Of everyone who plays Brahms, Grimaud is my favorite. Her stunning sound quality, rich color palate, and profound musical insight are so deeply touching. She understands everything about this music. Everything. She plays as though it were written just for her to play. I cannot listen to anyone else.
(only talking about no. 1 here:)my friend, then you don´t know Glenn Gould;) I agree, Hélène´s version has something about it... but to me no one compares to Glenn, he is so relaxed
I'm not interested in - or qualified to - rank interpretations. Nor do I want to. Listening to Gould AND Grimaud.... the different colours, tempos, voicing.... how very fortunate we are to have the opportunity to hear both!
@@charlotterose6724 Tout à fait d'accord mais pour des raisons qui ne sont pas du tout musicales, j'ai une petite préférence pour Hélène ... De plus, j'ai le même âge que Brahms dans sa dernière année : peut-être une opportunité à saisir.
a french lady playing Brahms? it is wonderful, because the lady knows that Brahms is writing for a beloved lady's passing away: Elisabeth von Herzogenberg, his pupil long ago in Meiningen, it is she who attracta Brahms to Wien, because she said her hometown is beautiful and she will go back there. Hamberg did not want her son Brahms to be the music director of the city, so brahms goes to meet his beloved pupil in Wien, and made Clara Schumann jealous, because BRAHMS ALWAYS SHOW HIS DRAFT OF COMPOSITION to Elisabeth first, for she is so musical, so intelligent, so elevated that Clara is only second to her. But Now she, the soulmate of Brahms is no more, life is souless, no one really understand me now, Brahms remembers all the things past with her, his youth, his struggle, his cordial relationship with the fine lady who married to a rich man that became Brahms compositional disciple, and his glories in Wien, the city of Mozart, Schubert and Beethoven, Bruckner, now he is old, strength lessens, ambition unfufilled) the Messiah of Music by Robert Schumann), all is lost, what is there to remain in this world? Elisabeth, I am coming too, wait for me, my love.
Wow! I loved Ms. Grimaud’s reading of the lines of Brahms. Hers makes more sense of No. 1 than anyone’s that I’ve heard. The voices are almost cinematic in the breadth of their storytelling. Wonderful playing!
très belle interprétation ,, hélène la femme aux loups ,, merci pour votre jeu sublime ,, quel beau reportage vous avez fait avec les loups ,, ses animaux si mystèrieux comme votre jeu , comme vous ,, merci hélène
Ich habe diese Intermezzi selber gespielt. Mit Leidenschaft. Hier werden mir noch Lichter aufgesetzt: Oh ja, dies, das, das und dies, das ist ja auch noch drin in dieser Musik, Hélène hat es gehört und bringt es in Ton, mannmannmann, Hélène, göttlich, Deine Wiedergaben. Danke!
The three pairs of "chime" notes, played in the right hand (from 2:52 to 3:02) have always to me sounded like a bell, gently telling us "it's time to go."
Auf Hélène Grimaud machte mich ein Mitarbeiter eines Musikgeschäfts in meiner Heimatstadt aufmerksam: Sie spiele romantische Klavierliteratur (speziell Schumann und Brahms) aussergewöhnlich (gut). Ich hörte sie mir an und musste gestehen, dieser Mitarbeiter hatte recht. Seither schätze ich Grimaud sehr! (Auch wenn ich immer sage: "Leider spielt Krystian Zimerman alles noch einen Hauch besser!") :D
I'd guess the old Erato CD 0630-14350-2. Rather famous for the photo. So beautiful but so intense: "a visionary, clearly under the influence of cocaine." (Wild Harmonies, 105)
Regarding No.1: Consummate artistry, but my copy of this piece features neither 'forte' nor 'fortissimo' markings. The underlying dynamic is 'piano', and for the 'Piu adagio' section it is 'pianissimo'. Of course there is very deep feeling, but it is meant to be a lullaby.
Agreed I don't know anyone that plays this better than Volodos. The first time I heard him play the first Intermezzo I dropped everything and was reduced to tears.
@debsmith7861 I've just listened to the 1961 performance again - it's not a patch on Volodos it just isn't. If anything it just sounds laboured. Arcadis interpretation is unsurpassed.
LazlosPlane Note that when this was recorded, she was in her teens, trying to get away from Chopin, which is a requisition from the music academy. I think it’s lovely.
![คุณอาเรียโต๊ะข้างๆ พูดรัสเซียหวานใส่ซะหัวใจจะวาย ตอนที่ 2 [ซับไทย] 【Ani-One Thailand】](http://i.ytimg.com/vi/kbbfYakMY8k/mqdefault.jpg)
I played these on recital in college and forgot their Brahmsian beauty. What joy!
Simply the most beautiful played Op. 117.
Of everyone who plays Brahms, Grimaud is my favorite. Her stunning sound quality, rich color palate, and profound musical insight are so deeply touching. She understands everything about this music. Everything. She plays as though it were written just for her to play. I cannot listen to anyone else.
(only talking about no. 1 here:)my friend, then you don´t know Glenn Gould;) I agree, Hélène´s version has something about it... but to me no one compares to Glenn, he is so relaxed
I'm not interested in - or qualified to - rank interpretations. Nor do I want to. Listening to Gould AND Grimaud.... the different colours, tempos, voicing.... how very fortunate we are to have the opportunity to hear both!
@@charlotterose6724 Tout à fait d'accord mais pour des raisons qui ne sont pas du tout musicales, j'ai une petite préférence pour Hélène ...
De plus, j'ai le même âge que Brahms dans sa dernière année : peut-être une opportunité à saisir.
I've not heard anyone play these better than Volodos. His interpretation of the first Intermezzo reduced me to tears.
@@daveholt1325 th-cam.com/video/ZhwQ1tLUCuQ/w-d-xo.html
Helene, ich liebe es sehr, wie Sie Brahms spielen!!! Herzlichen Dank fuer Ihre wunderschoene Einspielung!!! Liebe Gruesse aus Brasilien!
a french lady playing Brahms? it is wonderful, because the lady knows that Brahms is writing for a beloved lady's passing away: Elisabeth von Herzogenberg, his pupil long ago in Meiningen, it is she who attracta Brahms to Wien, because she said her hometown is beautiful and she will go back there. Hamberg did not want her son Brahms to be the music director of the city, so brahms goes to meet his beloved pupil in Wien, and made Clara Schumann jealous, because BRAHMS ALWAYS SHOW HIS DRAFT OF COMPOSITION to Elisabeth first, for she is so musical, so intelligent, so elevated that Clara is only second to her. But Now she, the soulmate of Brahms is no more, life is souless, no one really understand me now, Brahms remembers all the things past with her, his youth, his struggle, his cordial relationship with the fine lady who married to a rich man that became Brahms compositional disciple, and his glories in Wien, the city of Mozart, Schubert and Beethoven, Bruckner, now he is old, strength lessens, ambition unfufilled) the Messiah of Music by Robert Schumann), all is lost, what is there to remain in this world? Elisabeth, I am coming too, wait for me, my love.
Wow! I loved Ms. Grimaud’s reading of the lines of Brahms. Hers makes more sense of No. 1 than anyone’s that I’ve heard. The voices are almost cinematic in the breadth of their storytelling. Wonderful playing!
Sad but beautiful story told by Adam Chen.Thanks!
I also love her playing Brahms’ piano concerto No.2.
très belle interprétation ,, hélène la femme aux loups ,, merci pour votre jeu sublime ,, quel beau reportage vous avez fait avec les loups ,, ses animaux si mystèrieux comme votre jeu , comme vous ,, merci hélène
Ich habe diese Intermezzi selber gespielt. Mit Leidenschaft. Hier werden mir noch Lichter aufgesetzt: Oh ja, dies, das, das und dies, das ist ja auch noch drin in dieser Musik, Hélène hat es gehört und bringt es in Ton, mannmannmann, Hélène, göttlich, Deine Wiedergaben. Danke!
She's one of the big-gun pianists of her generation, a true great. (The movie-star face is a nice bonus. Don'tcha think?)
Extraordinarily beautiful. I really love how Helen brought out the inner voice at around 0:34-0:36. It was truly breathtaking.
The three pairs of "chime" notes, played in the right hand (from 2:52 to 3:02) have always to me sounded like a bell, gently telling us "it's time to go."
yeah your right, but where to?
Yes this measure 9 if you have the music is a nuance not recognized by many. Only if you have played this! It isn’t written that way.
Hai proprio ragione…
Poignantly beautiful - the voicings are stunning !
For my money the BEST interpretation of these Brahms works - especially No.3. Glorious!
Katchen by a mile. And I say that as a Helena fan.
Whoa, listen to measure 9, 0:35-0:36 She improvises with triplets notes not in the music. I do like it though.
very beautiful! quite aesthetic to my ears.
Smooth, nice rendition with the usual emotive engagement.
СоЛяСи капель дождя.
Auf Hélène Grimaud machte mich ein Mitarbeiter eines Musikgeschäfts in meiner Heimatstadt aufmerksam: Sie spiele romantische Klavierliteratur (speziell Schumann und Brahms) aussergewöhnlich (gut). Ich hörte sie mir an und musste gestehen, dieser Mitarbeiter hatte recht. Seither schätze ich Grimaud sehr! (Auch wenn ich immer sage: "Leider spielt Krystian Zimerman alles noch einen Hauch besser!") :D
Сли'шком хорошо'! То же не о'чень-то! Хорош коне'ц пути доро'ги интересной. 🙄
M'encanta Hélène.La finor i el sentiment interpretatiu són.sublims.J.A.Vives.12-7-2020.
(note to self) 8:58
Hi there
Source of this recording? CD by Ms. Grimaud? Merci beaucoup!
I'd guess the old Erato CD 0630-14350-2.
Rather famous for the photo. So beautiful but so intense: "a visionary, clearly under the influence of cocaine." (Wild Harmonies, 105)
Вдох глубо'кий, ру'ки шире, Раз, два. Три, четы'ре. Бег на месте общеукрепляющ
Regarding No.1: Consummate artistry, but my copy of this piece features neither 'forte' nor 'fortissimo' markings. The underlying dynamic is 'piano', and for the 'Piu adagio' section it is 'pianissimo'. Of course there is very deep feeling, but it is meant to be a lullaby.
Artistic freedom I guess. Much like measure 9
Ok, but if you enjoyed her performance I don't see your apparent objection. It's an interpretation, as valid as any other, assuming people enjoy it.
До Рэ Ми Фа'- как кот Баюн Мурлы'чет барито'н. СоЛя Си -тихо. Дождя' капе'ль
Соль Ля Си капель дождя прозрачна. До Рэ Ми Фа, как кот, мурлычет баритоном
Нам 😊
Nr 2 and 3 have been my companions through life, nr 1 I dont like so much. Strange.
Привыкать к новизне!
I am a fan of Helene, but I like the performances of Gould and Volodos even more than this one. Just my opinion.
Agreed I don't know anyone that plays this better than Volodos. The first time I heard him play the first Intermezzo I dropped everything and was reduced to tears.
@@daveholt1325 Не плач бэйби! Жуй какосы, ЕШЬ бананы Чунга - Чанги
@@daveholt1325I do. Gould. By a LOT.
@debsmith7861 I've just listened to the 1961 performance again - it's not a patch on Volodos it just isn't. If anything it just sounds laboured. Arcadis interpretation is unsurpassed.
Love her, La Belle Helene, but guys, let's not get nuts, here. This is not her best work. Not even close.
LazlosPlane
Note that when this was recorded, she was in her teens, trying to get away from Chopin, which is a requisition from the music academy.
I think it’s lovely.
А ЛУ'ЧШЕЕ ВСЁ ЛУ'ЧШЕ!
@@user-uo1xm3hm9t Да, в самом деле!