Even at the age of 20, Brahms was already a perfectionist. Out of many early works he selected his C major Sonata to be his first published work, likely because he wished to make an auspicious first impression containing many of the elements that he wished to associate with his own style. Perfect use of sonata form? Check. Endless thematic transformation? Check. Clever references to Beethoven? Check. Theme and variations? Check. Hemiola? Check. In one fell swoop, Brahms established himself as a musical conservative, a virtuoso, a Beethovenian, and most importantly-a master of form, counterpoint, structure, and motivic development. All before US legal drinking age. No wonder why the Schumanns saw saw him as the coming of the musical Messiah. "We were drawn into more and more magical circles by his playing, full of genius, which made of the piano and orchestra of lamenting and jubilant voices. There were sonatas, or rather veiled symphonies..." Indeed, Brahms' Op.1 is one of the most symphonic piano sonatas ever written. Unlike in his almost Lisztian Op.2 (which he considered a less mature effort), Brahms voluntarily refused to utilize the veritable arsenal of pianistic tools developed by the likes of Liszt or Chopin. When he wants to create a bigger sound, he simply adds more voices-much as an orchestrator would. When he uses the far ends of the keyboard, it isn’t for pianistic purposes but in imitation of the upper and lower ends of a symphonic orchestra. The resulting effect is grand, at times epic, but also quite awkward to physically and musically carry out (this description of his piano writing is pretty apt of Brahms as a whole). This piece was very difficult to record. The demanding physicality was one thing, but it was the stark textures (e.g. 0:56) that were the hardest to play with any degree of satisfaction. It took me a week to finish recording the fourth movement, mainly because blisters from the first session. And it still isn't perfect! Oh well, live and let live I guess. Difficulty: 1st movement - (7) 2nd movement - (6) 3rd movement - (7++) 4th movement - (8) Overall - (8) Recorded on a Samsung S22
@@CatkhosruShapurrjiFurabji Yes, it has the same kind of downwards run but I'm a bit on the fence whether that is a specific reference to Schumann or just a typical downwards run.
@@calebhu6383 well, the downward run in Schumann's was used as a transition from the exposition back to the first theme of the exposition in the repeat (just as has been done here)...so I guess it won't be an overstatement due to similar placements of the runs.
Great playing: beautiful sound, strong and involved heart and symphonic conception of timbres! Thanks for the analysis, that was what I was needing right now.
Wow this is incredible!!! :D The fiery epic playing with the on-point editing! I love the part at 16:16 it looks like first ending is bout to jump out from the screen.
Absolutely gorgeous performance! You've nailed that bear-hug-like richness and depth that is so key to Brahms' music. Brilliant analysis in the description as well. I thoroughly enjoyed reading through and noticing details in the sonata I never had before, especially some of the Beethoven references. I am going to have to disagree with you on this being the greatest Op. 1 ever written though... In my heart that has to go to Rachmaninov PC 1. (Also, Beethoven's 3 Piano Trios and Paganini's 24 Caprices definitely deserve honorable mentions.)
hmmm but do you like the original Rach 1 though? exactly as he had written it when he was 18? personally i find the final revised version (which he wrote when he was much older) to be considerably better
@@GICM It's funny that. As unlikely as it sounds, the 1891 version was the first version I listened to, as my piano teacher had just purchased a copy of the Ghindin recording and I asked if I could borrow it to listen, not knowing at time that a revised version existed. At the time I was in love with it, and I still feel much the same way. I think that if R. never revised the work, then we would still think of the 1891 version as a phenomenal composition. I do have to agree with you that the revised is better. That said, there are portions he cut/revised that I wish he kept, and parts that he revised that are miles better. In particular I wish he had kept the coda with its gargantuan restatements of the 2nd theme of the 3rd Mvt., perhaps just making them a tad sprightlier to fit the vein of a hurtling conclusion better. Taking all of that into consideration, I would still put it as the best Op. 1 of all time, which I guess makes the revised version borderline transcendent.
Thanks for your comment! Even though I am a big fan of the Rachmaninov Op.1, I can't consider it among the best due to its unpolished orchestration. Brahms' Op.1 displays all the signs of someone who had mastered their craft. The Paganini Caprices are certainly the most influential Op.1 in history. But musically at times they leave something to be desired. Beethoven Trios, fair enough but I think they are good rather than great.
As I'm listening to this, a question forms: how long does it take you to perfect a sonata enough to record? And, is there a such thing as a standard time frame that an accomplished pianist should go by when he/she undertakes playing a sonata?
It varies by pianist and by sonata. Certain pianists could pick up new pieces extremely quickly (such as John Ogdon and Sviatoslav Richter) while others took a long time to learn and perfect their repertoire (Michelangeli, Van Cliburn). And of course certain sonatas are harder to learn than others. This piece, for me, was quite easy to learn (as in memorize the notes). Took about two weeks. But that's very different from perfecting a sonata enough to record it, which took about three months (most of it was the technical issues with the 4th movement).
In your description, you mention that Brahms’s Op.1 is only rivaled by Webern and Berg. What about Bartók? His Op.1 Rhapsody for solo piano is quite something! Great playing, either way!
Yes, you can include Bartok on that list. Funnily enough, on the Bartok Op.1 score video the top comment is someone saying that Brahms had the best Op.1!
Maestro Caleb, let's talk about Brahms' etude on theme of Chopin. Do you know it?? Have you ever played it?? I have come to the conclusion that it is the most difficult short piano piece ever written. Do you concur??
It certainly seems very difficult, but I doubt it is the most difficult short piano piece. There are Chopin Etude variations that are of similar or greater difficulty, many of them by Godowsky. Or check out Reger-Chopin etude: ruclips.net/video/9RXRdUKwTSI/видео.html
@@calebhu6383 Thanks. I wish to learn more pieces written by Brahms. I have already learnt the intermezzo op 116-2. Sounds, "easy", but it took me a lot of work to master the middle part. What do you think about that piece?? Now I'm learning op 116-1.
Although this is Op 1, the second sonata in F# minor was Brahms' first composition. In my view, the F# minor one is superior in terms of difficulty and and structure.
Even at the age of 20, Brahms was already a perfectionist. Out of many early works he selected his C major Sonata to be his first published work, likely because he wished to make an auspicious first impression containing many of the elements that he wished to associate with his own style.
Perfect use of sonata form? Check. Endless thematic transformation? Check. Clever references to Beethoven? Check. Theme and variations? Check. Hemiola? Check.
In one fell swoop, Brahms established himself as a musical conservative, a virtuoso, a Beethovenian, and most importantly-a master of form, counterpoint, structure, and motivic development. All before US legal drinking age. No wonder why the Schumanns saw saw him as the coming of the musical Messiah.
"We were drawn into more and more magical circles by his playing, full of genius, which made of the piano and orchestra of lamenting and jubilant voices. There were sonatas, or rather veiled symphonies..."
Indeed, Brahms' Op.1 is one of the most symphonic piano sonatas ever written. Unlike in his almost Lisztian Op.2 (which he considered a less mature effort), Brahms voluntarily refused to utilize the veritable arsenal of pianistic tools developed by the likes of Liszt or Chopin. When he wants to create a bigger sound, he simply adds more voices-much as an orchestrator would. When he uses the far ends of the keyboard, it isn’t for pianistic purposes but in imitation of the upper and lower ends of a symphonic orchestra. The resulting effect is grand, at times epic, but also quite awkward to physically and musically carry out (this description of his piano writing is pretty apt of Brahms as a whole).
This piece was very difficult to record. The demanding physicality was one thing, but it was the stark textures (e.g. 0:56) that were the hardest to play with any degree of satisfaction. It took me a week to finish recording the fourth movement, mainly because blisters from the first session. And it still isn't perfect! Oh well, live and let live I guess.
Difficulty:
1st movement - (7)
2nd movement - (6)
3rd movement - (7++)
4th movement - (8)
Overall - (8)
Recorded on a Samsung S22
Are you using an external mic on your phone? Because this sounds almost professional lol
@@brent3522 Nope! Just my phone lol. I did record it in a performance hall though.
2:29 clever references to Schumann? Check (Sonata #2.)
@@CatkhosruShapurrjiFurabji Yes, it has the same kind of downwards run but I'm a bit on the fence whether that is a specific reference to Schumann or just a typical downwards run.
@@calebhu6383 well, the downward run in Schumann's was used as a transition from the exposition back to the first theme of the exposition in the repeat (just as has been done here)...so I guess it won't be an overstatement due to similar placements of the runs.
Fantastic recording! Kudos to you sir.
Great playing: beautiful sound, strong and involved heart and symphonic conception of timbres! Thanks for the analysis, that was what I was needing right now.
Thanks!!
Your analysis is really remarkable, it's crazy seeing how all the themes are connected even when they don't sound like they are at first.
my favourite part is the little moment around 23:12 where there are those beautiful understated few bars that bring it back to B1
It's so pretty!
Wow this is incredible!!! :D The fiery epic playing with the on-point editing! I love the part at 16:16 it looks like first ending is bout to jump out from the screen.
Thanks so much!!!
now this. is. QUALITY CONTENT
Absolutely gorgeous performance! You've nailed that bear-hug-like richness and depth that is so key to Brahms' music. Brilliant analysis in the description as well. I thoroughly enjoyed reading through and noticing details in the sonata I never had before, especially some of the Beethoven references.
I am going to have to disagree with you on this being the greatest Op. 1 ever written though... In my heart that has to go to Rachmaninov PC 1. (Also, Beethoven's 3 Piano Trios and Paganini's 24 Caprices definitely deserve honorable mentions.)
hmmm but do you like the original Rach 1 though? exactly as he had written it when he was 18? personally i find the final revised version (which he wrote when he was much older) to be considerably better
@@GICM It's funny that. As unlikely as it sounds, the 1891 version was the first version I listened to, as my piano teacher had just purchased a copy of the Ghindin recording and I asked if I could borrow it to listen, not knowing at time that a revised version existed. At the time I was in love with it, and I still feel much the same way. I think that if R. never revised the work, then we would still think of the 1891 version as a phenomenal composition.
I do have to agree with you that the revised is better. That said, there are portions he cut/revised that I wish he kept, and parts that he revised that are miles better. In particular I wish he had kept the coda with its gargantuan restatements of the 2nd theme of the 3rd Mvt., perhaps just making them a tad sprightlier to fit the vein of a hurtling conclusion better.
Taking all of that into consideration, I would still put it as the best Op. 1 of all time, which I guess makes the revised version borderline transcendent.
@@feneb6497 well that is interesting. to each their own, i guess!
Thanks for your comment!
Even though I am a big fan of the Rachmaninov Op.1, I can't consider it among the best due to its unpolished orchestration. Brahms' Op.1 displays all the signs of someone who had mastered their craft.
The Paganini Caprices are certainly the most influential Op.1 in history. But musically at times they leave something to be desired. Beethoven Trios, fair enough but I think they are good rather than great.
This is really good! I love it!!
Beautiful performance 🎹👏
Bravo 🔥
come to CIM so we can play some Brahms viola sonatas
As I'm listening to this, a question forms: how long does it take you to perfect a sonata enough to record? And, is there a such thing as a standard time frame that an accomplished pianist should go by when he/she undertakes playing a sonata?
It varies by pianist and by sonata. Certain pianists could pick up new pieces extremely quickly (such as John Ogdon and Sviatoslav Richter) while others took a long time to learn and perfect their repertoire (Michelangeli, Van Cliburn). And of course certain sonatas are harder to learn than others. This piece, for me, was quite easy to learn (as in memorize the notes). Took about two weeks. But that's very different from perfecting a sonata enough to record it, which took about three months (most of it was the technical issues with the 4th movement).
@@calebhu6383 Thank you for your response; that is very informative and easy to understand. I also enjoyed the recording very much.
@@calebhu6383 Are you a fast sightreader?
@@calebhu6383you can splice recordings you know 😉
Good Job!! Are you planning on competing with this repritore?
I don't know, I don't do a lot of competing
@@calebhu6383 Thank goodness imagine if you did I'd lose on the violin lol
In your description, you mention that Brahms’s Op.1 is only rivaled by Webern and Berg. What about Bartók? His Op.1 Rhapsody for solo piano is quite something!
Great playing, either way!
Yes, you can include Bartok on that list. Funnily enough, on the Bartok Op.1 score video the top comment is someone saying that Brahms had the best Op.1!
@@calebhu6383 well, it depends on one's taste to decide what the best Op.1 is but this is the most perfectionist Op.1.
@@CatkhosruShapurrjiFurabji Well this and Webern are comparable in their craftmanship.
@@calebhu6383 yeah, definitely (even Berg actually)
bravo
Fucking fantastic
Lessss gooooooooooo
Caleb Hu.
yay
Maestro Caleb, let's talk about Brahms' etude on theme of Chopin. Do you know it?? Have you ever played it?? I have come to the conclusion that it is the most difficult short piano piece ever written. Do you concur??
It certainly seems very difficult, but I doubt it is the most difficult short piano piece. There are Chopin Etude variations that are of similar or greater difficulty, many of them by Godowsky. Or check out Reger-Chopin etude: ruclips.net/video/9RXRdUKwTSI/видео.html
@@calebhu6383
Thanks. I wish to learn more pieces written by Brahms. I have already learnt the intermezzo op 116-2. Sounds, "easy", but it took me a lot of work to master the middle part. What do you think about that piece?? Now I'm learning op 116-1.
@@dreamsdreams9493 All of Brahms' late pieces are great.
Wow I can really hear how the first movement is Brahms' take on the Hammerklavier. Super blocky and contrapuntal
Am I being way too lame and superficial by 'hearing' Beethoven's _Hammerklavier_ sonata in the opening?
Read the description; in fact the entire first movement is a big homage to the Hammerklavier
Although this is Op 1, the second sonata in F# minor was Brahms' first composition. In my view, the F# minor one is superior in terms of difficulty and and structure.
I would disagree on both ends. Also, we probably will never know what was truly Brahms' first composition; he destroyed most of his earliest works.
👍👍👍
Good recording but I think could chill on the rubato and better articulation
Incredible are you playing this?
Yes
cracked
Incredible were you the one that wrote this comment?
would you like to record Hammerklavier as well at some point?
Yes, but I wouldn't be able to haha
@@calebhu6383 i will pray to the piano gods to make it happen
epiccc
blåhaj
bro thinks hes ashish😹
Except Ashish doesn't perform his own content
Gotta say, Ashish is one of my biggest inspirations
@@calebhu6383 Ignore the haters man, love ur content
lil bro made the most unoriginal comment on youtube and implied someone else was ripping off ashish 😂😂😂
@@Varooooooom As if structural analysis wasn't something people have been doing for centuries 😂😂😂