브람스피아노소나타2번
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Yekwon Sunwoo : Brahms Piano Sonata No.2
선우예권 브람스 피아노 소나타 2번
Yekwon Sunwoo
J.Brahms : Piano Sonata No.2 in F# minor, Op.2
17.7.2018
(Source: )
* Performance at Gewandhaus (21.4.2018)
서연 : 브람스 소나타 첨 들었는데 좋다
피아노 : 이 소나타가 이렇게 감미롭게 들리다니요
선우예권님 존경입니다
Shen Tseng : Extraordinary!
PRO_48 : 아잉♡♡
godlove6980 : Miss you, YK
Brahms: Sonata No.2 in F-sharp minor, Op.2 (Zimerman)
A marvellous performance of a beautifully constructed sonata. As is usually the case with Brahms, if you come here looking for sugary melodies or passages of sparking brilliance you’ll be disappointed. Brahms, even at the young age at which he wrote this sonata, was (astoundingly) already too musically mature for that. What Brahms *does* offer is here, however, is immensely rewarding– an expressive directness that if handled clumsily comes across as crudity (but which Zimerman handles perfectly), and a sense of structure and logic that is absolutely self-assured, even unshakeable. [One example: the third movement is the fourth variation of the second movement!] Although you’ll often hear this sonata (the first Brahms wrote, though published as the second) described as a juvenile work, full of bombast, that assessment strikes me as being very far off the mark: consider the desolate, minimalist beauty of the second movement, its late-Beethoveneque sense of deconstuctive stillness, and you realise there’s nothing bombastic about this work at all.
00:00 – Mvt 1, Allegro non troppo ma energico. A brooding movement in conventional sonata-allegro form. Brahms strenuously resists dwelling for long in any well-defined mood here, and Zimerman perfectly captures the profound sense of unease that pervades this movement. Note how the restatement of Theme 1 in the recapitulation is altered to be more dissonant and unsettling, a striking decision for a section that is supposed to bring the movement to a close.
06:09 – Mvt 2, Andante con espressione. A theme and variations based on a German song. The melody is vanishingly skeletal, based on a stark call-and-response structure. At the end of the third variation, the music comes to rest on the dominant, achingly unresolved. Brahms directs the performer to move straight on to the scherzo, which is really the fourth variation on the theme. Zimerman’s playing generates an incredible sense of disintegration, of falling-apart. Even the high syncopated responses of the second variation and the aching-toward-lushness of the third variation sound disturbing.
12:28 – Mvt 3, Scherzo. The opening call-and-response of Mvt 2 is simply transferred to the 6/8 meter. The calls are played in octaves, the responses in much higher harmonies. Unusually, the trio is a lot longer than the scherzo, and contains numerous beautiful and deceptive shifts to minor where a major key is expected, generating a modal sense of placid calm.
17:01 – Mvt 4, Finale. Usually, this is by far and away the most substantial movement of the work, beginning with a lengthy introduction, whose subject is also the first theme of this movement – although in the exposition the theme now opens with a biting half-step dissonance. The exposition here gets a full repeat (unlike that of Mvt 1). In the recapitulation, Theme 1 has subtle variations in the harmony and accompaniment from its initial presentation, but the most striking variation is in the second phrase, where Brahms seems to want to shift everything up a half-step, but then quickly moves back home at the trill and cadence, which is extended a bar with broken arpeggios. The development is also spectacular, featuring modulations which appear to overshoot their mark, only to find their way rapidly home. Even the ending of this movement is mysterious: the bottom F-sharp of the closing scale, hushed and secretive, is followed by two suddenly loud, jarring rolled F-sharp major chords, and the slow coda has the effect of arresting, rather than fulfilling the movement’s progress. Zimerman rises to the remarkable structural demands of this movement, handling this movement’s vast textural terrain with great confidence [see 26:28, etc].
Ashish Xiangyi Kumar : Re the reupload queries: there were some terrible sync issues with the exposition of the last movement in the previous video, so you gotta do what you gotta do.
durcheinander : Zimerman's sound is always so balanced: open and full, yet soft and elegant. That's something I've hardly heard in any pianist. Holy shit, I really can't get over how amazing he is.
Merek R : When the Schumann's heard this and the actual 2nd piano sonata, Robert was overwhelmed by the orchestral nature and maturity of Brahms. Even at a young age (actually composed at 18 yrs - Swafford ) Brahms shows such an acumen for structure and form. What it must have sounded to hear such a young genius play this masterwork!
Jack of all trades : I've never heard Brahms write anything like the second movement to this. Extraordinary. Crystalline and atmospheric; richly colored with chromaticism and punctuated with dissonance, it pulses with a sort of ethereal energy that glows and quivers in the darkness. The depth of emotion here is quite unbelievable when you look at the conciseness of the construction. Again. Extraordinary.
Guy Kruger : This is sooooo beautiful!!!! I love Brahms so much!!
브람스 - 피아노 협주곡 2번 / 폴리니
Brahms - Piano Concerto No.2 in B♭ Major, Op.83
00:25 - I. Allegro non troppo
17:30 - II. Allegro appassionato
26:33 - III. Andante
39:13 - IV. Allegretto grazioso
마우리찌오 폴리니 (피아노)
빈 필하모니 관현악단 / 클라우디오 아바도
# 1977 년
Maurizio Pollini (pf.)
Wiener Philharmoniker / Claudio Abbado
# 1977
============== ▼ BLOG ▼ ==============
http://blog.naver.com/naddolki/50184706794
인기 김 : 브람스다운 진지함이 묻어나는 곡입니다.
David Chang : So incredible!!
PARK화려한 나날 : 첫머리에 호른의 잔잔한 인트로가 흐르고 나서 피아노 선율이 흘러 나왔다. 그 연주를 듣고 있으려니 웬일인지 몸속의 피로가 쑥 빠져나가는 듯이 느껴졌다. '나는 지금 치유되고 있다'는 것을 확실히 얄 수 있었다. 세포의 구석구석에 찌들어 붙어 있던 피폐함이 하나씩 씻겨지듯 사라져갔다. 나는 거의 꿈꾸는 듯한 기분으로 음악을 들었다.
무라카미 하루키 "비밀의 숲"중 음악의 효용편에서
Jh Koh : 이곡의 도이치그라모폰 CD 표지 그림이 '달밤' 그림인데 달밤처럼 너무 찬란하고 처절하게 아름답습니다.
hohohohoho mi : 폴리니 연주 엄청나네요
선우예권 브람스 피아노 소나타 2번
Yekwon Sunwoo
J.Brahms : Piano Sonata No.2 in F# minor, Op.2
17.7.2018
(Source: )
* Performance at Gewandhaus (21.4.2018)
서연 : 브람스 소나타 첨 들었는데 좋다
피아노 : 이 소나타가 이렇게 감미롭게 들리다니요
선우예권님 존경입니다
Shen Tseng : Extraordinary!
PRO_48 : 아잉♡♡
godlove6980 : Miss you, YK
Brahms: Sonata No.2 in F-sharp minor, Op.2 (Zimerman)
A marvellous performance of a beautifully constructed sonata. As is usually the case with Brahms, if you come here looking for sugary melodies or passages of sparking brilliance you’ll be disappointed. Brahms, even at the young age at which he wrote this sonata, was (astoundingly) already too musically mature for that. What Brahms *does* offer is here, however, is immensely rewarding– an expressive directness that if handled clumsily comes across as crudity (but which Zimerman handles perfectly), and a sense of structure and logic that is absolutely self-assured, even unshakeable. [One example: the third movement is the fourth variation of the second movement!] Although you’ll often hear this sonata (the first Brahms wrote, though published as the second) described as a juvenile work, full of bombast, that assessment strikes me as being very far off the mark: consider the desolate, minimalist beauty of the second movement, its late-Beethoveneque sense of deconstuctive stillness, and you realise there’s nothing bombastic about this work at all.
00:00 – Mvt 1, Allegro non troppo ma energico. A brooding movement in conventional sonata-allegro form. Brahms strenuously resists dwelling for long in any well-defined mood here, and Zimerman perfectly captures the profound sense of unease that pervades this movement. Note how the restatement of Theme 1 in the recapitulation is altered to be more dissonant and unsettling, a striking decision for a section that is supposed to bring the movement to a close.
06:09 – Mvt 2, Andante con espressione. A theme and variations based on a German song. The melody is vanishingly skeletal, based on a stark call-and-response structure. At the end of the third variation, the music comes to rest on the dominant, achingly unresolved. Brahms directs the performer to move straight on to the scherzo, which is really the fourth variation on the theme. Zimerman’s playing generates an incredible sense of disintegration, of falling-apart. Even the high syncopated responses of the second variation and the aching-toward-lushness of the third variation sound disturbing.
12:28 – Mvt 3, Scherzo. The opening call-and-response of Mvt 2 is simply transferred to the 6/8 meter. The calls are played in octaves, the responses in much higher harmonies. Unusually, the trio is a lot longer than the scherzo, and contains numerous beautiful and deceptive shifts to minor where a major key is expected, generating a modal sense of placid calm.
17:01 – Mvt 4, Finale. Usually, this is by far and away the most substantial movement of the work, beginning with a lengthy introduction, whose subject is also the first theme of this movement – although in the exposition the theme now opens with a biting half-step dissonance. The exposition here gets a full repeat (unlike that of Mvt 1). In the recapitulation, Theme 1 has subtle variations in the harmony and accompaniment from its initial presentation, but the most striking variation is in the second phrase, where Brahms seems to want to shift everything up a half-step, but then quickly moves back home at the trill and cadence, which is extended a bar with broken arpeggios. The development is also spectacular, featuring modulations which appear to overshoot their mark, only to find their way rapidly home. Even the ending of this movement is mysterious: the bottom F-sharp of the closing scale, hushed and secretive, is followed by two suddenly loud, jarring rolled F-sharp major chords, and the slow coda has the effect of arresting, rather than fulfilling the movement’s progress. Zimerman rises to the remarkable structural demands of this movement, handling this movement’s vast textural terrain with great confidence [see 26:28, etc].
Ashish Xiangyi Kumar : Re the reupload queries: there were some terrible sync issues with the exposition of the last movement in the previous video, so you gotta do what you gotta do.
durcheinander : Zimerman's sound is always so balanced: open and full, yet soft and elegant. That's something I've hardly heard in any pianist. Holy shit, I really can't get over how amazing he is.
Merek R : When the Schumann's heard this and the actual 2nd piano sonata, Robert was overwhelmed by the orchestral nature and maturity of Brahms. Even at a young age (actually composed at 18 yrs - Swafford ) Brahms shows such an acumen for structure and form. What it must have sounded to hear such a young genius play this masterwork!
Jack of all trades : I've never heard Brahms write anything like the second movement to this. Extraordinary. Crystalline and atmospheric; richly colored with chromaticism and punctuated with dissonance, it pulses with a sort of ethereal energy that glows and quivers in the darkness. The depth of emotion here is quite unbelievable when you look at the conciseness of the construction. Again. Extraordinary.
Guy Kruger : This is sooooo beautiful!!!! I love Brahms so much!!
브람스 - 피아노 협주곡 2번 / 폴리니
Brahms - Piano Concerto No.2 in B♭ Major, Op.83
00:25 - I. Allegro non troppo
17:30 - II. Allegro appassionato
26:33 - III. Andante
39:13 - IV. Allegretto grazioso
마우리찌오 폴리니 (피아노)
빈 필하모니 관현악단 / 클라우디오 아바도
# 1977 년
Maurizio Pollini (pf.)
Wiener Philharmoniker / Claudio Abbado
# 1977
============== ▼ BLOG ▼ ==============
http://blog.naver.com/naddolki/50184706794
인기 김 : 브람스다운 진지함이 묻어나는 곡입니다.
David Chang : So incredible!!
PARK화려한 나날 : 첫머리에 호른의 잔잔한 인트로가 흐르고 나서 피아노 선율이 흘러 나왔다. 그 연주를 듣고 있으려니 웬일인지 몸속의 피로가 쑥 빠져나가는 듯이 느껴졌다. '나는 지금 치유되고 있다'는 것을 확실히 얄 수 있었다. 세포의 구석구석에 찌들어 붙어 있던 피폐함이 하나씩 씻겨지듯 사라져갔다. 나는 거의 꿈꾸는 듯한 기분으로 음악을 들었다.
무라카미 하루키 "비밀의 숲"중 음악의 효용편에서
Jh Koh : 이곡의 도이치그라모폰 CD 표지 그림이 '달밤' 그림인데 달밤처럼 너무 찬란하고 처절하게 아름답습니다.
hohohohoho mi : 폴리니 연주 엄청나네요
... 
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