Brahms - Piano Concerto No. 2 in B flat Major, Op. 83 (ref.record.: Gina Bachauer, S.Skrowaczewski)

Johannes Brahms (1833-1897) Brahms: Piano Concerto No. 2 by Gina Bachauer
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Click to activate the English subtitles for Gina Bachauer's presentation (00:00-03:55)
00:00 Piano Concerto No. 2 in B flat Major, Op. 83 - I. Allegro non troppo
16:21 Piano Concerto No. 2 in B flat Major, Op. 83 - II. Allegro appassionato
24:50 Piano Concerto No. 2 in B flat Major, Op. 83 - III. Andante
34:59 Piano Concerto No. 2 in B-flat Major, Op. 83 - IV. Allegretto grazioso

Variations on a Theme by Paganini, Op. 35 (Book II) https://www.youtube.com/watch?v=ZUTlRo3wIns&list=OLAK5uy_n0wquGX2I8znr2BOujktpARdfQpnz6EAk&index=5

Piano: Gina Bachauer
London Symphony Orchestra
Cello: Kenneth Heath
Conductor: Stanisław Skrowaczewski
Recorded in 1962
New mastering in 2023 by AB for CMRR
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COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT
The seeds of thought from which the Second Piano Concerto sprang were nurtured by the bright April sun of Italy. The year was 1878 and the visit the first of eight which the composer was to make to "that glorious land where everything is lovely." He began to sketch the piece upon his return home in May and, according to one of his intimates, kept before him "always the vision of an Italian spring shedding its immemorial beauty over the valleys and groves and hill slopes of the haunted south." This intelligence might seem purplishly romantic today, but citation of it does not seem idle when one points the fact that Brahms did not hasten on with developing this promising work, instead setting his burgeoning sketches aside not to take them up again until three years later in 1881 when he could once more delight in watching Italian landscapes slipping out of spring into summer and "be charmed with everything." Then, the work galloped toward the final form. By the first week in July the score was finished.

Friends who studied the manuscript were generally impressed, but several expressed concern over the ambitious thrust and sprawling scope of the work. Inevitably, such reactions began to build similar doubts in Brahms's own mind. Had he over-reached himself? He knew well that he had attempted many things innovatingly new and daringly personal in this piece, which he now began to term with somewhat ponderous, rueful humor "a tiny, tiny piano concerto with a tiny, tiny wisp of a scherzo." Firstly, whether consciously or not, he had infused the work with a seriousness of intellectual content which had the effect of raising the form of a concerto to a plane approximating that of a symphony. Next, though he had designed a solo part which demanded the utmost in virtuosity (as well as intellectual depth) from its performer, he had willfully eschewed any expressive device which even hinted of technical display as an end unto itself. Here he was definitely flying in the face of the tastes of the times, which tended toward a type of superficial "entertainment" concerto in which the soloist, pitted in dialogue against or merely accompanied by an orchestra, could show off as fully as possible the range and prodigiousness of his digital prowess. Rather than opposing soloist to orchestra, Brahms had fused the two together throughout the very tissue of the Concerto's abstract and structural musical ideas. They were conceived of as complete equals capable of the most intimate reciprocity of ideas and quite mutually responsible for carrying the burden of the work's intellectual content. Remarked Brahms himself of the piano part: "It is decidedly not for little girls!"

Click to activate the English subtitles for Gina Bachauer's presentation (00:00-03:55)

Johannes Brahms PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxOfigsjIfHNN6AuqZVVmfGR

Видео Brahms - Piano Concerto No. 2 in B flat Major, Op. 83 (ref.record.: Gina Bachauer, S.Skrowaczewski) канала Classical Music/ /Reference Recording