Brahms Variationen Op 56b Alfredo Perl & James Maddox
Johannes Brahms
Variationen über ein Thema von Joseph Haydn Op 56b
Variations on the Chorale St Antonii
Alfredo Perl
James Maddox
Brahms wrote these eight variations and passacaglia-finale in 1873 on a theme which he believed to be from Haydn. His friend C.F. Pohl had shown him a divertimento for winds with a movement titled "Chorale St Antonii", which he copied into his sketchbook in 1870, then as the theme here, without significant alteration.
Brahms' four-hand and two piano transcriptions of his symphonies and chamber works were clearly subservient to the concert versions, but in the case of Op 56, the two-piano version was finished first and given its own opus number as a sign of its independence and validity in the concert hall. It was also published first, although the first performances were of the orchestral version Op 56a. There are subtle differences between the versions, especially in the beautifully idiomatic instrumentation of the Finale - which also contains a reference to Haydn's Clock Symphony.
Alfredo and I have performed all four Brahms symphonies in the Brahms-Tage Endenich as well as masterworks by Bach, Mozart, Reger, Hindemith, Debussy and Messiaen. This recording was made in lieu of concerts we would have given in 2021, with support from the German government.
Many thanks to the Trinitatis parish, Bonn, and to Klavierhaus Klavins!
brahms-tage-bonn.de
Gefördert von der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR
Видео Brahms Variationen Op 56b Alfredo Perl & James Maddox канала James Maddox
Variationen über ein Thema von Joseph Haydn Op 56b
Variations on the Chorale St Antonii
Alfredo Perl
James Maddox
Brahms wrote these eight variations and passacaglia-finale in 1873 on a theme which he believed to be from Haydn. His friend C.F. Pohl had shown him a divertimento for winds with a movement titled "Chorale St Antonii", which he copied into his sketchbook in 1870, then as the theme here, without significant alteration.
Brahms' four-hand and two piano transcriptions of his symphonies and chamber works were clearly subservient to the concert versions, but in the case of Op 56, the two-piano version was finished first and given its own opus number as a sign of its independence and validity in the concert hall. It was also published first, although the first performances were of the orchestral version Op 56a. There are subtle differences between the versions, especially in the beautifully idiomatic instrumentation of the Finale - which also contains a reference to Haydn's Clock Symphony.
Alfredo and I have performed all four Brahms symphonies in the Brahms-Tage Endenich as well as masterworks by Bach, Mozart, Reger, Hindemith, Debussy and Messiaen. This recording was made in lieu of concerts we would have given in 2021, with support from the German government.
Many thanks to the Trinitatis parish, Bonn, and to Klavierhaus Klavins!
brahms-tage-bonn.de
Gefördert von der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen von NEUSTART KULTUR
Видео Brahms Variationen Op 56b Alfredo Perl & James Maddox канала James Maddox
Показать
Комментарии отсутствуют
Информация о видео
Другие видео канала
