I've been re-examining Brahms lately and I've come to the conclusion this man had his own New German School going on that was singular to himself. He was probably one of the few composers that was actually influenced by Schumann and Mendelssohn - and I mean Clara and Fanny with those two respective family names - and as conventional the structures he utilized to express his musical thoughts might be, the ideas they contain foreshadow the later 19th century French school, and beyond.
A number of major composers were influenced by Schumann. E.g., Tchaikovsky (especially in his piano writing), Rachmaninov (to a lesser extent than Chopin but still considerable influence), Elgar, and Glazunov.
@@calebhu6383 I believe you're talking about Robert Schumann. He influenced practically everyone directly after him to one degree or another. Liszt, Brahms, Dvorak, Grieg, Rubinstein, Tchaikovsky, and many others took direct influence from Schumann, and it is evident in the chamber music and piano concerti of many of these composers. His highly personal style encouraged the Russian 5 to take the same approach. I was actually talking about his wife Clara in my previous comment. I feel that Brahms respected her musical ideas and was influenced by them, but I don't think too many other composers did.
There is such age and experience in young Brahms. So much more so than the other stereotypical prodigies, you get the sense that Brahms was fundamentally mature, as a human being, when he wrote these. Young Mozart, Saint-Saens, Mendelssohn are all brilliant, genius even, but it always sounds like music being written by a young person. But (for example) the beginning of no. 2 in this set, like so many other examples, sounds like it's been written by someone who has lived an entire life.
Zimerman is a pure and perfect pianist in all his interpretations. If the composers were resurrected and heard him play, they would probably say: "congratulations, that's exactly how I wanted this piece to be played."
No. Actual piano standards are quite different from XIX century ones. There is no such a thing as a "pure and perfect interpretation". All interpretations have their own historical clues. Ours too. No thing exists in a vacuum.
Well, I doubt it. Perfection, as all things in this world is only good in certain amounts, specially in music. Pure perfection sounds robotic and that’s how often Zimmerman sounds. Lacks a soul and I doubt that’s what any composer, except maybe people like Luigi Nono, Stockhausen and their contemporary ones wanted.
Young Zimerman has seeds of his perfectionism and sensitivity that his old self would be known for, yet filled with vigour and excitement in his playing
The last Ballade is one of Brahms' very rare purely Romantic writings. Brahms was a Classicist wrongly born in the Romantic era, but whatever he wrote is just so good.
Don't know if any pianist sees this, but I feel like the bar lines at the beginning of ballade 1 are sometimes a bit awkwardly placed (for example on the second sheet, starting from end of bar 4). As if this piece is just forced into a 4/4 grid. Should you actually count the beginning (and emphasis the 1 beats) or can you kind of ignore the barlines in the beginning parts?
I guess if you want it to sound the way people play it and not as it was written, you can ignore the bar lines (which is what most recording artistes do-placing emphasis on certain aspects and thus making the music sound differently from written). However, the barline is placed correctly. Pianists simply don't pay attention to it.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
First
👏👏👏
I love how you can tell how home he was in chorale writing.
I've been re-examining Brahms lately and I've come to the conclusion this man had his own New German School going on that was singular to himself. He was probably one of the few composers that was actually influenced by Schumann and Mendelssohn - and I mean Clara and Fanny with those two respective family names - and as conventional the structures he utilized to express his musical thoughts might be, the ideas they contain foreshadow the later 19th century French school, and beyond.
W virtue signal
A number of major composers were influenced by Schumann. E.g., Tchaikovsky (especially in his piano writing), Rachmaninov (to a lesser extent than Chopin but still considerable influence), Elgar, and Glazunov.
@@calebhu6383 I believe you're talking about Robert Schumann. He influenced practically everyone directly after him to one degree or another. Liszt, Brahms, Dvorak, Grieg, Rubinstein, Tchaikovsky, and many others took direct influence from Schumann, and it is evident in the chamber music and piano concerti of many of these composers. His highly personal style encouraged the Russian 5 to take the same approach. I was actually talking about his wife Clara in my previous comment. I feel that Brahms respected her musical ideas and was influenced by them, but I don't think too many other composers did.
@@erika6651 Thank you for your clarification. I missed the part referring to Clara.
Beautiful I love all Brahms' piano sol works. I think they are his best work and some of t he finest compositions for the piano ever.
There is such age and experience in young Brahms. So much more so than the other stereotypical prodigies, you get the sense that Brahms was fundamentally mature, as a human being, when he wrote these.
Young Mozart, Saint-Saens, Mendelssohn are all brilliant, genius even, but it always sounds like music being written by a young person. But (for example) the beginning of no. 2 in this set, like so many other examples, sounds like it's been written by someone who has lived an entire life.
Intéressant et subtile dans toutes les composantes de la partition. Merci à vous.
2:50
Op.10 No.2 and No.4 are some of the "saddest" pieces written in a major key.
Wonderful tonal control from Zimmermann and a great feel for all 4 so different different pieces. Compliments!
Zum immer wieder anhören…..
Zimerman is a pure and perfect pianist in all his interpretations. If the composers were resurrected and heard him play, they would probably say: "congratulations, that's exactly how I wanted this piece to be played."
No.
Actual piano standards are quite different from XIX century ones.
There is no such a thing as a "pure and perfect interpretation". All interpretations have their own historical clues. Ours too.
No thing exists in a vacuum.
you are delusional@@LC-bb6kn
I second that!
delusion personified @@LC-bb6kn
Well, I doubt it. Perfection, as all things in this world is only good in certain amounts, specially in music. Pure perfection sounds robotic and that’s how often Zimmerman sounds. Lacks a soul and I doubt that’s what any composer, except maybe people like Luigi Nono, Stockhausen and their contemporary ones wanted.
Young Zimerman has seeds of his perfectionism and sensitivity that his old self would be known for, yet filled with vigour and excitement in his playing
Thanks for posting! I love #4 no matter who’s playing it, but my favorite performance is still Michelangeli’s live one on RUclips.
The last Ballade is one of Brahms' very rare purely Romantic writings. Brahms was a Classicist wrongly born in the Romantic era, but whatever he wrote is just so good.
idk but i can just hear the orchestra play this its just perfect ☺
凄い演奏🎉
Nice.
Brahms would doubtlessly be one of the few top notch songwriters today. (He already is, actually.)
Don't know if any pianist sees this, but I feel like the bar lines at the beginning of ballade 1 are sometimes a bit awkwardly placed (for example on the second sheet, starting from end of bar 4). As if this piece is just forced into a 4/4 grid. Should you actually count the beginning (and emphasis the 1 beats) or can you kind of ignore the barlines in the beginning parts?
I guess if you want it to sound the way people play it and not as it was written, you can ignore the bar lines (which is what most recording artistes do-placing emphasis on certain aspects and thus making the music sound differently from written). However, the barline is placed correctly. Pianists simply don't pay attention to it.
The phrasing is really confusing me over the barlines XD, can someone explain?!
It was done incorrectly.
@@pjbpiano Done incorrectly by the transcriptionist or pianist?
❤❤
♥️💕💕
not first : (
god
Williams Brenda Hall Frank Walker Helen
❤❤❤❤❤