Yep, l'd not disagree. Although, having said that, l have a deep affection for his 2nd, imagining him playing it to the Schumanns after having knocked on their door...
For me, not just his best piano sonata but his best piano work! Of course he had other amazing works like variations, intermezzi, rhapsodies, capriccios etc., but this is the most ambitious work!
He wrote and performed this sonata when he was twenty years old!! Hard to believe!! This is perhaps the greatest piano sonata ever written along with Beethoven´s Appasionata.
@@paulfreeman4900 Hello. As far as I am concerned, the Hammerklavier is Beethoven's most ponderous sonata. It has never made me cry. It has never touched my heart.
@@dreamsdreams9493 Objectively speaking hammerklavier and op 111 are some of the greatest works of all time. They are masterpieces of masterpieces. When we talk about greatness it is not about what touches us. That is subjective. I for example, only have a weak point for Rachmaninoff. Does that mean he is the greatest composer of all time and everyone else is not as good as him? No! Greatness is used to define music that is well crafted not what “touches people” haha.
This is by far my favourite recording of this tremendous piece. The two other sonatas by Rösel are of the same calibre, that is to say amazing. It's a pity this pianist is so much underrated...
I think rhythmic/tempo inconsistencies in the first movement hurt the trueness of the music and the recording seems to be awkward to listen to. I love Radu Lupu's recording because of his deep tone and consistency with rubato and rhythmic integrity
@@SEkSkapela to play like this recording requires such incredible dedication and attention to detail and structure and yet at the same time without losing the fiery passion and warmth and rich serenity. Technically it's fairly straightforward for similar works of this calibre, but interpretation is another story.
The first time I heard it, about half way through the last page of the first movement I had to laugh (literally)... It's like an ultimate distillation of romanticism as far as I'm concerned.
Brahms, with Chopin and Liszt... Got something in common that only they have and i love it over other things on other composers. So they're my favorite composers... My next three favourite ones are Beethoven, Schubert and Mendelssohn, with no order any of the six.
A tremendous composition. Pianist Matthias Kirschnereit points out the following sequence: Love poem in the second, (somewhat muted) retrospective in the fourth movement. FAE (Frei aber einsam = free but lonely) in the melody at 27:40. It's a shame Rösel omits the three long D flats in the left hand from 28:49 onwards - the fact that you notice means that it takes away something substantial ...
One of the most pedantic, academic, and ossifying areas of musical commentary on UA-cam is that which swirls around the performances of piano sonatas; it bleeds a little bit into the discussion of the performers who perform concertos in live concert. The reasons that certain mediocre pianists recorded oodles of music, and the reasons that once in a generation pianists may have only been captured infrequently at best are complicated. So complicated in fact that heads up comparisons that aggrandize one pianist versus another are meaningless. Just let them all play and let us be grateful for what they all bring to the table. Thank you.
No estoy de acuerdo con su posición extrema ,hay críticas y críticas y no se trata siempre de pedantería ,cuando la crítica tiene fundamentos sería deshonesto no hacerla en pos de un buenismo ,”todo aporta “ naturalmente pero pueden ser aportes mejores y peores y en esto no nos pondremos jamás de acuerdo ,pero si una crítica es basada en en conocimiento real de la materia ,eso de una i otra forma se percibe u estando o no estando de acuerdo ,es respetable .Los mismos pianistas se expresan a veces mal de famosos colegas y esgrimen argumentos basados en un conocimiento profundo de la actividad,y como contrapartida los músicos aludidos tienen muy buenas razones para hacer lo que hacen,.El punto es según yo ,criticar algo con conocimientos reales ,criticar por criticar sin base ,solo porque no me gustó es insuficiente Este pianista en question en mi opinión tiene un sonido demasiado duro ,que no se condice con el sonido Brahmasiano,
I cannot help but notice the similarities of parts of this sonata to some of Alkan's earlier works such as his Op. 35 Etude No. 8. Parts of the beginning of the second movement (particularly around 11:21) seem to take some ideas from this etude of Alkan's published six years prior. For this other melody at 10:54, maybe I was mistaking a theme at that I actually heard from Moszkowski Op. 92 as having been written by Alkan; the melody could also be hidden in Alkan's Les Mois Op. 74, also composed at an earlier date. Even the shimmering effect accompanies it. Maybe it came from one of his Esquisses. Motifs in the first movement also have very close similarity to the first of Alkan's 25 Preludes Op. 31, written supposedly in 1844. The first movement also reminded me of some of Alkan's works for pedalier in terms of the bass. Whether these be by coincidence, I don't know, but 'tis interesting. I even remember from a previous experience hearing some themes in the latter two movements that sounded like parts of pieces that Alkan wrote later. Who knows if they happened to have at some points 'borrowed' ideas from each other? Mind even Brahms' quotation of the finale of Mendelssohn's Piano Trio No. 2 in his Scherzo movement. Even the bass work of the third movements reminds me of No. 3 of Alkan's Op. 16 Trois Etudes de Bravoure. More so as though the bass 'mood' originally posed by Alkan is reflected here. At 27:23, this both resembles a descending part within Alkan's Scherzo Focoso, else I last heard that pattern either in some Esquisse of Alkan's or even in Le Chemin de Fer, but most evidently in the turn of Op. 35 Etude No. 4.
I agree that there are similarities there, but I doubt that Brahms was a fan of Alkan or was very familiar with Op.35. The main ideas of the second movement are inspired by Beethoven's Pathetique. Although you absolutely could be right.
So here it is...bedtime on 1 May 2016, after listening to all three piano sonatas by Brahms, that you have uploaded. Strange that he never wrote a fourth one.
I've always thought that, too... Three sonatas by op. 5 but none after that?? Pretty sure based on accounts of him hoarding and/or even burning a lot of his manuscripts and notes, that he probably worked on at least a few more, probably some of them even to completion, which we'll never hear because he subsequently burned the scores 😥
Especially considering his self consciousness, and that he basically idolized Beethoven, and that Beethoven's sonatas were and are considered to be the ultimate in that form... No wonder, as hr grew and progressed as an artist, with that kind of character he would have found so many "flaws" in his writings later, and therefore would scrap them. Smaller forms that he moved to in the end (op.116-119) generally give the composer a lot more leeway (especially in that time period).
Schumann and Brahms loved one woman. Those two guys probably compared their love piano sonatas .. Whose masterpieces could be chosen by such a lovely woman???
The Scherzo of this Sonata shares some similar traits with the third movement of Schumann's 3rd Sonata in the same key. Brahms definitely quoted or at least was inspired by the latter's Sonata when composing this Sonata.
I liked enough to get rosel's box set also got katchen's box both well worth having, unexpected champions amongst other recordings of more familiar artists.
An incredible piece! It ranks with me with his 1st Symphony. Did you insert all those sheet music pages yourself, or did you use a program to follow the music?
+andychannelify No I manually made all these sheet music pages in MS Paint from the pdf score, and used Moviemaker to synchronize them with the music manually... a lot of work. Check my other uploads if you like these kind of sheet music videos! :)
*This comment is not original. I post it here for convenience, helping me and maybe you* First movement - Allegro maestoso 0:06 Theme 1. The first gestures of the theme are thunderous calls to attention. A low octave F leaps up to a descending harmonized figure in a dotted rhythm that is prominent throughout the movement: a long note followed by two very short ones. This leads to a loud chord on the third beat of the measure. Two more of these sequences follow, with the initial bass octaves moving down by half-step. The dotted figures and the following chords are also chromatic. After the three sequences, two more low octaves, continuing downward by half-step, are broken by a single higher chord on the second beat. Finally, a forceful cadence on the “dominant” note C, with both hands in the treble register, ends the initial statement. 0:22 A mysterious episode in C minor breaks up the forceful presentation of the theme. The right hand plays ominous chords in “straight” rhythm while the left hand plays open fifths and octaves, using a triplet rhythm that is similar to the short-short-short-long “fate” motive known from Beethoven’s Fifth Symphony. The second, higher five-bar phrase of the episode turns briefly to G minor, but it slows to a quiet full cadence on C major. The last chord has a fermata, indicating an indefinite pause. 0:51 A loud, zigzagging upbeat figure in octaves, another element that is extremely prominent in the movement, abruptly and jarringly transitions from the C-minor reverie back to the commanding main theme in F minor. Its outlines follow the first presentation, but now the left hand takes the original descending dotted rhythm by itself, and the chord on the third beat is replaced by a right hand figure, shooting up in very high octaves, that uses the same rhythm. The same type of figure replaces the chord that separates the two bass octaves in the measure that follows the three sequences. It also decorates the cadence on the “dominant,” which is now even more emphatic, with rolled chords and staggered hands. 1:02 Transition. The cadence on C leads smoothly to the “relative” major key (A-flat major). There, the right hand plays a noble, march-like tune in rich chords. Brahms marks it with the German expression “fest und bestimmt” (“firm and decisive”). The left hand unexpectedly plays the long-short-short figures from Theme 1, without harmony, still on the second beat, and no longer in a dotted rhythm. The short notes are lengthened from 32nd notes to sixteenth notes after a straight eighth note. The figure leaps up to a higher note, becoming almost melodic. The key very quickly turns to B-flat minor and the harmony includes dissonant “diminished” harmonies. These smoothly lead back to F, but now F major, as confirmed by the last left hand figure, whose rhythms are doubled in length. 1:18 A new, much quieter phrase of the same material begins in B-flat major, a key whose minor version was just heard. The march theme is played by the right hand in the tenor range. The long-short-short left hand figures derived from Theme 1 now alternate between the low bass and the high treble. The left hand crosses over the right for the treble statements. The leap up happens after the beat, and after the right hand changes harmony. In the bass statements, this leap is a fifth, in the treble statements, an octave. The chords that had closed the first phrase are manipulated to bring the harmony back through F minor to A-flat, where a highly expectant half-close is reached. This is repeated two octaves higher, even quieter and becoming slower. The expectant arrival back at A-flat brings this transitional material full circle. 1:35 Theme 2. The delayed second theme is marked con espressione. The right hand plays a gentle, but passionate melody, richly harmonized with moving internal voices. The left hand plays very widely spaced arpeggios with added high-low alternations over “pedal points.” After the first phrase in A-flat, a second follows in C-flat with added rolled chords. The high-low alternations take over completely in the left hand. The right hand shifts to full-measure chords, which steadily build, then become shorter and syncopated. The left hand alternations are now extremely wide. The chords approach an arrival point as the final key of the exposition is reached (D-flat major). 1:53 Climax. Rolled tenths and chords in the left hand incorporate a long-short rhythm underneath a tolling, joyous outburst in the right hand. The key of D-flat is triumphantly confirmed, but a cadence is avoided. The last figure of this climactic passage is repeated with an added triplet rhythm. 2:04 Closing passage. The music suddenly becomes quiet again. The right hand returns to material from the beginning of the Theme 2 melody, adding more chromatic motion. The left hand moves again to its very wide alternations, now over a long pedal point on A-flat. The end of the six-bar phrase seems to approach a cadence as it accelerates, then slows, and the left hand narrows as its top line moves down. The cadence is diverted by a full repetition of the entire phrase with both hands an octave lower. After the repetition, the warm cadence in D-flat finally arrives and is reiterated three times. Following this closure, the jagged, zigzagging upbeat figure in octaves heard at [m. 17] returns with an equally jarring effect, wrenching the music back to F minor for the repeat. 4:51 The F of the zigzag figure is diverted to F-sharp. Two inserted 4/4 measures follow. In them, Brahms alternates the zigzag figure in octaves between the right and left hands. In the first measure, it begins on A in both hands, and in the second, it starts on B-sharp (C-natural) and F-sharp. The key is heading to C-sharp minor, a direct shift in mode from the D-flat major at the end of the exposition. The octaves and the chords that accompany them are intense and almost wild. After the two 4/4 measures, another zigzag pattern begins in right hand octaves. It is extended, creating a great anticipation for an arrival on C-sharp that is intensified by the lengthening of this measure to an irregular 5/4. The left hand in this measure leaps up from low bass notes to more passionate rolled chords. 4:59 The prevailing 3/4 meter returns, and Theme 1 appears to begin in C-sharp minor. The bass line makes a chromatic half-step descent in octaves. After the first chord, minor reverts back to major, and after four of the long-short-short figures, the harmony lands on the “dominant” chord of C-sharp. The left hand then quiets and begins the triplet “fate” rhythm as heard in the C-minor episode at [m. 7]. 5:09 The episode from 0:22 [m. 7] is now heard in a C-sharp-minor variant. The “fate” triplets are in right hand octaves, holding steadily to the note G-sharp. The “straight” rhythm figures are now heard in both hands, in octaves in the left and single notes in the right. The figures in the right hand follow those in the left after a long first note at the beginning of the measure that harmonizes both the left hand figures and the octaves. After two measures, the figures in both hands come together in harmony. 5:22 The “fate” octaves move up to D-sharp, and the variant of the episode just heard is played a fifth higher, in G-sharp minor. 5:32 (m88) The key moves back to major, now again notated as D-flat. The right hand begins a very quiet syncopated rhythm that will remain in force for some time. At first, the note A-flat remains steady while a lower note is added and then moves to harmonies in seconds, thirds, and fourths. The first of these is a dissonant adjacent half-step. After three measures, beginning on an upbeat, a new and very soulful melody in D-flat major begins. It is in the tenor range and played by the left hand, which also adds supporting bass notes that are often rolled up to the continuing melody. The right hand continues with the syncopated pattern that had been established. A prominent chromatic note (C-flat) colors the melody. (not complete)
Very fine pianist who seems overly keen to show off every bar and rush through the sonata. Much prefer Radu Lupu's soulful, emotionally mature interpretation.
I hate to ask, but on your old channel it sounded like this was a different recording. Is that true? Still love it, but I feel some of the pauses and hesitations in the scherzo are too long. Thanks for the great content!
The uploader is only indicating that the first volta had been already played once and now the pianist will play the second volta after the repeat. That's all.
When dynamics change so fast I get the feeling a composer is undecided about how to proceed. Delaying, while he figures out what comes next. That spells boredom....
I agree. There isn't much in this sonata that feels light and airy to me. Rather, Brahms uses quite a bit of dark texture and mood, mixed with the dramatic tensions of the piece. But ultimately you can see how heroic it becomes in the way it reaches tense climaxes and a victorious end. Quite reminiscent of Beethoven...
While Beethoven uses one theme exhaustively over and over and over, Brahms on the other hand uses no theme at all. It’s a mix of tiny mini themes that dissipate without connection. That is why Chopin will always be the greatest of all! Followed by Rachmaninov. That’s it!
I don’t really agree with you… I know brahms is hard to get into but once you really analyze you works you realize what a genius he is. Same with Beethoven.
Do you understand what a theme is? A theme doesn't have to be a melody. If you don't understand something this basic, you have no place to talk about music.
It's not that awful and I see why people would like listening to this recording. What I personally dislike about this recording is the constant use of rubato which sometimes becomes too much for my liking. Take the moment at around 06:40, I wouldn't change tempo at subito pp. A Zaesur yes, but to express pianissimo you don't necessarily need to lower tempo.
12:36 on of the most beautiful passages ever written for the piano
For me, his best Piano Sonata, a monument of music!
Yep, l'd not disagree. Although, having said that, l have a deep affection for his 2nd, imagining him playing it to the Schumanns after having knocked on their door...
For me, not just his best piano sonata but his best piano work! Of course he had other amazing works like variations, intermezzi, rhapsodies, capriccios etc., but this is the most ambitious work!
@@CatkhosruShapurrjiFurabji Yes, you can really feel Brahms' youthful fire and symphonic ideas in this sonata.
Yess!!
This piece establishes that there's no such thing as "casual" Brahms or "Brahms light"!
Discovered this channel a few days ago. Would just like to thank the uploader for the amazing music and transcriptions!
+Joshua Harper You're very welcome!
FYI: This transcription can even be printed ...
@@olla-vogala4090 1
Very truly! I appreciate the time taken to compile works like this. It always helps me when considering rep.
He wrote and performed this sonata when he was twenty years old!! Hard to believe!! This is perhaps the greatest piano sonata ever written along with Beethoven´s Appasionata.
and they both are in F Minor))
What about the Hammerklavier?
@@paulfreeman4900
Hello. As far as I am concerned, the Hammerklavier is Beethoven's most ponderous sonata.
It has never made me cry.
It has never touched my heart.
@@dreamsdreams9493 Objectively speaking hammerklavier and op 111 are some of the greatest works of all time. They are masterpieces of masterpieces. When we talk about greatness it is not about what touches us. That is subjective. I for example, only have a weak point for Rachmaninoff. Does that mean he is the greatest composer of all time and everyone else is not as good as him? No! Greatness is used to define music that is well crafted not what “touches people” haha.
@@op-th1yx
In my view, sonata 28 in A major is far more profound and far more melodic than the Hammerklavier.
This is by far my favourite recording of this tremendous piece. The two other sonatas by Rösel are of the same calibre, that is to say amazing. It's a pity this pianist is so much underrated...
I think rhythmic/tempo inconsistencies in the first movement hurt the trueness of the music and the recording seems to be awkward to listen to. I love Radu Lupu's recording because of his deep tone and consistency with rubato and rhythmic integrity
Nyiregyházi is the best.
@@tylermeade1545 I think you can compare this rendition with Mark Anderson's or Hélène Grimaud, very remarkable IMHO :S
@@rumataastorskiy5734100% agree!! :)
12:36 Such an evocative moment with the nostalgic i-v-VI-III progression.
i-v-VI-iv is even more nostalgic
Yes. Although technically its vi-iii-IV-I.
What most What intrigues me most about Brahms is the amount of ideas and the supernatural intelligence with which it is all arranged
Probably the best piano sonata I know. Brahms is simply outstanding.
well, it's crazily hard to make it sound oustanding-ish-ly, Brahms probably didn't like pianists :)
@@SEkSkapela to play like this recording requires such incredible dedication and attention to detail and structure and yet at the same time without losing the fiery passion and warmth and rich serenity. Technically it's fairly straightforward for similar works of this calibre, but interpretation is another story.
Listen to scriabin. Or literally anuthing else, this is terrible.
@@Whatismusic123blud said listen to Scriabin 😅
Dang I love this sonata. That first movement is so lovely.
The first time I heard it, about half way through the last page of the first movement I had to laugh (literally)... It's like an ultimate distillation of romanticism as far as I'm concerned.
Me too
ブラームスの若き日の傑作ですね。配信ありがとうございます。
Brahms, with Chopin and Liszt... Got something in common that only they have and i love it over other things on other composers. So they're my favorite composers... My next three favourite ones are Beethoven, Schubert and Mendelssohn, with no order any of the six.
Beautiful list
Quite energetic.
This piece changes my stand on bramhs's piano sonatas from negative to positive direction.
FY.
@@jansnauwaert1785 You too bae.
@@segmentsAndCurves..
We meet again lmao
Expect this a frequent occasion lol
Un capolavoro 'sturm und drang' del giovane Brahms, che fa concorrenza alla prima di Schumann.Grande sonata.
A tremendous composition. Pianist Matthias Kirschnereit points out the following sequence: Love poem in the second, (somewhat muted) retrospective in the fourth movement. FAE (Frei aber einsam = free but lonely) in the melody at 27:40. It's a shame Rösel omits the three long D flats in the left hand from 28:49 onwards - the fact that you notice means that it takes away something substantial ...
I just found out about the video of Cyprien Katsaris playing this masterpiece: maybe THE most masterful performance ever !!
I think Peter Rosel's is better, more 'classical' I guess you can say.
One of the most pedantic, academic, and ossifying areas of musical commentary on UA-cam is that which swirls around the performances of piano sonatas; it bleeds a little bit into the discussion of the performers who perform concertos in live concert. The reasons that certain mediocre pianists recorded oodles of music, and the reasons that once in a generation pianists may have only been captured infrequently at best are complicated. So complicated in fact that heads up comparisons that aggrandize one pianist versus another are meaningless. Just let them all play and let us be grateful for what they all bring to the table. Thank you.
No estoy de acuerdo con su posición extrema ,hay críticas y críticas y no se trata siempre de pedantería ,cuando la crítica tiene fundamentos sería deshonesto no hacerla en pos de un buenismo ,”todo aporta “ naturalmente pero pueden ser aportes mejores y peores y en esto no nos pondremos jamás de acuerdo ,pero si una crítica es basada en en conocimiento real de la materia ,eso de una i otra forma se percibe u estando o no estando de acuerdo ,es respetable .Los mismos pianistas se expresan a veces mal de famosos colegas y esgrimen argumentos basados en un conocimiento profundo de la actividad,y como contrapartida los músicos aludidos tienen muy buenas razones para hacer lo que hacen,.El punto es según yo ,criticar algo con conocimientos reales ,criticar por criticar sin base ,solo porque no me gustó es insuficiente
Este pianista en question en mi opinión tiene un sonido demasiado duro ,que no se condice con el sonido Brahmasiano,
ma sonate préférée de brahms , une vraie merveille , le pianiste est magique ,, merci
Sounds gorgeous
18:35 Harmonies du Soir
I cannot help but notice the similarities of parts of this sonata to some of Alkan's earlier works such as his Op. 35 Etude No. 8. Parts of the beginning of the second movement (particularly around 11:21) seem to take some ideas from this etude of Alkan's published six years prior. For this other melody at 10:54, maybe I was mistaking a theme at that I actually heard from Moszkowski Op. 92 as having been written by Alkan; the melody could also be hidden in Alkan's Les Mois Op. 74, also composed at an earlier date. Even the shimmering effect accompanies it. Maybe it came from one of his Esquisses. Motifs in the first movement also have very close similarity to the first of Alkan's 25 Preludes Op. 31, written supposedly in 1844. The first movement also reminded me of some of Alkan's works for pedalier in terms of the bass.
Whether these be by coincidence, I don't know, but 'tis interesting. I even remember from a previous experience hearing some themes in the latter two movements that sounded like parts of pieces that Alkan wrote later. Who knows if they happened to have at some points 'borrowed' ideas from each other? Mind even Brahms' quotation of the finale of Mendelssohn's Piano Trio No. 2 in his Scherzo movement. Even the bass work of the third movements reminds me of No. 3 of Alkan's Op. 16 Trois Etudes de Bravoure. More so as though the bass 'mood' originally posed by Alkan is reflected here.
At 27:23, this both resembles a descending part within Alkan's Scherzo Focoso, else I last heard that pattern either in some Esquisse of Alkan's or even in Le Chemin de Fer, but most evidently in the turn of Op. 35 Etude No. 4.
It would be interesting to know if these two composers ever got to meet eachother or what they thought of each other's work
I agree that there are similarities there, but I doubt that Brahms was a fan of Alkan or was very familiar with Op.35. The main ideas of the second movement are inspired by Beethoven's Pathetique. Although you absolutely could be right.
The last bars... Great!
Certainly are.
Surprisingly good recording. Especially in terms of the form, structure...
Nice Amen at the end!
Just want to thank you for the uploads!
これは神作品過ぎる！出会えた事に感謝！ブラームスよありがとう！
Brahms was a fully formed master right from his first published works. Only 20 years old.
So here it is...bedtime on 1 May 2016, after listening to all three piano sonatas by Brahms, that you have uploaded. Strange that he never wrote a fourth one.
+Harry Andruschak I'm happy that you did, Harry, and that I could provide this music for you to listen to!
I've always thought that, too... Three sonatas by op. 5 but none after that??
Pretty sure based on accounts of him hoarding and/or even burning a lot of his manuscripts and notes, that he probably worked on at least a few more, probably some of them even to completion, which we'll never hear because he subsequently burned the scores 😥
Especially considering his self consciousness, and that he basically idolized Beethoven, and that Beethoven's sonatas were and are considered to be the ultimate in that form... No wonder, as hr grew and progressed as an artist, with that kind of character he would have found so many "flaws" in his writings later, and therefore would scrap them. Smaller forms that he moved to in the end (op.116-119) generally give the composer a lot more leeway (especially in that time period).
Check out the 2 piano sonata op. 34b. That’s amazing, and scratches the Brahms piano sonata itch.
The tempo is perfect. I love it.
00:06
09:48
19:09
23:23
26:49
31:42 Compare to Schumann's third piano sonata, second movement
Schumann and Brahms loved one woman.
Those two guys probably compared their love piano sonatas ..
Whose masterpieces could be chosen by such a lovely woman???
Brahms must have dozens of references to Schumann throughout his work
This is some very nice music here
Rösel plays these sonatas better than anyone else
I can't help but think that the Intermezzo movement was perhaps inspired by the slow movement of Beethoven's "Tempest" Sonata.
Yeah I thought I had heard something similar in another sonata. Good pickup
Thanks so much for the upload!
+bleVegeta You're welcome!
7:03, 17:05, 31:43, 33:07
I just know Brahms was so hyped when he composed the transition at 32:10
The Scherzo of this Sonata shares some similar traits with the third movement of Schumann's 3rd Sonata in the same key. Brahms definitely quoted or at least was inspired by the latter's Sonata when composing this Sonata.
Yes. Although the more direct inspiration is the last movement of Mendelssohn's 2nd piano trio.
Arrau commented on the greatness of Rubenstein's recording, I quite like this recording too.
I liked enough to get rosel's box set also got katchen's box both well worth having, unexpected champions amongst other recordings of more familiar artists.
Brahms here. I approved this performance🎉🎉🎉🎉🎉❤❤❤
i was looking for the scherzo i heard on the radio once it blew my mind
The interplay of 4s and 3s in the final movement made me laugh out loud. Terrific!
8:50 to 9:43. Awesome.
An incredible piece! It ranks with me with his 1st Symphony.
Did you insert all those sheet music pages yourself, or did you use a program to follow the music?
+andychannelify No I manually made all these sheet music pages in MS Paint from the pdf score, and used Moviemaker to synchronize them with the music manually... a lot of work. Check my other uploads if you like these kind of sheet music videos! :)
Why not take snippets of the PDF?
12:36 ❤️
I was thinking of orchestrating this, any ideas?
I was also thinking the same thing!
Please do it orchestrate this fantastic sonata. I will be happy to hear it...I love Brahms...a genius of great creativity and surely a great pianist.
Good luck!
Any progress?
19:07
*This comment is not original. I post it here for convenience, helping me and maybe you*
First movement - Allegro maestoso
0:06 Theme 1. The first gestures of the theme are thunderous calls to attention. A low octave F leaps up to a descending harmonized figure in a dotted rhythm that is prominent throughout the movement: a long note followed by two very short ones. This leads to a loud chord on the third beat of the measure. Two more of these sequences follow, with the initial bass octaves moving down by half-step. The dotted figures and the following chords are also chromatic. After the three sequences, two more low octaves, continuing downward by half-step, are broken by a single higher chord on the second beat. Finally, a forceful cadence on the “dominant” note C, with both hands in the treble register, ends the initial statement.
0:22 A mysterious episode in C minor breaks up the forceful presentation of the theme. The right hand plays ominous chords in “straight” rhythm while the left hand plays open fifths and octaves, using a triplet rhythm that is similar to the short-short-short-long “fate” motive known from Beethoven’s Fifth Symphony. The second, higher five-bar phrase of the episode turns briefly to G minor, but it slows to a quiet full cadence on C major. The last chord has a fermata, indicating an indefinite pause.
0:51 A loud, zigzagging upbeat figure in octaves, another element that is extremely prominent in the movement, abruptly and jarringly transitions from the C-minor reverie back to the commanding main theme in F minor. Its outlines follow the first presentation, but now the left hand takes the original descending dotted rhythm by itself, and the chord on the third beat is replaced by a right hand figure, shooting up in very high octaves, that uses the same rhythm. The same type of figure replaces the chord that separates the two bass octaves in the measure that follows the three sequences. It also decorates the cadence on the “dominant,” which is now even more emphatic, with rolled chords and staggered hands.
1:02 Transition. The cadence on C leads smoothly to the “relative” major key (A-flat major). There, the right hand plays a noble, march-like tune in rich chords. Brahms marks it with the German expression “fest und bestimmt” (“firm and decisive”). The left hand unexpectedly plays the long-short-short figures from Theme 1, without harmony, still on the second beat, and no longer in a dotted rhythm. The short notes are lengthened from 32nd notes to sixteenth notes after a straight eighth note. The figure leaps up to a higher note, becoming almost melodic. The key very quickly turns to B-flat minor and the harmony includes dissonant “diminished” harmonies. These smoothly lead back to F, but now F major, as confirmed by the last left hand figure, whose rhythms are doubled in length.
1:18 A new, much quieter phrase of the same material begins in B-flat major, a key whose minor version was just heard. The march theme is played by the right hand in the tenor range. The long-short-short left hand figures derived from Theme 1 now alternate between the low bass and the high treble. The left hand crosses over the right for the treble statements. The leap up happens after the beat, and after the right hand changes harmony. In the bass statements, this leap is a fifth, in the treble statements, an octave. The chords that had closed the first phrase are manipulated to bring the harmony back through F minor to A-flat, where a highly expectant half-close is reached. This is repeated two octaves higher, even quieter and becoming slower. The expectant arrival back at A-flat brings this transitional material full circle.
1:35 Theme 2. The delayed second theme is marked con espressione. The right hand plays a gentle, but passionate melody, richly harmonized with moving internal voices. The left hand plays very widely spaced arpeggios with added high-low alternations over “pedal points.” After the first phrase in A-flat, a second follows in C-flat with added rolled chords. The high-low alternations take over completely in the left hand. The right hand shifts to full-measure chords, which steadily build, then become shorter and syncopated. The left hand alternations are now extremely wide. The chords approach an arrival point as the final key of the exposition is reached (D-flat major).
1:53 Climax. Rolled tenths and chords in the left hand incorporate a long-short rhythm underneath a tolling, joyous outburst in the right hand. The key of D-flat is triumphantly confirmed, but a cadence is avoided. The last figure of this climactic passage is repeated with an added triplet rhythm.
2:04 Closing passage. The music suddenly becomes quiet again. The right hand returns to material from the beginning of the Theme 2 melody, adding more chromatic motion. The left hand moves again to its very wide alternations, now over a long pedal point on A-flat. The end of the six-bar phrase seems to approach a cadence as it accelerates, then slows, and the left hand narrows as its top line moves down. The cadence is diverted by a full repetition of the entire phrase with both hands an octave lower. After the repetition, the warm cadence in D-flat finally arrives and is reiterated three times. Following this closure, the jagged, zigzagging upbeat figure in octaves heard at [m. 17] returns with an equally jarring effect, wrenching the music back to F minor for the repeat.
4:51 The F of the zigzag figure is diverted to F-sharp. Two inserted 4/4 measures follow. In them, Brahms alternates the zigzag figure in octaves between the right and left hands. In the first measure, it begins on A in both hands, and in the second, it starts on B-sharp (C-natural) and F-sharp. The key is heading to C-sharp minor, a direct shift in mode from the D-flat major at the end of the exposition. The octaves and the chords that accompany them are intense and almost wild. After the two 4/4 measures, another zigzag pattern begins in right hand octaves. It is extended, creating a great anticipation for an arrival on C-sharp that is intensified by the lengthening of this measure to an irregular 5/4. The left hand in this measure leaps up from low bass notes to more passionate rolled chords.
4:59 The prevailing 3/4 meter returns, and Theme 1 appears to begin in C-sharp minor. The bass line makes a chromatic half-step descent in octaves. After the first chord, minor reverts back to major, and after four of the long-short-short figures, the harmony lands on the “dominant” chord of C-sharp. The left hand then quiets and begins the triplet “fate” rhythm as heard in the C-minor episode at [m. 7].
5:09 The episode from 0:22 [m. 7] is now heard in a C-sharp-minor variant. The “fate” triplets are in right hand octaves, holding steadily to the note G-sharp. The “straight” rhythm figures are now heard in both hands, in octaves in the left and single notes in the right. The figures in the right hand follow those in the left after a long first note at the beginning of the measure that harmonizes both the left hand figures and the octaves. After two measures, the figures in both hands come together in harmony.
5:22 The “fate” octaves move up to D-sharp, and the variant of the episode just heard is played a fifth higher, in G-sharp minor.
5:32 (m88) The key moves back to major, now again notated as D-flat. The right hand begins a very quiet syncopated rhythm that will remain in force for some time. At first, the note A-flat remains steady while a lower note is added and then moves to harmonies in seconds, thirds, and fourths. The first of these is a dissonant adjacent half-step. After three measures, beginning on an upbeat, a new and very soulful melody in D-flat major begins. It is in the tenor range and played by the left hand, which also adds supporting bass notes that are often rolled up to the continuing melody. The right hand continues with the syncopated pattern that had been established. A prominent chromatic note (C-flat) colors the melody.
(not complete)
The theme of 2nd mvt sounds like Beethoven’s one from 8th sonata 2nd mvt
Yeah
Very fine pianist who seems overly keen to show off every bar and rush through the sonata. Much prefer Radu Lupu's soulful, emotionally mature interpretation.
17:09 banger
I too played this sonata at 20 yo, however I couldn’t write it. ❤
11:56, 12:36 🥰😫
Tool MUST have used Brahms' music as inspiration.
I hate to ask, but on your old channel it sounded like this was a different recording. Is that true? Still love it, but I feel some of the pauses and hesitations in the scherzo are too long. Thanks for the great content!
+Greg Eckhardt No, this is exactly the same recording...
3:57 this bit sounds like the theme from Elgar's first symphony.
Is nobody going to talk about 17:13 ?
It's amazing isn't it
@@finleycampbell2756 yesss!
Some otherworldly shit! Love it!
Am I the only one to notice similarity in Scriabine Fantasy and the 4th movement?
The Intermezzo reminds me of Clara Schumann's Romance in B minor
19:40, 27:40
I have figured out why he has the 6/4 measure at the end of the first movement. Phrasing, maybe?
+ClassicMusicVids I think so, because 6/4 usually has a subdivision of 1-2-1-2-1-2.
This is true, but it still makes an interesting addition to the the flow of the movement.
Wrong, 6/4 has the subdivision of 1-2-3-1-2-3 whilst 3/2 has the subdivision of 1-2-1-2-1-2
+Tom Russle That doesn't really matter as it is just 6 quarter notes, 3 half notes, 12 eight notes, and so on.
It actually does matter, it's the same as 6/8, 3/4 and 12/16, you can't say those are the same
若い頃のブラームスは情熱家
Is it a bit fast…?
No
4:51 what
fucking amazing part, so extroverted.
@@Marco-hu7no ikr
The uploader is only indicating that the first volta had been already played once and now the pianist will play the second volta after the repeat. That's all.
When dynamics change so fast I get the feeling a composer is undecided about how to proceed. Delaying, while he figures out what comes next. That spells boredom....
Every comment of yours I've seen so far has been nonsensical.
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Advertisement in the middle of the Sonata ?? What a lack of good taste...
Quelqu’un peut il m’aider à aimer cette sonate ? J’ai vraiment du mal.
29:52, 32:20
브람스의 기억 속을 걷다
Im here because i’m currently reading shamo
It's a little bit scary music. 😨
I agree. There isn't much in this sonata that feels light and airy to me. Rather, Brahms uses quite a bit of dark texture and mood, mixed with the dramatic tensions of the piece. But ultimately you can see how heroic it becomes in the way it reaches tense climaxes and a victorious end. Quite reminiscent of Beethoven...
20:24
wen temita mi loko
Lol Schumann 3 references
32:54
While Beethoven uses one theme exhaustively over and over and over, Brahms on the other hand uses no theme at all. It’s a mix of tiny mini themes that dissipate without connection. That is why Chopin will always be the greatest of all! Followed by Rachmaninov. That’s it!
I don’t really agree with you… I know brahms is hard to get into but once you really analyze you works you realize what a genius he is. Same with Beethoven.
Every "mini theme" in this work organically develop out of the very first theme.
Do you understand what a theme is? A theme doesn't have to be a melody. If you don't understand something this basic, you have no place to talk about music.
@@antiksur8883 For some people, good music means "tune I can whistle in the shower". There's no point arguing with them about subtleties.
@@mrtchaikovsky I can whistle brahms
He is incapable of creating music.
jealous
This recording is horrendous!
Uh….could you explain why? This is my favorite recording of this sonata so I’d like to understand where you’re coming from.
Totally disagree
It's not that awful and I see why people would like listening to this recording. What I personally dislike about this recording is the constant use of rubato which sometimes becomes too much for my liking. Take the moment at around 06:40, I wouldn't change tempo at subito pp. A Zaesur yes, but to express pianissimo you don't necessarily need to lower tempo.
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