Qobuz Store wallpaper
Categories:
Cart 0

Your cart is empty

András Schiff|Brahms: Piano Concertos

Brahms: Piano Concertos

András Schiff

Digital booklet

Available in
logo Hi-Res
24-Bit 96.0 kHz - Stereo

Unlimited Streaming

Listen to this album in high quality now on our apps

Start my trial period and start listening to this album

Enjoy this album on Qobuz apps with your subscription

Subscribe

Enjoy this album on Qobuz apps with your subscription

Digital Download

Purchase and download this album in a wide variety of formats depending on your needs.

Arnold Schoenberg called him "Brahms the Progressive". Whilst Johannes Brahms’s musical language and formal cosmos were deeply rooted in the past, by burrowing into the music of Bach and Beethoven he brought forth compositional fabrics of a tight-knit perfection that pointed far into the future.
Yet, over years of continuously evolving interpretations, Brahms’s oeuvre has acquired an inappropriate heaviness more likely to conceal the fabric of his music than to unveil the subtle intricacies of its "developing variations", to quote Schoenberg’s term for his compositional method. András Schiff emphasizes precisely this point in his new recording of the two piano concertos with the Orchestra of the Age of Enlightenment.

These developments, need it be said, are also related to changing performance conditions and transformations in society. But it is not always easy to say where the causal chain began. What is certain is that the growth of a global audience for music – with a corresponding increase in volume levels, larger concert halls and ever more massive ensembles and sturdier instruments – has led to a distorted image of Brahms that cries out for correction. After all, as Schiff puts it, Brahms’s music is "transparent, sensitive, differentiated and nuanced in its dynamics".
In order to bring this to light, however, we must recall the performance conditions of Brahms’s day and reconstruct them as best we can. The Meiningen Court Orchestra, one of Europe’s most progressive and highly acclaimed orchestras of the era, and Brahms’s personal favourite (he conducted it in the première of his Fourth Symphony in 1885), consisted at times of no more than 49 musicians with nine first violins. Moreover, the pianos he preferred, mainly built by the firms of Streicher, Bösendorfer and Blüthner, were more limpid in their sound, richer in overtones, and responded to a lighter touch.

András Schiff already turned to period instruments on some of his earlier recordings for ECM’s New Series, including his two double albums with Schubert’s late piano works, for which he used a fortepiano built by Franz Brodmann in 1820. He had used the same instrument for his double album with Beethoven’s Diabelli Variations, contrasting this version with a reading of the same work on a Bechstein grand of 1921.
Now Sir András has chosen the conductor-less Orchestra of the Age of Enlightenment, with its period instruments, for his recording of the two Brahms Concertos. And he plays an historic grand piano built by the Leipzig firm of Julius Blüthner in 1859. The result is nothing less than an attempt "to recreate and restore the works, to cleanse the music and to liberate it from the burden of the –often questionable- trademarks of performing tradition".
At times the recordings take on the quality of chamber music, as is especially telling in the last two movements of the B-flat Major Concerto, Op. 83. The result is a performance that approaches the original character of the sound, revealing those layers of the works that emphasise the dialogue between soloist and orchestra – and dispelling the preconception that the Second Concerto is a "symphony with piano obbligato". © ECM New Series

More info

Brahms: Piano Concertos

András Schiff

launch qobuz app I already downloaded Qobuz for Windows / MacOS Open

download qobuz app I have not downloaded Qobuz for Windows / MacOS yet Download the Qobuz app

You are currently listening to samples.

Listen to over 80 million songs with an unlimited streaming plan.

Listen to this playlist and more than 80 million songs with our unlimited streaming plans.

From $10.83/month

Piano Concerto No. 1 in D minor, Op. 15 (Johannes Brahms)

1
1. Maestoso
00:22:06

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

2
2. Adagio
00:11:57

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

3
3. Rondo. Allegro non troppo
00:12:55

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

Piano Concerto No. 2 in B flat major, Op. 83 (Johannes Brahms)

4
1. Allegro non troppo
00:17:43

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

5
2. Allegro appassionato
00:09:30

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

6
3. Andante
00:10:06

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

7
4. Allegretto grazioso
00:10:16

Orchestra Of The Age Of Enlightenment, Orchestra, MainArtist - Johannes Brahms, Composer - András Schiff, Conductor/Piano, MainArtist, AssociatedPerformer - Stephan Schellmann, Mixer, Engineer, Mastering Engineer, StudioPersonnel - John Barrett, Balance Engineer, StudioPersonnel - Manfred Eicher, Producer

℗ 2021 ECM Records GmbH

Album Description

Arnold Schoenberg called him "Brahms the Progressive". Whilst Johannes Brahms’s musical language and formal cosmos were deeply rooted in the past, by burrowing into the music of Bach and Beethoven he brought forth compositional fabrics of a tight-knit perfection that pointed far into the future.
Yet, over years of continuously evolving interpretations, Brahms’s oeuvre has acquired an inappropriate heaviness more likely to conceal the fabric of his music than to unveil the subtle intricacies of its "developing variations", to quote Schoenberg’s term for his compositional method. András Schiff emphasizes precisely this point in his new recording of the two piano concertos with the Orchestra of the Age of Enlightenment.

These developments, need it be said, are also related to changing performance conditions and transformations in society. But it is not always easy to say where the causal chain began. What is certain is that the growth of a global audience for music – with a corresponding increase in volume levels, larger concert halls and ever more massive ensembles and sturdier instruments – has led to a distorted image of Brahms that cries out for correction. After all, as Schiff puts it, Brahms’s music is "transparent, sensitive, differentiated and nuanced in its dynamics".
In order to bring this to light, however, we must recall the performance conditions of Brahms’s day and reconstruct them as best we can. The Meiningen Court Orchestra, one of Europe’s most progressive and highly acclaimed orchestras of the era, and Brahms’s personal favourite (he conducted it in the première of his Fourth Symphony in 1885), consisted at times of no more than 49 musicians with nine first violins. Moreover, the pianos he preferred, mainly built by the firms of Streicher, Bösendorfer and Blüthner, were more limpid in their sound, richer in overtones, and responded to a lighter touch.

András Schiff already turned to period instruments on some of his earlier recordings for ECM’s New Series, including his two double albums with Schubert’s late piano works, for which he used a fortepiano built by Franz Brodmann in 1820. He had used the same instrument for his double album with Beethoven’s Diabelli Variations, contrasting this version with a reading of the same work on a Bechstein grand of 1921.
Now Sir András has chosen the conductor-less Orchestra of the Age of Enlightenment, with its period instruments, for his recording of the two Brahms Concertos. And he plays an historic grand piano built by the Leipzig firm of Julius Blüthner in 1859. The result is nothing less than an attempt "to recreate and restore the works, to cleanse the music and to liberate it from the burden of the –often questionable- trademarks of performing tradition".
At times the recordings take on the quality of chamber music, as is especially telling in the last two movements of the B-flat Major Concerto, Op. 83. The result is a performance that approaches the original character of the sound, revealing those layers of the works that emphasise the dialogue between soloist and orchestra – and dispelling the preconception that the Second Concerto is a "symphony with piano obbligato". © ECM New Series

About the album

Improve album information

Qobuz logo Why buy on Qobuz...

On sale now...

Wagner: Parsifal

Sir Georg Solti

Wagner: Parsifal Sir Georg Solti

Respighi : Fontane di Roma, Pini di Roma, Suite III...

Herbert von Karajan

Accardo Plays Paganini - The Complete Recordings

Salvatore Accardo

Happier Than Ever (Explicit)

Billie Eilish

More on Qobuz
By András Schiff

Bach Complete Keyboard Works

András Schiff

J. S. Bach: Partitas Nos. 1-6, BWV 825-830

András Schiff

J.S. Bach: Das Wohltemperierte Clavier

András Schiff

Bach: Goldberg Variations BWV 988

András Schiff

András Schiff Plays Bach

András Schiff

András Schiff Plays Bach András Schiff

Playlists

You may also like...

Where is Home / Hae ke Kae

Abel Selaocoe

Sibelius: Complete Symphonies

Klaus Mäkelä

The New Four Seasons - Vivaldi Recomposed

Max Richter

Old Friends New Friends

Nils Frahm

Nightscapes

Magdalena Hoffmann

Nightscapes Magdalena Hoffmann
In your panoramas...
Radu Lupu: an Understated Genius

Radu Lupu was a poet, magician and pianist who pursued the indescribable. The Romanian artist’s musical approach was brought to life by his tormented and fiercely introverted personality, which was always shrouded in mystery. When sat at his piano, he would knead the keys like dough, seeking a powerful, consistent sound. Radu Lupu passed away on the 17th of April 2022, leaving behind a relatively small, yet incredibly valuable, discographic legacy.

The Earth’s Song: The World of Gustav Mahler

What could have prompted Gustav Mahler to compose a work as unclassifiable as this one? Written between 1907 and 1908, a pivotal period in Mahler's life, The Song of the Earth occupies a special place within his oeuvre. It combines the “fin de siècle” spirit with the fascination for the exotic that was spreading amongst his peers at the time. Vienna was in turmoil when this music was composed, and the piece oscillates between the notions of farewell and new beginnings. With a lot of layers to peel back, The Song of the Earth definitely merits a closer look.

Undervalued: a Look Back on Female Composers

From Sappho of Mytilene to Kaija Saariaho and Clara Schumann, several women have managed to break through the macho codes of the milieu and become composers. While the classical music landscape has been largely dominated by men in recent centuries, the work of their female colleagues, whether pioneers or contemporaries, is just as fascinating. Here we put eleven undervalued figures of female composition in the spotlight.

In the news...