Johannes Brahms | 3 Violin Sonatas [complete] Historical Instruments | 4K
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- Опубликовано: 8 июл 2024
- The complete Violin Sonatas of Johannes Brahms, including a full documentary about unique and remarkable original instruments used.
Daniel Kurganov, violin
Constantine Finehouse, piano
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Sonata No 1 in G Major, Op. 78 "Regenlied" (1878-1879)
0:00:00 - 1 Vivace ma non troppo
0:10:13 - 2 Adagio
0:18:00 - 3 Allegro molto moderato
0:26:31 - Daniel Kurganov introduction
0:27:46 - The Frederick Collection
0:31:11 - Interview with the Fredericks - The 1868 Streicher "Brahms piano"
Sonata No 2 in A major, Op. 100 "Thun" (1886)
0:46:39 - 1 Allegro amabile
0:54:27 - 2 Andante tranquillo
1:00:30 - 3 Allegretto grazioso / quasi andante
1:05:50 - About the Guarneri Violin and Raw Gut Strings
1:06:32 - Interview with Christopher Reuning
1:12:38 - Constantine Finehouse introduction
1:14:09 - The Chickering Concert Grand Piano; Interview with Christopher Greenleaf
Sonata No. 3 in d minor, Op. 108 (1886-1888)
1:22:49 - 1 Allegro
1:31:16 - 2 Adagio
1:36:36 - 3 Un poco presto e con sentimento
1:39:37 - 4 Presto agitato
Recorded in 2020
Instruments used:
1706 Joseph Guarneri filius Andrea violin
1868 J.B. Streicher & Sohn "the Brahms Piano"
1886 Chickering & Son Concert Grand 9'2
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What began as a commitment to discover Brahms’s sound-world ended up as an exercise in developing personal freedom, and discovering collaboration on truly equal terms.
The Brahms Age really commenced as I first stepped into the hall for the initial recording first session. I was immediately captivated by the visual beauty of the 1868 Streicher “Brahms Piano”. Its deep wooden facade, tempered by the delicate fissures in its varnish, was complemented by a golden decal, gleaming yet clearly touched by time. The instrument's appearance was a mirror to its sound: sumptuously velvet, yet with a defining clarity.
Historical instruments have been explored extensively within the context of Baroque and Classical music. In Romantic-era music, a combination of denser compositions and the emergence of powerful orchestras and modern concert grands has led violinists into a metaphorical “arms race”. The incentives haven’t been there to explore Brahms’s sound world with instruments of the time, as the broader cultural and sonic expectations for that style of music prioritize bigger sound, sharper articulations, and pronounced projection. Raw gut strings and old pianos aren’t playing that game. Intriguingly, the realm of art gives us a foot in the door to engage in creative interference/destruction and drive taste. This mirrors the allure of great speakers whose more subdued tones draw listeners closer.
I hope this documentary and album can inspire chamber musicians to seek out growth opportunities and seize the artistic first-mover-advantage in their respective spheres. and mIt’s worth considering several questions as you watch the film:
• How do the tonal qualities of the piano shape one’s anticipation of the violin's sound?
• What is the relationship between a dynamics and color?
• In the realm of chamber music (with a piano), how does one typically contend with issues of balance? Do inherent and ineradicable disparities exist between the violin and the modern concert grand piano?
• How does the raw gut E string affect the way melodies are executed on the violin?” 
Видеоклипы
Intergalactic certified. Congratulations Maestro(s)🏆
Bravo to the musicians on these beautiful and thoughtful, fascinating performances. Many thanks to the instrument collectors/experts for sharing their knowledge. Wonderful AV production, too. So much to enjoy here!
Bravo ! and Vivat for J. Brahms !
26:45 "To me, Brahms is vulnerability, and the utmost unified expression. The Sonatas in particular are a tapestry woven both of the heart and the mind". I agree very much.
Fabulous performance - and how gently the Vienna Streicher piano matched and complemented the violin - a revelation!😄👋
Yayyyyy
I've much more to listen to, but I've really loved everything I've heard so far ❤
THIS is the sound as Brahms himself would have heard it. Stunning and beautiful artistry here. I used to find the G Major sonata clunky in certain places, although it had some nice moments... but from beginning to end in this recording, I was completely enamored; it is a totally different work than we hear with modern instruments, and is wonderfully enlightening as to the Romantic Masters' compositions. Congratulations on this album, thank you to all involved - the Fredericks, the performers and producers alike!!!
Thank you so much! I will pass your comment along to all.
Wow!!!! All three sonatas!!! This was very generous of you. Beautiful, clean performance this was!!! The balance between piano and violin seemed perfect. Thank you!!
Beautiful❤❤❤
Wonderful musicianship!
Extraordinaria versión, muchas gracias!!
Belíssima Apresentação 👏👏👏👏
delightful to hear Brahms on authentic instruments. there's a great shortage of that, unfortunately.
This is an amazing production. Very high-end professional feel throughout. The playing is beautiful and I love the concept. The setting for the performance is perfect as this is truly God’s work. Thank you!
Thanks so much!! It was a labor of love…
Amazing work Daniel. wow
Bravissimi!!! 👏👏👏
Wonderful!
❤❤❤
I loved this, but had difficulty hearing the violin...the sound, to my ancient ears, was a wee bit too soft🥺 Stll delighted to hear Brahms.
Interesting piano. Nice to hear this on period instruments. What bow did you end up using for these performances. That looks interesting. I really like the tone quality you achieved. I can only describe it as haunting in moments. Wonderful for Brahms.
Lovely playing, as far in as I have got already. Two things-- is the information on the bow available to put in the text? Did you experiment with many 19c bows to see if there was a huge difference in getting the gut strings ready for action? Also, a pet theory of mine-- would the gut D allow the opening motive of Op 78 to be done as a gesture on a single string, from a natural harmonic to open D? I've done this on a modern violin and think it might be even more convincing on unwrapped gut.
Oh, and lovely piano! I can see why Brahms loved that brand. Probably the closest equivalent available today would be a Bluthner, which I do adore.
Thank you so much! My bow was made by David Hawthorne. I do love it very much, and didn’t see the need to try to procure a Tourte. The design is very similar and the functionality as well. Bows are so personal, so with such small differences in the construction of bows since Tourte, the majority of the different simply comes from one’s unique relationship to the bow. Violins are a bit objective in that regard. There is no particular difference between using gut strings with modern instruments, and historical instruments which have gone through their 1800’s adjustments.
I do like the idea of the Op.78 opening on the D string and I do it frequently. For some reason I didn’t in these recording sessions :) the thick gut D enhanced the fragility and tenderness of that opening, as the sound is more complex and less ringing than with synthetic strings.
Lovely sound and performances. Were chin rests and shoulder rests as in the video used in Brahms's days, I wonder?
Chinrests yes; shoulder rests not as we know them today but inevitably people were using support if they needed it in the form of padding.
Very nice playing, great peace, just one question : what violin do you play ? :)
Thanks! The violins used for this project were: Guarneri Filius Andrea, 1706 (for Sonatas 1 and 2) and Andrew Ryan, 2013 (Sonata 3)
Which A tuning?
What strings did you use for this performance? :)
Aquila Corde strings to the gauge specifications of Paganini's strings, which were a typical gauge setup of the time.
Shall I purchase violin sir
Hi you promised Bach months ago and we are still waiting. Will it happen? Chaconne?
How is a shoulder rest authentic?
It's not, obviously. The shoulder rest doesn't have a direct correlation to sound / music-making, in my opinion, but it does have a very direct correlation to whether I'm able to play the violin with a long neck. So, the mechanics of how one plays is what it is. I am more focused on sound production/quality and interpretation. Dressing up in 19th-c garb is of less interest :)
@@DanielKurganov So logical..... bravo!! It's all about the sound and interpretation.