I could listen to 118 2 all day and I would never get tired it. It has a melancholic quality that I love so much. It sounds like an emotional farewell piece to me, something that you would play when you’re reminiscing about your childhood or for a loved one’s funeral.
I think that op. 118 means a farewell to life. i absolutely love heartbreaking-melancholic and quiet A major Intermezzo and sadly-transparent Ballade, which i played. i think that these pieces along with dark Es moll Intermezzo clearly and fully describe the sense of the cycle - the summary of a long composers' life
Great interpretation! I especially love how Volodos plays the mid section of no. 5 (16:05). I have always thought that this section depicts a distant memory of joy that gets fuzzy over time, yet retaining a nostalgic happiness. It’s like an old person remembering their first date. Too bad a lot of other pianists seem to just treat it as a generic fugue and expressionlessly rush over it.
This guy knows how to bring out a melody, gosh darn! (Brahms also knows how to write them out of the simplest little ideas) (Brahms is also good at counterpoint)
the last piece Is heartbreaking. volodos plays all of these with such love and care, its beautiful. his tone control can take it up with Lupu, truly incredible. as much as the a major intermezzo is rightfully cherished, the last three pieces are absolutely divine.
Volodos plays in a fantastic way, even when he changes the composer's will, for example at the ending of 118,4. Here he emphasizes the short reminiscence of the middle section by pausing before the last three chords.
He actually was on the verge of retiring as a composer when he wrote these pieces. He only snapped himself out of it after hearing a clarinetist play, which inspired him to make his Op. 120 set, including the Clarinet Sonatas, Clarinet Cello Piano trio, and Clarinet Quintet.
@@iangreer4585I believe the Op.120 is just the clarinet sonatas. The trio and quintet are 114 and 115, respectively. These Op.118 pieces were actually written a few years after Brahms became acquainted with the clarinetist Richard Mühlfeld, who inspired him to write chamber music for the clarinet after considering quitting composing entirely.
More like an apology for sleeping at the concert when Liszt played the sonata for Brahms? Lol To other people here: don't treat this comment with hostility, I was only joking.
It's called rubato.. When you listen to 19th century pianists it becomes even more apparent. Nothing wrong with it. Even Brahms himself does it extensively as you can hear on his own recording of the first Hungarian Dance
@@EmptyVee00000 And playing the hands not simultaneously is related to timing, so that's rubato. And I find it highly questionable to ignore the past 200 years of piano playing just for the sake of fetishistic score adherence to a degree that it only goes further away from romantic piano performance. Chopin used to play the left hand very steadily and the right very freely - which unavoidably results in not playing the hands together.. how would he even attempt to write that down into the score? And as I already said, it was common among all pianists from the past. Playing in a steady tempo with steady timing is a modern thing and has nothing to do with how pianists actually played at that time.
@@PianoJFAudioSheet I am fully aware of the history of piano playing, but I am not sure the sources are necessarily trustworthy. Actually, Brahms does write an arpeggio bass in order to create a special dramatic effect at the climax, but if the pianist plays a constant bass not together, the climax loses its intensity. I have taught Op.118. and played Op.116 and Op.117, as well as both Piano Concertos. Oh, and the Rhapsodies Op.79, the Piano Trios, the Violin Sonatas, and the E minor Cello Sonata. This is over the last forty years or so of performing.
@@EmptyVee00000 I believe it’s just a common performance practice that originated from Russia (if I’m remembering correctly). It became a very popular expressive thing to displace the melody and the left hand when trying to evoke a singing or independent quality in a phrase. Imo, sometimes it works well, but it can be overused as well. It’s really a preference thing at the end of the day
Wonderful performance, but terrible sound editing... piano sections are almost silent and forte sections way too loud. Can't listen to this without constantly changing the volume...
That’s just the inadequacy of your audio equipment or your unwillingness to hear the fortissimo passages at actual concert hall levels. A recording should faithfully reproduce the performance with its entire dynamic spectrum. If you don’t want to listen to it that way that’s on you.
@@PianoJFAudioSheet or maybe I just prefer someone who knows how to play an actual piano and follows what is written in accordance with the stylistic parameters. Btw, I have played some of these and haven't learned the rest but studied with an expert in all things Brahms.
@@alaskafan21 Maybe listen to some pianists born in the 19th century. Much closer to Brahms' time and much more freedom and individualism in their playing. This fetishistic score adherence and lack of personality is a modern thing and has nothing to do with romantic piano practice. Moreover I don't think that Volodos takes that many liberties at all.
@@PianoJFAudioSheet having studied with a Brahms' expert I don't NEED to listen to other pianist. We can agree to disagree as many musicians do. Your eagerness to prove you are correct says more about you than it does about how I perceived the piece. Let's be civil and leave it there.
@@alaskafan21 I never claimed to be correct, I only suggested to consider taking into account the piano playing practice of the 19th century. You, on the other hand, seem to claim that you know exactly how Brahms is supposed to be played.
![Brahms - 4 Piano Pieces, Op 119 (Audio+Sheet) [Lupu]](http://i.ytimg.com/vi/2cNiipyJ_Oo/mqdefault.jpg)
![Brahms - 4 Piano Pieces, Op 119 (Audio+Sheet) [Lupu]](/img/tr.png)
brahms voicings are unbelievable.
Absolutely 💯
I could listen to 118 2 all day and I would never get tired it. It has a melancholic quality that I love so much.
It sounds like an emotional farewell piece to me, something that you would play when you’re reminiscing about your childhood or for a loved one’s funeral.
I also love the no2 so much! I just discovered it today and it is so unbelievable beautiful
I think that op. 118 means a farewell to life. i absolutely love heartbreaking-melancholic and quiet A major Intermezzo and sadly-transparent Ballade, which i played. i think that these pieces along with dark Es moll Intermezzo clearly and fully describe the sense of the cycle - the summary of a long composers' life
just out of curiosity, i wonder what do you make out of 119?
Or 116
Never heard no. 4 so well realized before. Volodos' musicality is incredible.
Sublime.. the expression, dynamic range, perfect timing/phrasing.. all to absolute perfection.. Volodos is a genius 💫✨❤
Volodos emerges as a great piano artist, a true musician, interpreting these wonderful pieces from Brahms' Op. 118.
The opening motif of the first intermezzo is also used in the first movement of Brahms' second concerto.
And the opening motif of the second intermezzo is used in the cello solo from the third mvt of the same concerto
Great interpretation! I especially love how Volodos plays the mid section of no. 5 (16:05). I have always thought that this section depicts a distant memory of joy that gets fuzzy over time, yet retaining a nostalgic happiness. It’s like an old person remembering their first date. Too bad a lot of other pianists seem to just treat it as a generic fugue and expressionlessly rush over it.
Love Volodos interpretation, especially the explosive playing on the Ballade.
This guy knows how to bring out a melody, gosh darn! (Brahms also knows how to write them out of the simplest little ideas) (Brahms is also good at counterpoint)
No. 5 is so fucking beautiful
ブラームス晩年の傑作ですね。配信ありがとうございます。
the last piece Is heartbreaking. volodos plays all of these with such love and care, its beautiful. his tone control can take it up with Lupu, truly incredible. as much as the a major intermezzo is rightfully cherished, the last three pieces are absolutely divine.
The ballad is a model of phrasing and well accentuation that I will try to follow !
Volodos plays in a fantastic way, even when he changes the composer's will, for example at the ending of 118,4. Here he emphasizes the short reminiscence of the middle section by pausing before the last three chords.
봄비가 내리는 새벽 어둠사이를 뚫고 피아노 건밤의 서글픈 울림에 마음을 놓아버립니다.
It's very annoying that there is always an ad in the last chord before it stopped sounding.
I recommend installing an ad blocker
@@evilBreadD-jf9go I did, youtube revanced.
The Intermezzo in E-flat minor (almost) quotes Dies irae. I wonder if Brahms knew he only had a few years left at that point
He actually was on the verge of retiring as a composer when he wrote these pieces. He only snapped himself out of it after hearing a clarinetist play, which inspired him to make his Op. 120 set, including the Clarinet Sonatas, Clarinet Cello Piano trio, and Clarinet Quintet.
@@iangreer4585 I didn't know this fact. Thanks for the info!
@@iangreer4585What inspired him to write the organ pieces?
@@watutmanthe knowledge that his life would soon be over
@@iangreer4585I believe the Op.120 is just the clarinet sonatas. The trio and quintet are 114 and 115, respectively. These Op.118 pieces were actually written a few years after Brahms became acquainted with the clarinetist Richard Mühlfeld, who inspired him to write chamber music for the clarinet after considering quitting composing entirely.
16:05 this part is absolutely gorgeous
Под музыку второго интермеццо вспомнилось произведение Владимира Набокова "Лолита"
Thank you!
am i the only one who thinks no 2 lowkey quotes liszt b minor sonata at the theme at 7:16?
More like an apology for sleeping at the concert when Liszt played the sonata for Brahms? Lol
To other people here: don't treat this comment with hostility, I was only joking.
I had never noticed that, but you are right. I doubt if it was a deliberate quote, though.
Damn, he nails it. Odd, because some other performances of his haven't impressed me.
What is this thing too many pianists have about playing the left hand before the right?
It's called rubato.. When you listen to 19th century pianists it becomes even more apparent. Nothing wrong with it. Even Brahms himself does it extensively as you can hear on his own recording of the first Hungarian Dance
@@PianoJFAudioSheet I only play left before right when it is in the score; it is not rubato. Rubato is to do with agogic, or tempo/timing.
@@EmptyVee00000 And playing the hands not simultaneously is related to timing, so that's rubato. And I find it highly questionable to ignore the past 200 years of piano playing just for the sake of fetishistic score adherence to a degree that it only goes further away from romantic piano performance.
Chopin used to play the left hand very steadily and the right very freely - which unavoidably results in not playing the hands together.. how would he even attempt to write that down into the score?
And as I already said, it was common among all pianists from the past. Playing in a steady tempo with steady timing is a modern thing and has nothing to do with how pianists actually played at that time.
@@PianoJFAudioSheet I am fully aware of the history of piano playing, but I am not sure the sources are necessarily trustworthy. Actually, Brahms does write an arpeggio bass in order to create a special dramatic effect at the climax, but if the pianist plays a constant bass not together, the climax loses its intensity. I have taught Op.118. and played Op.116 and Op.117, as well as both Piano Concertos. Oh, and the Rhapsodies Op.79, the Piano Trios, the Violin Sonatas, and the E minor Cello Sonata. This is over the last forty years or so of performing.
@@EmptyVee00000 I believe it’s just a common performance practice that originated from Russia (if I’m remembering correctly). It became a very popular expressive thing to displace the melody and the left hand when trying to evoke a singing or independent quality in a phrase. Imo, sometimes it works well, but it can be overused as well. It’s really a preference thing at the end of the day
1:58, 4:43, 8:26, 9:21
The voicing was *chef's kiss*
Volodos is good!
1:57
Oh, I thought you would do Hungarian Rhapsody No.6 yet. Cziffra's is my favorite version
dude.. calm down. I already told you not to worry, it will be done. Please stop asking under every single video
@@PianoJFAudioSheet just making sure you haven't forgotten
@@Damian_Theodoridis instead of enjoying this beautiful music? Get your priorities straight buddy
@@emielgeertshr6 is better
@@Damian_Theodoridis I highly doubt.
09:40
Noisy.
Wonderful performance, but terrible sound editing... piano sections are almost silent and forte sections way too loud. Can't listen to this without constantly changing the volume...
That’s just the inadequacy of your audio equipment or your unwillingness to hear the fortissimo passages at actual concert hall levels. A recording should faithfully reproduce the performance with its entire dynamic spectrum. If you don’t want to listen to it that way that’s on you.
Notes left out, paused not written, no uniform rhythmic continuations in places, and so much liberty taken that I find a disservice to Mr. Brahms.
Maybe a MIDI performance is more to your likings
@@PianoJFAudioSheet or maybe I just prefer someone who knows how to play an actual piano and follows what is written in accordance with the stylistic parameters. Btw, I have played some of these and haven't learned the rest but studied with an expert in all things Brahms.
@@alaskafan21 Maybe listen to some pianists born in the 19th century. Much closer to Brahms' time and much more freedom and individualism in their playing. This fetishistic score adherence and lack of personality is a modern thing and has nothing to do with romantic piano practice.
Moreover I don't think that Volodos takes that many liberties at all.
@@PianoJFAudioSheet having studied with a Brahms' expert I don't NEED to listen to other pianist. We can agree to disagree as many musicians do. Your eagerness to prove you are correct says more about you than it does about how I perceived the piece. Let's be civil and leave it there.
@@alaskafan21 I never claimed to be correct, I only suggested to consider taking into account the piano playing practice of the 19th century. You, on the other hand, seem to claim that you know exactly how Brahms is supposed to be played.
I hate advertises !!!🥲
Под музыку второго интермеццо вспомнилось произведение Владимира Набокова "Лолита"