These two lied have been 'haunting' me for months now - the piano part (Brahms himself) in Simon's hands , is so caring and recessive, and lacking in ego projection, but subtly supportive of the principal two 'voices' - and WHAT voices from these two ?- 'masterly', all around, in the truest sense ....................
Very good and clear performance of a piece, in particular the first Lied, that often sounds messy to me. Not here! Maybe because a conductor is playing the piano. The viola sounds superb and truly a second voice to the vocals. Thank you!
Thank you so much for sharing this. This is very similar to how I would like to interpret the work, so I am thankful that more esteemed singers have indeed tried so.
Why change the before-last g into an f#, in bar 7 of the viola part? It is g in the first edition, and it makes masterful sense in the harmonic context of the next bar. F# is only superficially correct from a textbook theory perspective.
I'm so glad that lots of great altos choose to record Op 91 THX.
Semplicemente meravigliosi i due Gesänge (e come potrebbero non esserlo?...), eccellenti tutti e tre gli interpreti. ❤🎉
the best violist
These two lied have been 'haunting' me for months now - the piano part (Brahms himself) in Simon's hands , is so caring and recessive, and lacking in ego projection, but subtly supportive of the principal two 'voices' - and WHAT voices from these two ?- 'masterly', all around, in the truest sense ....................
I love the subtlety, really shows mastery of the pianist
How well Brahms judged the possibilities of this combination of forces. How well these artists have realized those possibilities. Deepest thanks.
Very good and clear performance of a piece, in particular the first Lied, that often sounds messy to me. Not here! Maybe because a conductor is playing the piano. The viola sounds superb and truly a second voice to the vocals. Thank you!
Wondeful music, thanks.
Thank you so much for sharing this. This is very similar to how I would like to interpret the work, so I am thankful that more esteemed singers have indeed tried so.
Wow.
Thanks for the beautiful performance.
Exceptional work all around, and a singer who is part of the ensemble to boot.
Schön! Danke!
Beautiful intimate setting.
Amazing performance.
Sublime!
Congratulations !
Bela apresentação!
Magnificent comment.Amazing performance.
Beautiful!!!
Beautiful, artistic performance. Unfortunately the lighting and camera angles were not at the same level of excellence.
Just besutiful
The second song starts at 7:40 for anyone specifically looking for that one!
Nice! Daan Manneke- “Tombeau pour Ton De Leeuw”
How do u make such a soft sound while still maintaining the clarity. And without shaky bow? Amazing performance btw!
Connection. And think like tai chi: a calm, meditative movement in every stroke. Steady breathing to help your central nervous system.
❤️❤️❤️❤️
I first heard this sung by Marian Anderson. The music has haunted me ever since.
Music begins @1:21
Why change the before-last g into an f#, in bar 7 of the viola part? It is g in the first edition, and it makes masterful sense in the harmonic context of the next bar. F# is only superficially correct from a textbook theory perspective.
as if the viola itself is saying: I am happy making these sounds.
Esto es un playback. 😒