Almost everything Sokolov plays is crystal clear. I am being continuously surprised by everything he does. I just can't grasp how he can produce such an effect from what is essentially a devoted study, meticulous practice and total technical and mechanical control. By these means he summons a world that is almost "natural". It is still a wonder to me. I had an honor to see him briefly after one of his concerts and the only thing I found fit to tell him was "Thank you for everything." I said it in Russian. By the way, is the quote from your channel yours, or you found it somewhere? I am pointing to "...i chose to delight myself once again with the more bourgeois, conservative, decadent and useless form of art...". I find this very true for myself.
@@nbharakey hi! the quote comes from an italian blog of opera lovers, where you can find useful information critique and stories about opera, vocal technique and state of the art of opera (corgrisi com). It was the beginning of a post written under pseudonym about a performance of some opera somewhere, and it perfectly captured what I feel every time I enter in a theater, that sense of decadent tradition (I like the sensation a lot). btw I listened again to this sokolov, and it's again really magic - hope I can listen to him live soon !
En 1996, j'avais 22 ans. Un jour je trouve OPS 30-103 chez O'CD TOURS. 17:16... Les Ballades pour piano, op. 10 ont été écrites par Johannes Brahms au cours de l'été 1854. Elles sont dédiées à Julius Otto Grimm et font partie des pièces de « jeunesse » du compositeur. Leur écriture est contemporaine de l'amour naissant de Brahms pour Clara Schumann, femme du célèbre compositeur qui est également l'ami et le protecteur du jeune Johannes. ...18:16 ...
I have a real issue with Ballade No. 4 and the rhythm in the B section with the triplet figure in the R.H. and the duplet figure in the L.H. Is this to be played 3 against 2? Because my issue with it is that in Bach whenever he had triplets in the R.H. and a duplet figure in the L.H. the 2nd note of the duplet played even with the 3rd note of the triplet in the R.H. Do you catch my meaning? If someone could illuminate this problem I have with the execution you’d be saving me a lot of confusion.
@@belabohacs6483 yes, thank you. Bach made the 3:2 much easier than what I would call the Romantic notion of the 3 in the span of 2 note beats. I would think Brahms would have intended this notion than Bach’s, but you may be right that Brahms was thinking of Bach when writing this.
My real issue with his No. 4 is that it's all intellectual, all planned, all the details perfectly exposed. No feeling, no soul whatsoever. the No. 1 is even worse. I remember Claudio Arrau's version; I fell in love with this music. I've already said this with respect to Sokolov's Opus 117; why play music you don't particularly like? Sokolov's so good with other composers. Too bad.
I rank this interpretation behind Glenn Gould's _(February 1982)_ and before those by ABM known to me _(live in Lugano, 1973 and 1981)_ . But when it comes to No. 4, I prefer an _" (Audio + Score)"_ version by Alfred Brendel that is on this platform.
"No affinity" is the problem. Everything is thought out, no feeling whatsoever. Sokolov is so good with so many composers, why does he play Brahms who he obviously doesn't like. Same problem with his Haydn.
@@alanleoneldavid1787 Thank you for saying that. I agree with you. I'm focusing on just Ballade #1 at the moment. I think it's beautiful--and how do you know that it's not emotional?
How did he play this without moving a muscle?
Truly a contemporary prodigy.
😂
Un miracle de grandeur de beauté et de profondeur... merci Maestro ! ❤️
all heart, all magic, all beauty
Thank you for uploading this.
So many colors...
the fourth is taken at a very large tempo, but I find it crystal clear and I like sokolov's interpretation. does someone agree?
Almost everything Sokolov plays is crystal clear. I am being continuously surprised by everything he does. I just can't grasp how he can produce such an effect from what is essentially a devoted study, meticulous practice and total technical and mechanical control. By these means he summons a world that is almost "natural". It is still a wonder to me.
I had an honor to see him briefly after one of his concerts and the only thing I found fit to tell him was "Thank you for everything." I said it in Russian.
By the way, is the quote from your channel yours, or you found it somewhere? I am pointing to "...i chose to delight myself once again with the more bourgeois, conservative, decadent and useless form of art...". I find this very true for myself.
@@nbharakey hi! the quote comes from an italian blog of opera lovers, where you can find useful information critique and stories about opera, vocal technique and state of the art of opera (corgrisi com). It was the beginning of a post written under pseudonym about a performance of some opera somewhere, and it perfectly captured what I feel every time I enter in a theater, that sense of decadent tradition (I like the sensation a lot).
btw I listened again to this sokolov, and it's again really magic - hope I can listen to him live soon !
第2番の最初の主題Fis-A-Fisの進行は、ブラームスのモットーであった「Frei aber froh(自由だが喜ばしく)」という言葉のイニシャルからとっているそうですよ
Браво!
Magnifico!
magnifico il pianista, non certo le musiche, tra le meno ispirate del musicista di amburgo.
En 1996, j'avais 22 ans. Un jour je trouve OPS 30-103 chez O'CD TOURS.
17:16... Les Ballades pour piano, op. 10 ont été écrites par Johannes Brahms au cours de l'été 1854. Elles sont dédiées à Julius Otto Grimm et font partie des pièces de « jeunesse » du compositeur. Leur écriture est contemporaine de l'amour naissant de Brahms pour Clara Schumann, femme du célèbre compositeur qui est également l'ami et le protecteur du jeune Johannes. ...18:16 ...
zo haalt hij de Andantes uit het Klavier; alsof ze breekbaar zijn....wat een prachtige foto van deze man....
😭😭
I have a real issue with Ballade No. 4 and the rhythm in the B section with the triplet figure in the R.H. and the duplet figure in the L.H. Is this to be played 3 against 2? Because my issue with it is that in Bach whenever he had triplets in the R.H. and a duplet figure in the L.H. the 2nd note of the duplet played even with the 3rd note of the triplet in the R.H. Do you catch my meaning? If someone could illuminate this problem I have with the execution you’d be saving me a lot of confusion.
@Théodore-Alexandre Coza good point. I've never liked the sound of two against three and I prefer the Baroque way of playing them evenly
@Théodore-Alexandre Coza yes I understood you. The romantic method was one of unevenness and not like the Baroque thanks for your help! 👍
@@CarlBowlby keep in mind, that Brahms was a huge Bach admirer...
@@belabohacs6483 yes, thank you. Bach made the 3:2 much easier than what I would call the Romantic notion of the 3 in the span of 2 note beats. I would think Brahms would have intended this notion than Bach’s, but you may be right that Brahms was thinking of Bach when writing this.
My real issue with his No. 4 is that it's all intellectual, all planned, all the details perfectly exposed. No feeling, no soul whatsoever. the No. 1 is even worse. I remember Claudio Arrau's version; I fell in love with this music. I've already said this with respect to Sokolov's Opus 117; why play music you don't particularly like? Sokolov's so good with other composers. Too bad.
I rank this interpretation behind Glenn Gould's _(February 1982)_ and before those by ABM known to me _(live in Lugano, 1973 and 1981)_ . But when it comes to No. 4, I prefer an _" (Audio + Score)"_ version by Alfred Brendel that is on this platform.
Le interruzioni pubblicitarie rovinano tutto
concordo, VERGOGNOSO!!!!!!!!!!!!
execrable?
If you feel that way, why put a question mark after your comment?
William Shakespeare:
Well said, Will. 😎🎹
I have the feeling that mr. Sokolov has no affinity with the darkness that's in Brahms' music sometimes. At least in this recording that is.
"No affinity" is the problem. Everything is thought out, no feeling whatsoever. Sokolov is so good with so many composers, why does he play Brahms who he obviously doesn't like. Same problem with his Haydn.
I agree Rik … the paces in general are to fast for my liking - and somewhat mechanical , perfect yes but mechanical
I don't get what would be wrong with this recording. Could do you explain with an example.. not subjective nonsense please
That won't be possible.
@@alanleoneldavid1787 Thank you for saying that. I agree with you. I'm focusing on just Ballade #1 at the moment. I think it's beautiful--and how do you know that it's not emotional?
comunque, dite quello che volete, ma io queste quattro ballate le considero tra le opere brahmsiane le meno riuscite, meno ispirate..........
Nooooooooooooo! ;)
@@alfonsobertazzi5867 Siiiiiiiiiiiiiiiiiii!!!!!!!!!!!Amo le opere 116,117,118,119!!!!!!!!!!!!!!!!!!!
I love them anyway