Concerto for Orchestra.
One possibility is that the theme originates from Ignace Joseph Pleyel a pupil of Hayden. He founded a piano building business which later supplied Chopin.
Alan Belkin presents a concise analysis of the Handel variation in his book “Musical Composition”, while discussing Variation Form (Chapter 10). ... if you’re still searching, 5-years on!?
Argerich 1st Freire 2nd I checked the original recording cover (2009 @Salzburg) which contains the Programme as well. For each piece the order of names are attributed to order of parts, here it’s Argerich Freire (and for Schubert it’s presented as Freire Argerich)
Thirty years ago, I had the good fortune to meet Brahms. After meeting him, his music makes a lot more sense to me. Truly an exceptional man - very kind and gracious. Free the Falun Gong!
You sound very knowledgeable, as I'm sure you are, but it seems unlikely that Brahms would have called them Variations on a Theme by Haydn if it was someone else's theme or even an original one. And why 'as it turns out'? Could you or your source possibly be wrong?
There's a huge amount of research that has been done on this subject: a simple google search will suffice to unearth many of the relevant papers. (There's a reason why most people know this set of variations by the name "Variations on the St. Antoni Chorale", rather than as Variations on a Theme by Haydn.) Brahms didn't know it was not a theme by Haydn: at the time he obtained the score (a divertimento whose second movement was called a "Chorale St. Antoni"), it contained an attribution to Haydn. It was common for publishers to attribute obscure works to better-known composers to increase sales.
Cette oeuvre adaptée pour deux pianos se joue comme ça. Ecoutez la version de Joe Zawinul et Friedrich Gulda, c'est pareil. Au passage, il y a bel et bien des nuances. Encore faudrait-il que vous ayez dépassé les 2 minutes...
Also love that the applause kicks in at the end and you suddenly realise that was a live performance. Unreal
No. 7 is one of the most beautiful musical passages in existence.
Rest in peace Mr Freire.
This is a magnificent performance by two titans of the piano. I cannot imagine any established duo piano team exceeding this.
I agree. I have Georg Solti and Murray Perahia's recording and I thought it was the benchmark. Not any more! This was fantastic.
I would recommend getting to know Radu Lupu and Murray Perahia's 1981 live recording as well. It may not be as technically perfect as this one (very few stray wrong notes here and there, though nothing inexcusable), but Lupu's and Perahia's rendition is much more rhythmically taut, the scales nearing the end of the Finale sound less muddy, and it stays closer to Brahms' original written articulation (e.g.: compare the entrance of Freire in Variation 6 with Perahia's entrance), in my experience.
At the end of the day, who am I to judge? These world-class artists are all worth listening to. I hope I got to broaden your horizons!
@@aidentheabsurd if it be anything like the legendary Lupu/Perahia Schubert F minor Fantasy, then I need to hear this!
To all of you who pointed out my error in dismissing Brahms as a mediocre composer, you were right I was very wrong and some of the pieces that you recommended are now regularly listened to, thank you
This is a great comment!
Schoenberg wrote about Brahms' ability as a progressive whilst looking backwards. No-one has bettered his skill in orchestration (although many are equal) and rightly takes his place as one of the 3 Bs.
Ask the general public though and most will only have heard of Bach and Beethoven, a real shame given his mastery of all forms. Just a pity we didn't get an opera but then, Rinaldo is an epic cantata!
My love for Brahms came as my piano teacher asked me to go out and buy his intermezzi and picked up his symphonies (Barenboim) and didn't look back.
This particular piece I ignored for over 10 years. It was a stupid thing as it has one of the most beautiful themes I've heard, even if it's not Haydn (scholars can't prove this either way).
Both this and op.56a are frontrunners in their respective genres, as this is a truly masterful set of variations.
Jack Fletcher I didn't see your original comment(s), but I'm glad you've come around to liking Brahms. I find him a great composer who connects with people emotionally as few have done.
But dislike of Brahms among composers I love has always puzzled and troubled me. Benjamin Britten was notorious in his dismissal of Brahms; his putdowns could be scathing. Since I greatly admire both composers, it's hard for me to understand Britten's distaste, and I've wondered if it might have been something extra-musical that turned Britten off to Brahms.
@@cufflink44 Try jealousy and you will be near the mark, some of Brittan,s music is awful and i really don,t understand his popularity.
I have heard people say Brahms is mediocre and uninspired, and incapable of evoking feeling. I have never understood this as Brahms' works are among the most inventive and innovative of any composer, and are passionate and full of sincere emotion. And this extends to his works in classical forms, like sonatas and theme and variations.
Sublime! One can "detect" some nuances here that one misses out in the orchestral version. Divine Brahms! Splendid Argerich and Freire!
Love love love this!!!!!! Absolutely just DIVINE
@@loribird7672 Zgadzam się!!!
The passacaglia at the end is one of the most rhythmically advanced sections of music ever written up to that point.
it's so nice to be able to hear individual voices in passages that too often are rendered as a gloppy mess of sound
Thank you. This is just gorgeous music. I love the orchestral version, and Brahms's piano version is superb. Opp. 56 a and b! The way old Johannes wanted it.
Thank you very much for your endeavor to align the score so that we can appreciate the elegant structure of this wonderful piece more closely.
Johannes Brahms:Változatok egy Haydn témára (2 zongorás változat)
Téma: Chorale St. Antoni. Andante 00:00
1.variáció:Andante con moto (Poco più animato) 01:59
2.variáció:Vivace (Più vivace) 03:01
3.variáció: Con moto 03:58
4.variáció: Andante (Andante con moto) 05:44
5.variáció: Poco presto (Vivace) 07:29
6.variáció: Vivace 08:22
7.variáció: Grazioso 09:38
8.variáció: Poco presto (Presto non troppo) 12:24
Finálé:Andante 13:13
Martha Argerich és Nelson Freire-zongora
It sounds so Christmasy 🎄
True
What I like about these piano arrangements is I can hear the way I would want it arranged
lol is this a diss? what do you mean? i’m also trying to compose for two piano and it’s so hard
@@AndrewKierszenbaum oh oops not clear enough I meant in any form quartet, symphony. This is good I have it saved, I meant I hear sections i prefer in versions of a song
@@aceventura2237This is actually the original. The orchestral version is a transcription of this. It is Brahms's own transcription so there aren't the typical markings you'd expect for a transcription in the score (ie "transcribed for orchestra"/"arranged by") like you see in a piece like say, Pictures at an Exhibition (the nost common versions are by Stokowski and Ravel, but countless composers have transcribed it).
Elegant, well performed. Music is divine.
Beautiful ! Merry Christmas !
You can certainly see where Focus got their Hamburger Concerto made!
Not made, but it was inspired by this piece. And it was called Hamburger concerto because of it - Hamburg is Brahms city! Focus guys know a lot about classical music. They actually used it many other times. Moving Waves has the long suite on the B side of the LP inspired by Bartok's Concerto for Orchestra.
I'll have this concerto with two all beef patties, special sauce, lettuce, cheese, pickles, onions on a Sesame Street bun, por favor.
If Brahms could do his variations on a theme by Haydn, why shouldn't Focus do their variations on Brahms' variations on Haydn.....
One possibility is that the theme originates from Ignace Joseph Pleyel a pupil of Hayden. He founded a piano building business which later supplied Chopin.
There's an orchestrated version of this too.. Worth checking out!
I think the original was the version from orchestra and then Brahms also transcribed it to two pianos. It’s definitely worth it to listen to it
magnifique
That finale :o
Cudowne!!! Piękne!
Do you know of any place to get a detailed analysis of these variations and also the Handel variations?
Try searching google scholar!
Alan Belkin presents a concise analysis of the Handel variation in his book “Musical Composition”, while discussing Variation Form (Chapter 10). ... if you’re still searching, 5-years on!?
There is an ad after each variation... not worth watching.
The finale is best
R.I.P Nelson Freire
2:00 to 3:01 is my favourite bit
where is the video of this record ????
that 8th variation...
Who played the first piano?
Freire, I am almost sure.
Edward Loh I agree. Second piano has more staccato attack and spontaneity, first piano is more lyrical and measured.
Martha usually plays 2nd piano in his duo repertoire
No, Martha always played first piano in this particular piece.
Argerich 1st Freire 2nd
I checked the original recording cover (2009 @Salzburg) which contains the Programme as well.
For each piece the order of names are attributed to order of parts, here it’s Argerich Freire (and for Schubert it’s presented as Freire Argerich)
Thirty years ago, I had the good fortune to meet Brahms. After meeting him, his music makes a lot more sense to me. Truly an exceptional man - very kind and gracious. Free the Falun Gong!
Hmmm??? Brahms died in 1897.
Yeah he died in 1897 and was famous for being neither kind nor gracious....but nice try
@@abelpalmer552 I'm guessing it's a joke but I don't know enough about Falun Gong to get it...
3:01 5:44 7:29 9:38 13:13
Not the parallel but the same-name (or so, I don't know the English therminology) minor! 2nd var
Who composed the original theme then?
holy shit the passacaglia...
❤️
What opus is this from Haydn?
Read the description. It's not actually from Haydn.
the very beginning sounds like k331
sfasamenti di metrica
🥰❤️
5:44
who are the performers, please?
Argerich and Freire.
변주곡 형태의 세도막형식
9:38
13:14
01'03"
Tempi troppo snelli... Comunque stratosferici!!
Brahms was such a glorious weirdo!
4-8-igkarácsonyi mézest sütöttem...most pihenem ki magam.....
Andante con moto = fast as fuck!
more like Allegretto con moto! That variation was played way too quickly.
You sound very knowledgeable, as I'm sure you are, but it seems unlikely that Brahms would have called them Variations on a Theme by Haydn if it was someone else's theme or even an original one. And why 'as it turns out'? Could you or your source possibly be wrong?
There's a huge amount of research that has been done on this subject: a simple google search will suffice to unearth many of the relevant papers. (There's a reason why most people know this set of variations by the name "Variations on the St. Antoni Chorale", rather than as Variations on a Theme by Haydn.)
Brahms didn't know it was not a theme by Haydn: at the time he obtained the score (a divertimento whose second movement was called a "Chorale St. Antoni"), it contained an attribution to Haydn. It was common for publishers to attribute obscure works to better-known composers to increase sales.
Cela ne m'étonne pas de Martha Argeritch: tout en force, rien en nuance... C'est ainsi que l'on "exécute" une belle oeuvre...
Cette oeuvre adaptée pour deux pianos se joue comme ça. Ecoutez la version de Joe Zawinul et Friedrich Gulda, c'est pareil. Au passage, il y a bel et bien des nuances. Encore faudrait-il que vous ayez dépassé les 2 minutes...