Lugansky - Brahms Piano Concerto No. 2
Вставка
- Опубліковано 3 сер 2024
- Johannes Brahms (1833-1897)
Piano Concerto No. 2 in B flat major, Op. 83 (1881)
Nikolai Lugansky, soloist
Dmitry Khrychov, first cello
Yuri Temirkanov conducting St. Petersburg Philharmonic Orchestra, 2018
I.
[0:00] Expos. (Allegro non troppo)
[0:49] Cadenza
[1:45] Expos. - Orchestra (cont.)
[3:31] Expos. - Solo
[8:09] Expos. - Orchestra closing
[8:46] Dev.
[12:12] Recap.
[15:27] Coda
II.
[17:55] Expos. - Theme 1 (Allegro appassionato)
[18:36] Expos. - Theme 2 (tranquillo e dolce)
[19:48] Expos. - Repeat
[21:39] Dev. - (Trio. largamente 22:47)
[24:56] Recap.
[26:36] Coda
III.
[27:15] A (Andante)
[33:55] B (Più Adagio)
[35:40] A’ (Tempo I) - to B♭ major 36:28
[38:10] Coda (Più Adagio)
IV.
[39:29] A (Allegretto grazioso)
[40:43] B (poco espress. - dolce - dolce)
[42:42] A’ (grazioso)
[45:34] B’ (poco espress. - ben marcato - dolce)
[46:57] Coda (Un poco più presto)
“[Brahm’s second concerto] is more of a symphony, not only in the sense of the role of orchestra and piano; it is a whole cosmos, and every time you enter it again. This concerto is special in that there are no definitive answers in it, as is sometimes the case with Beethoven, perhaps even Rachmaninoff. He creates a joyful and contemplative mode using the absolutely insane possibilities of the piano: one can imagine children's joy and openness when a new day has come; one can imagine an old man who has gone through mad losses and comes to the conclusion that the world is still beautiful. I can’t compare this concerto to any other; It’s a giant open music book.”
- Lugansky, 2019 (translated)
Hochgradig faszinierend, wie kompakt und musikalisch folgerichtig - und einfach "schön" - dieser Pianist (natürlich zusammen mit Dirigent und Orchester) dieses Superkonzert von Johannes Brahms inszeniert und zum Erklingen bringt - dabei sogar die Vergangenheit eines Emil Gilels überbietet: Ein erneutes Mal offenbart Nikolai Lugansky in dieser (auch tontechnisch und optisch) brillanten) Aufzeichnug seine geniale Gabe, sowohl im(!) wie über(!) dem Werk zu stehen: Ich halte IHN deshalb vor allem für den idealen BRAHMS-Interpreten, was freilich keinerlei Abwertung in Hinsicht auf seine universale Klavierkunst bei anderen Komponisten bedeuten soll. Wunderbar kompetent sind übrigens die eigenen verbalen Äußerungen, die er (im Einführungstext) über die außergewöhnlichen Dimensionen und die Bedeutung dieses 2. Brahms-Konzerts gefunden hat...
Lugansky is brilliant - in every way. This is pure joy in listening!
Lugansky is always very good.
🎉🎉🎉🎉🎉🎉🎉🎉 Браво!!!! ЗКР , Юрий Хатуевич Темирканов и прекрасный пианист нашего времени Николай Луганский🎉🎉🎉🎉🎉🎉🎉🎉😊😊😊😊представляю какое удовольствие получили слушатели в зале , но даже через запись остаёшься наполненным и радостным❤🎉❤🎉❤🎉 Браво солисту!!!! Браво оркестру!!!!!🎉🎉🎉🎉🎉🎉🎉🎉🎉😊😊😊😊😊
Счастливое поколение, которому доступно слушать и слышать , и видеть эти грандиозные концерты. Спасибо.
I feel so lucky listening this for free. So stunning. The composer (Brahms) and the pianist Lugansky are both geniuses.
Yes, of course they are. Mr. Lugansky has just performed in Buenos Aires and all of us are delighted by his artistry. A real genius! Unforgettable concert *****. P.S. We could finally discover which encore he performed: Prelude Op. 23 N°7 by Rachmaninov.
BRAHMS WAS A MEGA GENIUS; LUGANSKY IS A
GENIUS.
He is wonderful pianist... I was really impressed by his playing
Such a mild applause! This concert is insanely difficult, you have to have studied piano to understand. Insane!
Indeed a very difficult concerto. Also very symphonic in nature, requiring an equal partnership between the soloist and the orchestra. And the orchestra in this a bit lacking in expressive drive, which in turn inhibits the pianist in spots. A generally fine performance, but I've heard both this pianist and conductor deliver more fiery exciting performances in other works. Perhaps this is why it did not elicit a roar of applause at the end.
@@galanis38 I am not familiar with this particular concerto but i disagree in the opposite. I found the orchestra to be great and a wonderful interpretation of Brahms bur the pianist broke it with a too temperamental even harsh approach in his always unflunching aim to deliver maximum power, almost always > forte. He draws an unpleasant sound from the piano full of uneven accents and while this is less evident in Russian music here with Brahms it is a fault. I don't think he has the right musical aesthetic for this concerto. He plays it like a Tchaikowsky nutcracker whimsical and rigid march this is not how Brahms should be played. I struggled to listen to the end, it almost angered me. The better part of this whole performance is when he is not playing and the orchestra plays. I think he is much too soldier like and harsh, a bit like Gillels but without the ability to architect the piece. I think he has very short objectives in his phrases and seems to think as long as he plays loud enough with big dropping hand movements then it's above all reproach. No so. I wonder how he plays if he drinks a glass of liquor maybe than may mellow his style a little.
Some pianists will not attempt it...virtuosic in the extreme ..crazy stretches and insane double trills!😮
Russia has some very handsome male orchestral musicians
6:12 As someone who has played Brahms 2, I know how that feels
Merveilleux concert, merveilleux artistes musiciens , le top du top, merci.
Bravissimo!
My God. This performance was Absolutely out of this world.
Very beautiful, if not stunning, moving performance of soloist and orchestra. A gem
The cellist in the third movement is Dmitrii Khrychev. Maestro Khrychev, who won several international competitions in the 1990's, has been principal cellist for the St. Petersburg Philharmonic since 2011, performs with various chamber groups, and is in demand as a soloist.
Yes! Marvellous. I believe that if Jacqueline were among us, she would stand up and say: Bravo!!! Those strings! Those perfect bow changes! An equal. I cannot say another word. Speechless...
I love Lugansky, and this concerto! One of my favourite pianists. Thank you for uploading :)
First time I hear him hitting the wrong notes! He’s human, after all. ♥️
17:55 This is one of my favourite concertos, I watched about five versions following a UA-cam search and this one was filmed the best because it stayed primarily on the pianist when playing their parts. the others kept panning away from the pianist, especially their hands when they were playing.
I felt just the opposite. Not nearly enough camera on the keyboard. Watch Emanuel Ax play it.
Way, way beyond MAGNIFICENT !!! Words truly fail to describe the beauty of this performance, of the piano, and of the pianist
Nikolai Lugansky, St. Petersburg Philharmonic Orchestra conducted by Yuri Temirkanov. What could be more grandiose for one of the absolute masterpieces of classical music, the concerto n. 2 for piano and orchestra by Johannes Brahms? Thank you for sharing so much beauty.
Luganski is just reeking with the proper discipline which in turn affords this stunning performance.
Herr Brahms, der Herr der unerwarteten Mischungen aus Gefühle!
Splendide concert! Excellemment filmé,bravo les cameramen!Merci pour ce partage💚🇫🇷🙏🏽
I wonder if those attending this superb performance of Brahms' second piano concerto were transported from the palatial Grand Hall to an audial surround sound paradise? Likely so. Listening to it, it's easy to get there no matter where you are.
A few amateurs started applauding between movements.
very beautifull performer i like it
This is amazing. Very nice solo and the orchestra.
Wonderful
May the Joy & Happiness your performances have given me and thousands of music lovers around the world also enrich your life with joy & fulfillment. Your remarkable musical talents is, to me, proof that at the core of reality there is beauty and logic.
Meraviglioso!!
Brawo za wykonanie!
Браво, маэстро Темирканов! Браво, Николай Луганский! Браво ЗКР СПб филармонии ❤️🌹🌹🌹
Very close to the audience lol
Bravo Nicolai!
Wonderful! No disrespect to the several excellent women pianists I've heard recently on YT, but it's so good to see a manly man at the keyboard playing this manly music! I very much like his comments on the work, also. Bravo, Mr. Lugansky!
Couldn’t agree more!!! Certainly with Rach 1, someone like Anna Fedorova might be good, but Lughansky brings the power and almost ferocious nature needed for the cadenza. It is good to see such an amazing man play
😍♥️💗♥️💗♥️💐👏Maravilhoso
Please do Brahms 1!
ua-cam.com/video/xpoaE88NcSs/v-deo.html
Lorsque la main se soumet à l’esprit, que l’esprit trouve l’inspiration.
I like his abrasive playing
В конце 4 части почти джаз пошел)
27:15 ❤
I love his articulations and touches, but this is the first time I heard him played such a number of wrong notes 😅 looking forward to more of his performances of this work!
Also, Lugansky's description of Brahms op.83 is very touching and I agreed with him wholeheartedly.
p/s: is it my ears, or is the audio balancing of this recording totally off?
I think, not Your ears ..
I am not sure, if it's caused by the sound engineering or the piano (technician), but the lower tones are just humbling.
El pianista entró un poquitín casi imperceptible adelantado en el tiempo en la mismísima 1ra nota que tocó
Are you aware there's an unfortunate jump cut at 37:08 in the Andante? Several seconds missing. Otherwise, a wonderful upload and terrific playing as usual by Lugansky..
The unfortunate jump cut is unfortunately in the source...
Correction 1967, may or June
Beautiful performance. But I’d like to know name of orchestra, conductor and location of the performance , city and venue. My first hearing of this was in Moscow, with Richter the soloist, 1957.
2:30 was the bassonist drunk?
6:53 goddddddddd!!!!!!!!!
6:55
see how the cellist face looks in 2:38
Great performance but the damn camera cuts away from the keyboard way too much! there are many passages in this concerto that I like to watch played. The piano is the star of this concerto. All emphasis shod be on that instrument unless its resting. It drives me nuts, especially in the second movement. 21:28 to 22:31 is a good example.
Alors là, pour le coup, cameramen et micros d'enregistrement n'ont pas fait dans la discrétion... mais ça ne trouble pas le moins du monde notre pianiste vénéré et le public se retient difficilement d'applaudir au terme du 1er mouvement ! Toutefois, ici, l'orchestre est disposé d'une façon un peu singulière...
I thought he was a specialist in Russian music, but that wasn't it.
I don't know a single piano concerto before 1900 that is as notoriously difficult as this one, particularly when it comes to interlocking the piano part and the orchestral parts. Also the piano part is generally just bonkers and requires incredible technical skills. Lugansky is doing great (as always), but the orchestra is struggling badly, notably the woodwinds. For example, before the second theme in the orchestral exposition, the bassoons enter too early which really breaks the mood of the entire transition.
Very interesting comment. Try listening to Emanuel Ax sometime.
You did say 1900 in your comment, but I have to ask anyway: How does it compare to Rachmaninoff's Third?
@@1940limited I think I've heard Ax's once playing this, but I will give it another shot since you recommend it. I love his Haydn sonatas very much!
@@1940limited Rach 3 is from a technical standpoint probably the harder piece for pianists, especially considering the long run of it, the finale of Rach 3 is furiously difficult for the very mass of the piano part.
The hard part of Brahms 2 is I think how intricate the piano and orchestral parts are blended. Of course there is a lot of this in Rach 3 as well, but I would say that these parts are much more soloistic for the respective instruments in my impression or sometimes just more predictable in the way that Rachmaninov writes these beautiful waves of orchestral mass. That is of course somewhat placative as a breakdown. There are a lot of passages that have the similar difficulties like the ones in Brahms 2. But the latter is very hard for orchestras and soloists alike in the fashion that the orchstra is sometimes very reduced, but still making very essential contributions to the texture. Meanwhile, the pianist plays very hard stuff supported by these very fragile orchestral motions. The first movement in particular has this very weird structure before the pianist enters with the second theme in f minor. Few 'real' melodies, a lot of effects and a somewhat strange collage-style, many fragmented musical thoughts following each other (Brahms' way to develope material starts often with the tiniest and most elementary structures that only reveal themselves after thorough analysis). To make a coherent and intelligible whole of that is I think extremely difficult. The development has similar difficulties. Technically speaking, the danger is that if someone doesn't pay attention for a second or just plays like 'business as usual', this part can just fall flat on its face. The same goes for the glorious final bars of the exposition, this 'toccata'-like part in the piano is playable by itself, although it requires a lot of chromaticly rising jumps in the left hand. It's mean, because while practicing that part alone you won't anticipate how much you'd have to rush because of a thing that makes musical sense for a conductor, but not necessarily sense for you. That can sometimes cost valuable seconds because of the arm motions, and boom, the pizzicato strings are out of sync with you. Adding to that, the texture is exactly made so one can hear everything the piano plays. Which is just sneaky. These are of course just informed guesses, I have not personally played either of those concertos and chances are that I won't in my life time. I didn't hear a live recording where the pianist hits every bass octave and chord of the left hand correctly. Including Hamelin.
Still, Brahms 2 is a masterpiece. As is Rach 3 of course.
@@maniak1768 Thank you very much for that information. I'll pass it along to my brother who is the pianist in the family.
T
In contrast to a lot of other comments here, I feel like both Lugansky and the orchestra are really struggling with this piece. The orchestra is all over the place, and Lugansky seems to lack focus at more than a handful of places, making a bunch of mistakes in the first couple of movements and later throughout. I absolutely adore Lugansky as a performer and agree that he brings some creative interpretive aspects to this monument of a concerto, but it would be hard for me to say this particular performance is among my favorites. Makes me wonder if the orchestra really had enough time to rehearse with the soloist ahead of time.
Agree.
At what places do all of these mistakes and lack of focus occur? And when does the orchestra "play all over the place"?🤔😳😖👎
@@miltonmoore8369 sorry, what I’m saying is not a subjective assessment. I’d recommend downloading a copy of the score, studying it, listening to other recordings, maybe even playing some of it yourself (if you’re capable), and then coming back to this performance and following along with the score to see where things are a little sloppy. I’m not saying the performers don’t know what they’re doing or have questionable interpretations, but when the orchestra is out of sync with the soloist, or the soloist is making mistakes on their own, that’s simply a sign that they’re having an off night, didn’t rehearse enough together, or some combination thereof. It’s something that can happen to even the most experienced players and orchestras.
@@biggreenlzrd yeah, they definitely had an off night. I really hope Lugansky had other performances of this same work so we can listen to his interpretation and performance more objectively, instead of being distracted by mistakes and what's not. His articulation, clarity, and musical decisions were still there and still very intriguing and impressive despite the unlucky parts. But again, Brahms 2 is a work that the pianist had to get "lucky"...
Always try for an acceptable level of wrong notes.