Anyone interested in the fabulous Intermezzi owes it to themselves to check out the Gould version. Yes, Gould. It is exquisite, perfect notes, inner melodies and lushly romantic (surprise!). He was always proud of this album and concluded with this one. The playing here is very good, even great.
@@tomilopes Good for you! I play Brahms and think it's all a matter of individual preference. Yes, some of those inner voices are uncommon but still beautifui;. And no, I don't associated Gould with the Romantics but I like this set.
@@smb123211 Is for example what he does structurally to op 118 no. 1 justifiable as "a matter of taste"? (I play most of these pieces often too, but that's beside the point).
@@tomilopes The Cross-Eyed Pianist had an article by Charles Tebbs about a book by Neal Perese da Costa (got that? LOL). He insists, with much research, that 19th century recordings dismissed for weird mannerisms and affectations were how pieces originally sounded! The 1889 Brahms piano roll recording of a Hungarian Dance showed altered tempos, dislocation, arpeggios not written, etc - all dismissed by modern pianists as "bad taste". I guess taste is subjective.
I might be wrong, but I'm getting a feeling you don't know what I'm talking about. It's just a 2 page score, please take a look at what Brahms wrote (and I mean structurally, actual bars of music, not tempo, dynamics, expression etc.) and compare with what he chooses to play. (Also, no need for quotations here, thanks. I wrote my PhD on performance practice and historical authenticity. And it's Peres de Sousa - small detail, but since those are Portuguese family names, and I'm Portuguese, I'm sure you understand.)
Noah Johnson In fact, I'm currently enjoying a Schubert symphony on a truly audiophile playback system, featuring a pair of full-range mastering-grade loudspeakers. 😇
Yeah I was thinking the same thing. My teacher even recommended this video for me and told me that “it was played too fast so don’t worry about playing it that fast”
@@bigbootyjudy439 yea that was my feeling, it’s played too fast. But that’s the way of concert professionals, they seem to have to WOW an audience. Sometimes the music suffers, however, for it.
Brahms marked it with qualifier "ma motto appassionato" as part of the tempo marking, beside it's in alla breve time signature. There's a certain coldness, distance and lack of passion when it's played too slow.
It is in A minor but ends is an A major....but this is starting to verge on atonality or at least lack of a tonal center so trying to decide one key that it is "in" is essentially irrelevant. Brahms at this point is all over the joint!
@@jonathanDstrand I was going to say the same thing. :) I wasn't even remembering Schenker but did a quick analysis and got exactly there. yay for Shenker though. Always a good read.
Anyone interested in the fabulous Intermezzi owes it to themselves to check out the Gould version. Yes, Gould. It is exquisite, perfect notes, inner melodies and lushly romantic (surprise!). He was always proud of this album and concluded with this one. The playing here is very good, even great.
Beware: VERY contentious recommendation. The vast majority of (us) Brahms fans consider Gould's version terrible.
@@tomilopes Good for you! I play Brahms and think it's all a matter of individual preference. Yes, some of those inner voices are uncommon but still beautifui;. And no, I don't associated Gould with the Romantics but I like this set.
@@smb123211 Is for example what he does structurally to op 118 no. 1 justifiable as "a matter of taste"? (I play most of these pieces often too, but that's beside the point).
@@tomilopes The Cross-Eyed Pianist had an article by Charles Tebbs about a book by Neal Perese da Costa (got that? LOL). He insists, with much research, that 19th century recordings dismissed for weird mannerisms and affectations were how pieces originally sounded!
The 1889 Brahms piano roll recording of a Hungarian Dance showed altered tempos, dislocation, arpeggios not written, etc - all dismissed by modern pianists as "bad taste". I guess taste is subjective.
I might be wrong, but I'm getting a feeling you don't know what I'm talking about. It's just a 2 page score, please take a look at what Brahms wrote (and I mean structurally, actual bars of music, not tempo, dynamics, expression etc.) and compare with what he chooses to play.
(Also, no need for quotations here, thanks. I wrote my PhD on performance practice and historical authenticity. And it's Peres de Sousa - small detail, but since those are Portuguese family names, and I'm Portuguese, I'm sure you understand.)
A great piece, thanks for sharing this recording!
Just two thumbs up! Nothing more to add.
Wow - this is my first time watching a video where the sheet music "scrolls" along with the audio.
Great idea!
seriously... you're never seen one haha
Noah Johnson I prefer my "classical" music on high resolution formats, so...
Reverend Eslam I see:)
Noah Johnson In fact, I'm currently enjoying a Schubert symphony on a truly audiophile playback system, featuring a pair of full-range mastering-grade loudspeakers. 😇
Reverend Eslam Sweet :) what brand speakers
Too fast...Allegro non assai....meaning, not very fast...still, played impeccably.
Those are still eighth notes in cut time though, but fair
Yeah I was thinking the same thing. My teacher even recommended this video for me and told me that “it was played too fast so don’t worry about playing it that fast”
@@bigbootyjudy439 yea that was my feeling, it’s played too fast. But that’s the way of concert professionals, they seem to have to WOW an audience. Sometimes the music suffers, however, for it.
Brahms marked it with qualifier "ma motto appassionato" as part of the tempo marking, beside it's in alla breve time signature. There's a certain coldness, distance and lack of passion when it's played too slow.
@@CarlBowlby It sounds rushed and robotic to my ears, no feeling.
It is in A minor but ends is an A major....but this is starting to verge on atonality or at least lack of a tonal center so trying to decide one key that it is "in" is essentially irrelevant. Brahms at this point is all over the joint!
That in itself is nothing new. That's like Bach ending with a Picardy third.
Why is it not c major? First chord is c major and the last chord is most certainly not Am.
Schenker's overarching harmonic analysis of the piece is III V7 I, implying that the piece is in A minor (hence III) but ends with a picardy third
@@jonathanDstrand I was going to say the same thing. :) I wasn't even remembering Schenker but did a quick analysis and got exactly there. yay for Shenker though. Always a good read.
Brahms 118
no 3
0:24
OoO