Brahms - Piano Concerto No. 1 | Hélène Grimaud
[HD]
Veröffentlicht
am 23.11.2014
Johannes Brahms - Piano
Concerto No. 1 in D minor, Op. 15
00:00 I. Maestoso
24:06 II. Adagio
38:45 III. Rondo
Hélène Grimaud, piano,
Southwest German Radio Symphony Orchestra | SWR Sinfonieorchester Baden-Baden
und Freiburg, Michael Gielen, 17.IV.2005.
Johannes Brahms was 20 years old when, in 1853, he first made the acquaintance
of Robert Schumann through a letter of recommendation provided by the famous
violinist Joseph Joachim. It was Schumann's unabashed praise of the music that
Brahms showed him that, more than anything else, provided the young composer
with the courage necessary to begin work on a full-scale symphony the next year.
That courage, however, fell short in the end -- Brahms felt himself too
inexperienced and was too haunted by the "footsteps of a giant"
(Beethoven) to begin fruitful symphonic work -- and Brahms reorganized the
material he had written as a sonata for two pianos. By 1858, this sonata for
two pianos had itself been reborn as the Piano Concerto No. 1 in D minor, Op.
15.
The Piano Concerto No. 1 as we know it today is a complete reworking of the
ideas and themes of the original duo-sonata source; much of it is completely
new music. The premiere of the piece in January 1859 was not the failure that
it is sometimes portrayed to have been, but the cold response at a follow-up
performance in Leipzig left a bitter taste in Brahms' mouth that he never
forgot -- Leipzig remained an enemy for the rest of his life.
The concerto is in three movements: Maestoso, Adagio, and Allegro non troppo.
The orchestral exposition to the giant Maestoso is mighty, epic, and tragic in
no small portion; much later, a radiant, chorale-like second idea is offered by
the soloist, who Brahms provides with the kind of rich, deep sonorities so
characteristic of his piano writing. At the recapitulation, which is ushered in
by a massive climax in which the pianist is forced to use all his/her strength
to compete with the massive orchestral bursts, the pianist boldly takes over
the mighty utterances that began the movement.
Brahms wrote the words "Benedictus qui venit in nomine Domini" at the
head of the slow movement, but whether the words are an homage to Robert
Schumann (whom Brahms sometimes called Domini), a portrait of Clara Schumann
(the most popular interpretation, and one seemingly supported by a letter from
Brahms to Clara), or some other reference is unknown.
The rondo-theme of the finale is introduced by the piano alone, and, later on,
the soloist gets his/her one and only chance to impress the audience with a
cadenza -- though it is dramatic necessity, not garish virtuosity, that demands
the cadenza in the first place.
https://www.youtube.com/watch?v=OOlc2PAiWUU
Brahms Piano Concerto No 1 - Barenboim,
Celibidache, 1991
Veröffentlicht
am 06.07.2013
Johannes Brahms (1833 - 1897)
Piano Concerto No. 1 in D minor, Op. 15
1. Maestoso
2. Adagio
3. Rondo: Allegro non troppo
Daniel Barenboim, piano, Münchner Philharmoniker conducted by Sergiu
Celibidache
Recorded live at the Stadthalle Erlangen, 1991
https://www.youtube.com/watch?v=KE93NdTBBvc
Brahms piano concertos with Krystian Zimerman
and Leonard Bernstein
Veröffentlicht
am 10.01.2013
Brahms piano concertos nos. 1
and 2 played by Krystian Zimerman with Leonard Bernstein conducting the Wiener
Philharmoniker.
Piano Concerto No. 1 - 00:31
Piano Concerto No. 2 - 56:10
Adagio bei 25:30 !
https://www.youtube.com/watch?v=arKoBwtmuX0
!!! Dirigat sehr gut zu sehen!
Buchbinder Brahms Piano Concerto in D minor
op.15
Paavo Järvi, Frankfurt
Hammerklavier
Buchbinder Brahms Piano
Concerto in D minor op.15
Adagio bei 21:50
https://www.youtube.com/watch?v=g90lABfUxps
Vladimir Ashkenazy - Brahms
- Piano Concerto No 1 - Los Angeles Po, Carl Maria Giulini.avi
Adagio
bei 24:18
https://www.youtube.com/watch?v=0jOHrJxAI1Y
Brahms - Piano Concerto No. 1 | Arthur
Rubinstein, Concertgebouw Orchestra, Bernard Haitink [HD]
Johannes Brahms - Piano
Concerto No. 1 in D minor, Op. 15
00:00 I. Maestoso
22:28 II. Adagio
35:42 III. Rondo
Arthur Rubinstein, piano,
Royal Concertgebouw Orchestra, Bernard Haitink.
Johannes Brahms was 20 years old when, in 1853, he first made the acquaintance
of Robert Schumann through a letter of recommendation provided by the famous
violinist Joseph Joachim. It was Schumann's unabashed praise of the music that
Brahms showed him that, more than anything else, provided the young composer
with the courage necessary to begin work on a full-scale symphony the next
year. That courage, however, fell short in the end -- Brahms felt himself too
inexperienced and was too haunted by the "footsteps of a giant"
(Beethoven) to begin fruitful symphonic work -- and Brahms reorganized the
material he had written as a sonata for two pianos. By 1858, this sonata for
two pianos had itself been reborn as the Piano Concerto No. 1 in D minor, Op.
15.
The Piano Concerto No. 1 as we know it today is a complete reworking of the
ideas and themes of the original duo-sonata source; much of it is completely
new music. The premiere of the piece in January 1859 was not the failure that
it is sometimes portrayed to have been, but the cold response at a follow-up
performance in Leipzig left a bitter taste in Brahms' mouth that he never
forgot -- Leipzig remained an enemy for the rest of his life.
The concerto is in three movements: Maestoso, Adagio, and Allegro non troppo.
The orchestral exposition to the giant Maestoso is mighty, epic, and tragic in
no small portion; much later, a radiant, chorale-like second idea is offered by
the soloist, who Brahms provides with the kind of rich, deep sonorities so
characteristic of his piano writing. At the recapitulation, which is ushered in
by a massive climax in which the pianist is forced to use all his/her strength
to compete with the massive orchestral bursts, the pianist boldly takes over
the mighty utterances that began the movement.
Brahms wrote the words "Benedictus qui venit in nomine Domini" at the
head of the slow movement, but whether the words are an homage to Robert
Schumann (whom Brahms sometimes called Domini), a portrait of Clara Schumann
(the most popular interpretation, and one seemingly supported by a letter from
Brahms to Clara), or some other reference is unknown.
The rondo-theme of the finale is introduced by the piano alone, and, later on, the
soloist gets his/her one and only chance to impress the audience with a cadenza
- though it is dramatic necessity, not garish virtuosity, that demands the
cadenza in the first place.
Adagio bei 22:30
https://www.youtube.com/watch?v=VsgWF406ti4
Musikstück
der Woche vom 08.07.2013
Gewaltige
50 Minuten
Brahms zog ins idyllische Detmold, unterrichtete dort Klavier, leitete
einen Mädchenchor - und zog sich zurück, um mit gerade mal 23 Jahren eine
Großtat zu vollbringen: sein erstes Klavierkonzert.
Dieses
gewaltige Klavierkonzert d-Moll op. 15 stand am 18.09.2012 im Badischen
Staatstheater Karlsruhe auf dem Programm. Solist unseres Mitschnitts ist Boris
Berezovsky.
Audio 'Johannes Brahms:
Konzert für Klavier und Orchester Nr. 1 d-Moll, op. 15' starten
44:38 min
Johannes Brahms: Konzert für Klavier und Orchester Nr. 1 d-Moll, op. 15
Audio herunterladen (61,3 MB | mp3)
Johannes Brahms
Zarte Töne für ein Porträt
Johannes Brahms: Konzert für Klavier und
Orchester Nr. 1 d-Moll op. 15Maestoso, Adagio, Rondo. Allegro non troppo
"Ich
schreibe dieser Tage den ersten Satz des Concertes ins Reine. Auch male ich an
einem sanften Portrait von Dir, das dann Adagio werden soll." Der Maler
des sanften Porträts ist damals, im Dezember 1856, gerade 23 Jahre alt, die
Porträtierte 37. Und es ist die verzwickte, rührende, geheimnisvolle Geschichte
von Johannes Brahms und Clara Schumann, von Robert Schumann und all den
künstlerischen und privaten Berührungspunkten, die diese drei Künstler in Liebe
und Bewunderung miteinander verband.
Der
Entstehungsweg von Brahms erstem Klavierkonzert ist lang und voller Kurven und
Sackgassen. Über kein anderes Werk zerbrach sich der Komponist so sehr den
Kopf, verwarf Pläne für eine Sonate mit zwei Klavieren, versuchte sich daran,
alles als Sinfonie umzuformen – und machte schließlich ein Klavierkonzert
daraus. Aber was für eines! Anton Bruckner war begeistert von der
überdimensionalen 90-Takte-Introduktion des Orchesters und meinte zu recht
"dös is a Sinfoniethema". Mit dem Virtuosenkonzert seiner Zeit
jedenfalls brach Brahms gewaltig, sprengte Dimensionen und Gesten. Und im
zweiten Satz 'geheimniste' er mit einer rätselhaften Überschrift eine Huldigung
an Robert Schumann hinein, der mit seinem berühmten Aufsatz "Neue
Bahnen" schon 1853 Brahms‘ Talent und seine Bedeutung beschrieben, ja
vorausgesagt hatte.
"Am
Clavier sitzend, fing er an wunderbare Regionen zu enthüllen. Wir wurden in
immer zauberischere Kreise hineingezogen. Dazu kam ein ganz geniales Spiel, das
aus dem Clavier ein Orchester von wehklagenden und lautjubelnden Stimmen
machte. Es waren Sonaten, mehr verschleierte Symphonien, – Lieder, deren Poesie
man, ohne die Worte zu kennen, verstehen würde, obwohl eine tiefe
Gesangsmelodie sich durch alle hindurchzieht, – einzelne Clavierstücke,
theilweise dämonischer Natur von der anmuthigsten Form, – dann Sonaten für
Violine und Clavier, – Quartette für Saiteninstrumente, – und jedes so
abweichend vom andern, daß sie jedes verschiedenen Quellen zu entströmen
schienen. Und dann schien es, als vereinigte er, als Strom dahinbrausend, alle
wie zu einem Wasserfall, über die hinunterstürzenden Wogen den friedlichen
Regenbogen tragend und am Ufer von Schmetterlingen umspielt und von
Nachtigallenstimmen begleitet." (Robert Schumann: Aufsatz "Neue
Bahnen", in: Neue Zeitschrift für Musik Bd. 39 Nr. 18 vom 28. Oktober
1853.
So
schwer wie sich Brahms mit diesem Klavierkonzert in der Entstehung tat, so
schwer – so scheint es - tat sich dann auch sein Publikum damit. Nichts mehr
als ein Achtungserfolgt zur Uraufführung, in der vor allem der Pianist Brahms
beglückwünscht wurde, nicht so sehr der Komponist Brahms. Die Berühmtheit
dieses Konzert wuchs schließlich mit der Berühmtheit seines Schöpfers.
Marc-André Hamelin - Brahms Piano Concerto No 1
Veröffentlicht
am 28.02.2017
All credit to Göteborgs
Symfoniker, no copyright infringement intended
Mir
zu eitel, aber man kann den Dirigenten gut sehen, lohnt sich nicht
Adagio
bei 22:09
https://www.youtube.com/watch?v=4sAl3rpYzyE
!!!!
Höchst
spannend; nicht nur wegen der kantablen Spielweise von Mauro
pollini, auch wegen der besonderen Schlagtechnik von Maestro Thielemann-;)
Johannes Brahms - Piano Concerto No. 1 in D
minor, Op. 15 - Maurizio Pollini
Veröffentlicht
am 20.02.2017
Maurizio Pollini, piano.
Christian Thielemann, conductor. Staatskapelle Dresden.
Adagio bei 22:10
https://www.youtube.com/watch?v=1jB_6fpYY3o
BRAHMS CONCERTO Nº1 Op 15 ALFRED BRENDEL &
LSO CLAUDIO ABBADO dir LIVE AT RAH 1986
Veröffentlicht
am 04.05.2014
Taped in Blackpool (U.K.) from
a BBC telecast.
The work reflects Brahms' effort to combine the piano with the orchestra as
equal partners in a symphonic-scale structure, in emulation of the classical
concertos of Mozart and Beethoven. It thus differs from earlier Romantic
concertos, where the orchestra effectively accompanied the pianist. Even for
the young Brahms, the concerto-as-showpiece had little appeal. Instead, he
enlisted both orchestra and soloist in the service of the musical ideas;
technically difficult passages in the concerto are never gratuitous, but extend
and develop the thematic material. Such an approach is thoroughly in keeping
with Brahms' artistic temperament, but also reflects the concerto's symphonic
origins and ambitions. His effort drew on both chamber music techniques and the
pre-classical Baroque concerto grosso, an approach that later was fully
realized in Brahms' Second Piano Concerto. This first concerto also
demonstrates Brahms' particular interest in scoring for the timpani and the
horn, both of whose parts are difficult and prominent.
Although a work of Brahms' youth, this concerto is a mature work that points
forward to his later concertos and his First Symphony. Most notable are its
scale and grandeur, as well as the thrilling technical
difficulties it presents. As time passed, the work grew in popularity until it
was recognized as a masterpiece.[citation needed]Alfred Brendel considers it
among the "purest Brahms", stating that to it "...particularly
the D-Minor Concerto, goes my love." (Wikipedia)
Adagio 23:30
https://www.youtube.com/watch?v=JtJKx9El7go