Mr Reger I understand the basis of your comment. That said, would you mind being a little more conciliatory? These artists produce a re-creation of this work that, not only contains immense musical learning but, also combines it with a sense of phrasing that, despite them hamming it a bit, allows them to express a great deal of the subjective content of this masterpiece; precisely because they didn't become so stiff in their playing as to sound alienated from their own emotional sensitivity to these pages. Granted that they draw the phrasing almost obsessively, and only in a very few moments but, they certainly deliver the work, not only to our ears - and with pretty decent intonation throughout I might add - but also to our hearts. Please allow me to thank these performers for that - and for allowing the music to breathe - and for the very high level of their playing, both musically and instrumentally . . . And thank you for considering these few thoughts . . .
Dynamische und zugleich lyrische Aufführung dieses perfekt konstruierten Klavierquartetts. Die Miteinanderwirkung zwischen den vier Spieler ist perfekt synchronisiert und sehr intim. Einfach wunderbar!
Non posso che sottoscrivere (e tradurre alla lettera) quello che ha affermato "notaire2": "Esecuzione dinamica e insieme lirica della perfetta costruzione di questo quartetto con pianoforte. L'interrelazione fra i quattro strumentisti è assolutamente affiatata e molto intima. Semplicemente meraviglioso".
A remarkable majority of recorded performances of this Op. 26, even including the most prominent studio recordings, tend to betray a struggle in capturing the essence within single passages, let alone that of the entirety of one among the four movements, and definitely let alone that of the whole piece, in the way that these four are accomplishing here.
I must say that, along with others, that...your video uploads are of such fine quality. I think I answered my own question when I was listening to another Brahms quartet when I had asked why there was such a long silence, and also...why on another video, there were constant interruptions. It was because I was trying to watch it in the highest quality possible, and so...I lowered it so thereafter, there would be no more interruptions...Because I must say again, that...your videos are first rate..
Nautittavaa musiikkia - mutta olisiko piisi vähän liian pitkä? Esim. Scherzo tuntuu aika isolta kappaleelta jo ilman trioakin. Brahms on mielisäveltäjäni, mutta minusta tuntuu, että hän oppi tiivistämisen taidon noin 40-vuotiaana. (Sitä, että hän itsekin saattoi kokea nuoruudenteoksensa liian rönsyileväksi, todistaa ainakin 1. pianotrion muokkaus uusiksi.)
+ PaulVinonaama Your comment about the 2nd piano quartet being too long reminds me of words Tom Stoppard put into the Emperor's mouth about one of Mozart's compositions, "Too many notes." ("Amadeus") There are indeed musical compositions that seem too long, and the tradition of cuts is well established. Still, I believe neither scissors nor a blue pencil should be taken to the Brahms. The Scherzo has no lack of ideas, and Brahms needed all the time he took to work them out. The second piano quartet runs 50-55 minutes, perhaps almost twice as long as the third, but when listening to it does one begin to look at his watch because he's bored? I think not. As to length -- a wag once remarked that Schubert should have taken some of the energy he put into his Ninth Symphony, "The Great," and finished his Eighth; for the former was far too long, the latter far too short.
+Vazir Mukhtar Thanks for your comment. I fully respect how you experience this music, but the main point in my original comment concerns a possible difference between younger and older Brahms. (By the way, do you read Finnish, or did you read my comment through google translation or something?) As I mentioned, the older Brahms made the first Piano Trio more compact and he also had some thoughts about the First Piano Concerto being in need of compression. Hence there is at least some substantiation for my view. As regards the Scherzo, I agree that it has no lack of ideas, but what is less clear to my musical experience is whether there is real musical motivation for the Trio and, especially, the mechanical repetition of the Scherzo, or whether Brahms was just mainly following the tradition. I find it interesting that Brahms never applied the mechanical Scherzo - Trio - Scherzo pattern to his Symphonies or to a piece like the 2nd Piano Concerto, though he did not abandon it entirely in his chamber music (it exists in 2nd Cello Sonata, for example). I cannot help finding the more imaginative procedures in these pieces more enjoyable.
@@PaulVinonaama In my opinion, I am sure I am right, there's no such thing as loose young Brahms vs. compact mature Brahms distinction. From his first meeting with the Schumann's, he is already a lion, that's why Robert Schumann said in his magazine that he has found the Messiah of music, just look at his early works, no such thing as is too long, he is full of inspirations, just like Mozart or Schubert
The pianist emotes seemingly on EVERY phrase, thus making the entire piece stop and start. A rather constipated feeling reigns throughout. No flow--too bad. Blah.
It seems a shame that such an energetic and strong performance is marred by insensitive mixing balance. In real life at a performance the strings would not be so overhwelmed by the keydoard in this way, even with Brahms. It can put people off who are not already familiar with the music and is difficult even for those who are. It is all to do with positioning of the microphones in this recording it seems.
![Brahms: Tragische Ouvertüre - Royal Concertgebouw Orchestra [HD]](http://i.ytimg.com/vi/TQ5NEdUiIec/mqdefault.jpg)
Brahms is one of the super giant composers in the classic world.
Mr Reger
I understand the basis of your comment. That said, would you mind being a little more conciliatory? These artists produce a re-creation of this work that, not only contains immense musical learning but, also combines it with a sense of phrasing that, despite them hamming it a bit, allows them to express a great deal of the subjective content of this masterpiece; precisely because they didn't become so stiff in their playing as to sound alienated from their own emotional sensitivity to these pages. Granted that they draw the phrasing almost obsessively, and only in a very few moments but, they certainly deliver the work, not only to our ears - and with pretty decent intonation throughout I might add - but also to our hearts.
Please allow me to thank these performers for that - and for allowing the music to breathe - and for the very high level of their playing, both musically and instrumentally . . . And thank you for considering these few thoughts . . .
Music, musicians and the sound, all are incredible and phantastic!!!
I. Allegro non troppo 0:00
II. Poco Adagio 16:37
III. Scherzo: Poco Allegro 29:17
IV. Finale: Allegro 40:35
Thanks!
Dynamische und zugleich lyrische Aufführung dieses perfekt konstruierten Klavierquartetts. Die Miteinanderwirkung zwischen den vier Spieler ist perfekt synchronisiert und sehr intim. Einfach wunderbar!
Movements:
00:00
(1)
16:36
(2)
29:16
(3)
40:35 (4)
i love AVRO videos.
What a glorious opening theme...
Non posso che sottoscrivere (e tradurre alla lettera) quello che ha affermato "notaire2": "Esecuzione dinamica e insieme lirica della perfetta costruzione di questo quartetto con pianoforte. L'interrelazione fra i quattro strumentisti è assolutamente affiatata e molto intima. Semplicemente meraviglioso".
Thank you so much!!
Wonderful music. Thank you.
Gràcies per aquesta perla musical!
A remarkable majority of recorded performances of this Op. 26, even including the most prominent studio recordings, tend to betray a struggle in capturing the essence within single passages, let alone that of the entirety of one among the four movements, and definitely let alone that of the whole piece, in the way that these four are accomplishing here.
I must say that, along with others, that...your video uploads are of such fine quality. I think I answered my own question when I was listening to another Brahms quartet when I had asked why there was such a long silence, and also...why on another video, there were constant interruptions. It was because I was trying to watch it in the highest quality possible, and so...I lowered it so thereafter, there would be no more interruptions...Because I must say again, that...your videos are first rate..
Your channel is FANTASTIC
magic.
thank you!
20:03 - that piano strikes with raged tho
Thanks a lot for this video!
Aren't they fantastic???!!!!
Thank You!...
Quel son enooorrrrmmmme!!!! ❤️❤️❤️
Suberb playing.
Wonderful
Thanks! a Jakub Strużyński 7 anni fa.
I. Allegro non troppo 0:00
II. Poco Adagio 16:36
III. Scherzo: Poco Allegro 29:16
IV. Finale: Allegro 40:35
As for me, I wouldn't know "emote" if it hit me in the face!
Wauw
only beautiful
Does anyone tell me why this pianoquartet No.2 is called "Tweede " pianoquartet?
Sig Nishiyama Tweede is Dutch for second
PaulVinonaama: kertaus scherzossa vaikuttaa tarpeettomana ja se väsyttää hieman, minustakin. Brahms oli silloin ehkä itseepävarmempi kuin myöhemmin.
Nautittavaa musiikkia - mutta olisiko piisi vähän liian pitkä? Esim. Scherzo tuntuu aika isolta kappaleelta jo ilman trioakin. Brahms on mielisäveltäjäni, mutta minusta tuntuu, että hän oppi tiivistämisen taidon noin 40-vuotiaana. (Sitä, että hän itsekin saattoi kokea nuoruudenteoksensa liian rönsyileväksi, todistaa ainakin 1. pianotrion muokkaus uusiksi.)
+ PaulVinonaama Your comment about the 2nd piano quartet being too long reminds me of words Tom Stoppard put into the Emperor's mouth about one of Mozart's compositions, "Too many notes." ("Amadeus")
There are indeed musical compositions that seem too long, and the tradition of cuts is well established. Still, I believe neither scissors nor a blue pencil should be taken to the Brahms. The Scherzo has no lack of ideas, and Brahms needed all the time he took to work them out.
The second piano quartet runs 50-55 minutes, perhaps almost twice as long as the third, but when listening to it does one begin to look at his watch because he's bored? I think not.
As to length -- a wag once remarked that Schubert should have taken some of the energy he put into his Ninth Symphony, "The Great," and finished his Eighth; for the former was far too long, the latter far too short.
+Vazir Mukhtar Thanks for your comment. I fully respect how you experience this music, but the main point in my original comment concerns a possible difference between younger and older Brahms. (By the way, do you read Finnish, or did you read my comment through google translation or something?)
As I mentioned, the older Brahms made the first Piano Trio more compact and he also had some thoughts about the First Piano Concerto being in need of compression. Hence there is at least some substantiation for my view.
As regards the Scherzo, I agree that it has no lack of ideas, but what is less clear to my musical experience is whether there is real musical motivation for the Trio and, especially, the mechanical repetition of the Scherzo, or whether Brahms was just mainly following the tradition.
I find it interesting that Brahms never applied the mechanical Scherzo - Trio - Scherzo pattern to his Symphonies or to a piece like the 2nd Piano Concerto, though he did not abandon it entirely in his chamber music (it exists in 2nd Cello Sonata, for example). I cannot help finding the more imaginative procedures in these pieces more enjoyable.
@@PaulVinonaama Do you think his op.5 Piano Sonata 3 too long ?
@@vijinanadu1962 Not, I think, if it is executed with sufficient passion. It is passionate work.
@@PaulVinonaama In my opinion, I am sure I am right, there's no such thing as loose young Brahms vs. compact mature Brahms distinction. From his first meeting with the Schumann's, he is already a lion, that's why Robert Schumann said in his magazine that he has found the Messiah of music, just look at his early works, no such thing as is too long, he is full of inspirations, just like Mozart or Schubert
16:35
tweede=tweiten?
Second.
Perhaps a little too much coffee, or some other stimulant in effect here - not sayin’, just sayin’!
The pianist emotes seemingly on EVERY phrase, thus making the entire piece stop and start. A rather constipated feeling reigns throughout. No flow--too bad. Blah.
It seems a shame that such an energetic and strong performance is marred by insensitive mixing balance. In real life at a performance the strings would not be so overhwelmed by the keydoard in this way, even with Brahms. It can put people off who are not already familiar with the music and is difficult even for those who are. It is all to do with positioning of the microphones in this recording it seems.