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Brahms: Piano Concerto No. 1, Op. 15 & 4 Ballades, Op. 10

Lars Vogt

Classical - Released November 1, 2019 | Ondine

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Lars Vogt continues his series of concerto recordings with the Royal Northern Sinfonia with this new recording of Johannes Brahms’ (1833–1897) First Piano Concerto together with Four Ballades (Op. 10) for solo piano. As in previous albums, Lars Vogt conducts from the keyboard. The evolution of Brahms’ 1st Piano Concerto took several steps. Originally conceived to become a Sonata for Two Pianos through orchestration it was developed into a four-movement "Symphony" until reaching into its final form of a "Piano Concerto" in three movements. During the process, which lasted from 1854 to 1856, some movements were also discarded and replaced by new material. This music is packed with much drama. No wonder since these years were particularly tumultuous in Brahms’ personal life: it was during this period when his great mentor Robert Schumann was sent into an asylum and ultimately died. It was also time when Brahms formed a close, lifelong friendship to Clara Schumann. Some of these feelings might well be echoed in the peaceful second movement, Adagio. Brahms’ Four Ballades, Op. 10 are works written in 1854 by a young composer barely in his 20s, yet these pieces are technically mature and profound in such a manner that they could even be compared to his final piano opuses. © Ondine
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Brahms: Piano Sonata No. 3 Op. 5 & Handel Variations

Jonathan Fournel

Classical - Released October 22, 2021 | Alpha Classics

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The pianist Jonathan Fournel, recent prizewinner of the prestigious 2021 Queen Elisabeth Competition (where he won not only the Queen Elisabeth Grand Prix, but also the Queen Mathilde Prize, the Musiq3 Audience Prize and the Canvas-Klara Award) has joined the Alpha label for several recordings, starting with a Brahms programme recorded in the superb acoustic of the music room at La Chaux-de-Fonds just before the Competition: "Over the years, for me Brahms has become a figure I admire so tremendously, a composer I can never tire of. It was fairly obvious to me that I had to make my first recording with these two works that I love so much". The 28-year-old French pianist has been gathering many plaudits for his concerts and shows all the signs of developing a great career and a highly individual artistic path. © Alpha Classics
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Brahms: Piano Concerto No.1 op. 15

Paul Lewis

Concertos - Released April 15, 2016 | harmonia mundi

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Brahms, Schumann, Mendelssohn

Otto Klemperer

Classical - Released April 22, 2024 | Warner Classics

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Brahms: La belle Maguelone

Stéphane Degout

Classical - Released October 6, 2023 | B Records

Hi-Res Booklet Distinctions 4F de Télérama
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Brahms: 10 Intermezzi for Piano - Gould Remastered

Glenn Gould

Classical - Released January 1, 1961 | Sony Classical

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Brahms: Ballades, Op. 10 & Rhapsodies, Op. 79 - Gould Remastered

Glenn Gould

Classical - Released September 11, 2015 | Sony Classical

Hi-Res Booklet
The first of Glenn Gould's posthumously issued recording was this 1983 release of Brahms' Four Ballades, Op. 10, and Two Rhapsodies, Op. 79, reissued here by Sony in 2008. To say it proves as eccentric as Gould's other recordings is only fair. Sometimes, as in the First and Second ballade, Gould is excruciatingly slow in his tempos. Compare his timings with magisterial German pianist Wilhelm Kempff's, for instance. Where Kempff takes 3:44 for the First and 6:20 for the Second ballade, Gould takes 6:49 and 8:34. Just as often, as in the two Rhapsodies, Gould is exceedingly fast. Again, compare his timings with Kempff's: Gould takes 6:54 in the First compared with Kempff's 8:15 and 5:36 in the Second compared with Kempff's 7:15. When heard side by side, Gould and Kempff hardly seem to be playing the same pieces.But this radically subjective approach to tempo is only one aspect of Gould's eccentricity. Most of the time, Gould's feet get nowhere near the sustain pedal, making Brahms' molto legato music sound distinctly staccato. But in the central section of the First Ballade, he hardly removes his foot from the sustain pedal, making Brahms' rich textures muddy and his sentimental phrasing syrupy. Most of the time, Gould's tone is so détaché that his fingers seem to leap off the keys as soon as they touch them. But in the closing section of the Fourth Ballade, Gould's inner voices are so sostenuto they all but dominate the outer voices. And most of the time Gould's tempos are exceedingly straight with little to no variation once the initial tempo has been set. But in the closing section of the First Ballade, Gould slows down so much that the music seems to disintegrate as he plays it. Whether one loves it or loathes it, there's no denying that Gould's Brahms is utterly unique. Produced by Samuel H. Carter and Gould himself in RCA Studio A in New York in 1982, the early digital sound here is an unlikely combination of too close and too far: too close to Gould's nearly non-stop vocalizing and too far from Gould's actual piano playing.© TiVo
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Brahms, Haydn, Enesco

Antal Doráti

Symphonic Music - Released January 1, 1993 | Decca Music Group Ltd.

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Brahms: 4 Ballades, Op. 10, 2 Rhapsodies, Op. 79 & "Handel Variations", Op. 24

Alexei Lubimov

Classical - Released January 1, 1996 | Warner Classics International

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Brahms: Piano Concertos, Piano Works & Chamber Music

Nicholas Angelich

Classical - Released August 18, 2017 | Warner Classics

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Brahms: 21 Hungarian Dances & 16 Waltzes for Piano Four Hands

Cyprien Katsaris

Classical - Released August 24, 2018 | Warner Classics

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The Koroliov Series, Vol. 21. Brahms: Complete Intermezzi

Evgeni Koroliov

Classical - Released December 6, 2019 | TACET Musikproduktion

Hi-Res Booklet Distinctions 5 de Diapason
At first sight, the programme of this album could seem extravagant. Indeed, it assembles into one single volume all of Brahms’ intermezzi, the works that the composer held so dear. In doing so, Evgeni Koroliov isolates them from pieces which Brahms classifies under the same opus number and whose sequence is almost too well-known by music lovers. Frustrated by this fact and inviting us to gloss over it, Koroliov instead explores a more secretive side of Brahms: one of melancholy emotions and solitary twilight walks. And the result is overall successful: there is decidedly no monotony in this suite of slow pieces which Brahms wallowed in throughout his entire life. The almost nonchalant version which the Russian pianist portrays here seems almost to be like a series of improvisations for a few select friends. The seriousness of the expression helps us understand why Schönberg referred to Brahms as “progressive”, just as the “dissonance” of opus 117 to 119 heralds the music of the future, with its harmonic audacity so displeasing to the ears of a certain Clara Schumann, to whom some of the pieces are dedicated. © François Hudry/Qobuz
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Brahms: Paganini Variations & Liszt: Various Piano Works

Alexander Gavrylyuk

Classical - Released August 14, 2015 | Piano Classics

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Lieder (Beethoven, Brahms, Schubert, Schumann...)

Fritz Wunderlich

Lieder (German) - Released September 14, 2018 | SWR Classic

Booklet Distinctions Diapason d'or
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Chopin & Brahms: Ballades

Cédric Tiberghien

Classical - Released June 28, 2006 | harmonia mundi

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Brahms: Ballades & Fantasies

Denis Kozhukhin

Solo Piano - Released February 1, 2017 | PentaTone

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Bold, turbulent defiance sit alongside pained introspection and bittersweet reverie in this penetrating recital of Brahms piano works by the acclaimed young Russian pianist Denis Kozhukhin in his eagerly awaited second recording for Pentatone. By turns placid, sparse, restive and impassioned, the highly personal and contemplative late piano pieces of Brahms have been described as “the mirrors of his soul”. The seven pieces comprising the Fantasias, Op. 116 are quite different in mood but are nevertheless intricately constructed to produce poetic miniatures of great depth and sonority, requiring sensitive artistry to convey their sense of unity and poignancy. Brahms is in a more full-bloodied and demonstrative mood with the four character pieces in the much earlier Ballades, Op 10. But these too show moments of transcendent beauty as in the closing ballade where the tenor melody is woven into the mellifluously undulating pianissimo accompaniment. And in the rarely heard Theme and Variations, Op. 18b, Brahms makes a sumptuous and instantly seductive arrangement of the second movement of his own String Sextet, producing an arresting and magisterial work with exquisite tone colorations and a hushed, sublime ending. “Technically flawless and musically imperious” wrote Classical Source of Denis Kozhukhin, “his detail and articulation was immaculate, and his daredevil playing was thrilling … Kozhukhin was a knockout.” (a Pentatone Introduction)
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Brahms: Piano Quartet No. 1 in G Minor, Op. 25; 4 Ballades, Op. 10

Amadeus Quartet

Classical - Released January 1, 1995 | Deutsche Grammophon (DG)

Heimat (Schubert, Wolf, Brahms, Reger, Grieg, Britten...)

Benjamin Appl

Art Songs, Mélodies & Lieder - Released March 10, 2017 | Sony Music Classical Local

Booklet Distinctions Gramophone Award - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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