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Brahms - Theme and Variations, Op. 18 (Krystian Zimerman)
Theme and Variations in D minor for Piano Solo (Arranged from the second movement of the Sextet, Op. 18).
Before the final revisions and publishing of the String Sextet in B-flat, Clara Schumann heard Brahms trying it out. Especially impressed with the variation movement, she ardently requested that Brahms make a piano arrangement. He did this, presenting it to her as a birthday greeting in 1860, two years before the Sextet was published.
While the arrangement is performed frequently and Brahms himself seems to have been particularly fond of it, it has attracted negative criticism as a piece of piano music. In attempting to retain most of the music written for six instruments while transferring it to two hands, Brahms asked for several awkward techniques, including many wide rolled chords and anticipatory bass notes jumping to the upper harmonies. He also assigned a great deal of harmony to the right hand, asking it to split chords with the left hand under the melody, which makes voicing and projection of the melody itself difficult. Continuity of inner voices is also made difficult by the many jumps. The rushing scales in variation 3 are far more effective on cello strings than on piano keys. In general, the piece demands a performer with very large hands.
If played with sensitivity, the arrangement can be highly effective and virtuosic, although it is certainly inferior to the idiomatic original version for strings, where it also serves as part of a greater whole.
Andante, ma moderato. D MINOR, 2/4 time.
[m. 1] Theme, Part 1. The right hand plays the middle-range melody as well as the top parts of the supporting chords. The florid decorations from the original are retained. Part 1 ends on a half close.
[m. 9] Theme, Part 1, Varied Repeat. The melody moves up an octave. The supporting chords are now all rolled. Brahms preserves the rhythmic viola gestures, requiring large jumps in both hands to cover the off-beat notes and the top parts of harmonies. Some bass notes toward the end must be played as anticipations right before the left hand jumps to an inner line.
[m. 17] Theme, Part 2. The second phrase of the theme requires the right hand to reach higher, leaving the left hand to play widely spaced intervals that must be rolled by those with smaller hands. More "anticipatory" bass notes jumping to the inner line occur near the cadence.
[m. 25] Theme, Part 2, Varied Repeat. Again, the melody moves up an octave and the supporting chords are all rolled. Because of the more upward reaching melody, even larger jumps are required here.
[m. 33] Variation 1. The right hand plays the "deconstructed" melody as it moves from the middle register to the upper register, taking the roles of all the instruments to whom it is passed in the original. The main beats and some off beats are punctuated with rolled chords. The quick downward motion at the end is passed to the left hand.
[m. 49] Variation 2. The forceful triplet rhythm in two-note harmony is passed between the right and left hands. The latter must leap up from initial downbeat chords. The pianist's technique for rapid repeated thirds, sixths, and other intervals is tested here. In the second half, which is more gentle, the right hand plays the expressive line in "straight" rhythm, while the left hand, playing in the middle register, presents the rapidly repeated chords in triplet rhythm. More anticipatory bass notes add to the difficulty of the left hand part.
[m. 65] Variation 3. The left hand plays the rushing, arching scales, while the right hand plays two-chord responses. In the second half, the left hand scales are all ascending, requiring large jumps downward between them. The right hand joins on the cascading downward passage at the very end. The original octave doubling between the cellos on these rushing scales is not practical on the piano, and is only preserved at the beginning of each run and at the tops of the arching lines.
[m. 81] Variation 4. A dramatic shift to the major key (still on the same keynote, D, as is typical with “modal shifts” in variation movements). The warm, expressive variation is quite effective on the piano. The melody must be well voiced above the descending harmonies in the middle voices. The first statement of the melody is in the middle range.
[m. 113] Variation 5. This variation remains in the major key. After the swell of emotion at the end of the last variation, it is suddenly very quiet. The right hand moves to the upper middle register to play a variant of the melody and a repeated “pedal point” D in the middle of the piano. The right hand plays very high two-note responses, usually in thirds descending an octave. This is a “music box” effect.
[m. 129] Coda. The theme is presented in its original minor-key form and the right hand plays echoing figures with a rolled-chord harmony, imitating plucked strings. The last chords in the major-key cadence are played by the left hand.
Before the final revisions and publishing of the String Sextet in B-flat, Clara Schumann heard Brahms trying it out. Especially impressed with the variation movement, she ardently requested that Brahms make a piano arrangement. He did this, presenting it to her as a birthday greeting in 1860, two years before the Sextet was published.
While the arrangement is performed frequently and Brahms himself seems to have been particularly fond of it, it has attracted negative criticism as a piece of piano music. In attempting to retain most of the music written for six instruments while transferring it to two hands, Brahms asked for several awkward techniques, including many wide rolled chords and anticipatory bass notes jumping to the upper harmonies. He also assigned a great deal of harmony to the right hand, asking it to split chords with the left hand under the melody, which makes voicing and projection of the melody itself difficult. Continuity of inner voices is also made difficult by the many jumps. The rushing scales in variation 3 are far more effective on cello strings than on piano keys. In general, the piece demands a performer with very large hands.
If played with sensitivity, the arrangement can be highly effective and virtuosic, although it is certainly inferior to the idiomatic original version for strings, where it also serves as part of a greater whole.
Andante, ma moderato. D MINOR, 2/4 time.
[m. 1] Theme, Part 1. The right hand plays the middle-range melody as well as the top parts of the supporting chords. The florid decorations from the original are retained. Part 1 ends on a half close.
[m. 9] Theme, Part 1, Varied Repeat. The melody moves up an octave. The supporting chords are now all rolled. Brahms preserves the rhythmic viola gestures, requiring large jumps in both hands to cover the off-beat notes and the top parts of harmonies. Some bass notes toward the end must be played as anticipations right before the left hand jumps to an inner line.
[m. 17] Theme, Part 2. The second phrase of the theme requires the right hand to reach higher, leaving the left hand to play widely spaced intervals that must be rolled by those with smaller hands. More "anticipatory" bass notes jumping to the inner line occur near the cadence.
[m. 25] Theme, Part 2, Varied Repeat. Again, the melody moves up an octave and the supporting chords are all rolled. Because of the more upward reaching melody, even larger jumps are required here.
[m. 33] Variation 1. The right hand plays the "deconstructed" melody as it moves from the middle register to the upper register, taking the roles of all the instruments to whom it is passed in the original. The main beats and some off beats are punctuated with rolled chords. The quick downward motion at the end is passed to the left hand.
[m. 49] Variation 2. The forceful triplet rhythm in two-note harmony is passed between the right and left hands. The latter must leap up from initial downbeat chords. The pianist's technique for rapid repeated thirds, sixths, and other intervals is tested here. In the second half, which is more gentle, the right hand plays the expressive line in "straight" rhythm, while the left hand, playing in the middle register, presents the rapidly repeated chords in triplet rhythm. More anticipatory bass notes add to the difficulty of the left hand part.
[m. 65] Variation 3. The left hand plays the rushing, arching scales, while the right hand plays two-chord responses. In the second half, the left hand scales are all ascending, requiring large jumps downward between them. The right hand joins on the cascading downward passage at the very end. The original octave doubling between the cellos on these rushing scales is not practical on the piano, and is only preserved at the beginning of each run and at the tops of the arching lines.
[m. 81] Variation 4. A dramatic shift to the major key (still on the same keynote, D, as is typical with “modal shifts” in variation movements). The warm, expressive variation is quite effective on the piano. The melody must be well voiced above the descending harmonies in the middle voices. The first statement of the melody is in the middle range.
[m. 113] Variation 5. This variation remains in the major key. After the swell of emotion at the end of the last variation, it is suddenly very quiet. The right hand moves to the upper middle register to play a variant of the melody and a repeated “pedal point” D in the middle of the piano. The right hand plays very high two-note responses, usually in thirds descending an octave. This is a “music box” effect.
[m. 129] Coda. The theme is presented in its original minor-key form and the right hand plays echoing figures with a rolled-chord harmony, imitating plucked strings. The last chords in the major-key cadence are played by the left hand.
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#2 is breathtaking
Trifonov’s awful forced artificial rubato just adds to his plastic-sounding Scriabin. The imagination here is absent, and the dramatic elements surrounding Scriabins music, the roaring waves, thunder, flashes of light, caressing breeze, are all gone and replaced by an attempt to imitate them rather than embody them
I noticed the Medtner night wind pfp
@@KaikhosruShapurjiMedtner yes
pure beauty, passion, dispair... a true sensitive genious.
the great bach fugue convergence - given enough time, bach turns all pieces into fugues, as they are insufficiently musical otherwise
Here's a pianist who deserves to be in the all time pantheon of piano gods, yet is quite unknown and underrated.... There's not one thing that Pratts plays that is not awesome in technique and expression.
The piano starting at 18:17 sounds totally distorted - needs a 🪛
Love it ! Thank you.
Not a good interpretation.
skip the fast part, too much work
i am suppose to get an upright, i am looking foreward to playing this song
16:34, 17:54
Bravo
First time I hear it and i feel flabbergasted ❤
I loved this song so much but when I was old enough I watched Schindler’s list and when that scene played I wept a tear and now every time I hear this piece it makes me think of that
It's been over a year and I still haven't been able to play it yet. Sooo hard. But i'm self - taught.
Well done - I’m learning this because in ancient time I played tuba in concert band, and the arraignment gave the tuba real parts to play instead of oom pa
SPIRIT COMES ON EARTH. 1685...!!!
Моя любимая соната для флейты и фортепиано. Такая современная и красивая.
🎼 For enthusiasts, classical music isn't merely a form of artistic expression-it's a way of life. The calming and sophisticated tones serve as a retreat, allowing listeners to bask in the sophistication and timeless beauty of this musical genre. 🌺🎶
Classical music stands as the sturdy foundation of musical art, where the talent and technique of musicians are showcased flawlessly. Listening to classical compositions feels like immersing oneself in a symbol of perfection.
Classical music is a language of the soul. The way it captures and conveys emotions without words is truly extraordinary. Each piece tells a story, evoking a myriad of feelings and sparking the imagination.
This is baroque music.
Was ist das? Ist das Bach?
Великолепное , роскошное исполнение ! Вдохновенно ! Уверен Александр Николаевич прям , обнял бы с благодарностью за такое прочтение !! Браво !!
amazing achievement
who else is here from transformers 2
bad performance, very few dynamics levels, missing strong beats in 80% of cases and only 10% "breathes" after it which is essential for Bach
I can't wait when i can play Prelude and Allemande
I've always found the ES #6 in D mi... disturbing. Especially the gigue. Like, it's not even a gigue. You can't dance to it. It's a beast. A category 5 hurricane. An epic dream that delves into your worst nightmare. Listening to the gigue is like looking at the sun - it's unfathomable and will probably destroy you, but you can't turn away.
Vivid description that you have experienced and so visual, even that about the sun. Thank you.
Richter plays much better. Hands down.
"the possibilities of epic force lying within the chords and harmonies of D Minor" can you please explain how these epic harmonies differ from harmonies of eg. a minor or b minor?
i hate this pretentious douchebag with his "im such a torn rebel, i dont care about my looks at all" so much
7.12-7.35......
What happens with this section?
@@noctuelle2572 7:35 Here's a terrible misreading...
1:41 windows 10's sound effect?????
alright .. done with the prelude allemande courante sarabande and double , now im gonna start the gavottes and the insane gigue
👍 thank you!! cheers!
Гениально!
Superbe interprétation .j ai aime❤les ajouts d or émérite ts
J ai aimé les ajouts d ornements , dans certaines reprises . La gigue finale , que j étudie pour le moment est particulièrement difficile à jouer , avec ces longs trilles et son chromatisme . Oui , vraiment un grand moment musical
The Sarabande uses 8 scales: Major, Harmonic minor, Harmonic Major, Melodic, Hungarian minor, Harmonic minor b5, Locrian natural 7 and Neapolitan minor. The alternate version known as Les agréments de la meme Sarabande has a much improved sequence of modulations from bars 14 -21: C Major - E Harmonic minor - E Hungarian minor - B Harmonic Major - E Melodic - D Major - G Major - B Neapolitan minor - B Harmonic minor - B Harmonic Major - E Melodic - E Major - A Major - A Harmonic Major - A Harmonic minor - C Major - E Neapolitan minor - E Harmonic minor - E Locrian natural 7 - F Major- D harmonic minor. This is what gives the second half its ethereal quality.
I like the tempo coupled with beautiful and expressive playing.
beautifully played, congratulations!
Such great tone, touch, and clarity
this is really cool
Ouch. Could be better
Dude grow some ears. The sonorities he gets out of the piano are INSANE in this one
@@Jamesphilipjfrydude wtf is your point😭 the “sonorities” are great and therefore it’s a good interpretation? Also trifonovs tone and sound production is far from special anyways
Underrated concerto!!
Божественная музыка, слушаешь и не хочешь,что бы она заканчивалась...великий , неповторимый Бах...не знаю ничего лучше ! .исполнителю браво ,браво, браво!!!❤
Prefer Andras Schiff and Murray Perhia
I still can't believe how the hell i managed to study 2 full of these suites + 25 studies + all scales in 3 modes + a whole chopin work for my piano diploma
The second gavotte has to be the most Mozart-like piece made by Bach.
It‘s a little Musette that sounds like something out of his Anna Magdalena Büchlein. An even more Mozartian piece that comes to my mind is the F minor prelude from Book 2 of the WTC
@@user-fu7zf4ck9z Yes, the F minor prelude is quite an unusual piece for Bach. It does sound a lot like Mozart, now that I think of it.
The gigue gave me the Scarlatti vibes.
That might be because it’s based on a hunting call. Scarlatti based a few of his sonatas on hunting calls.
Ah, that makes sense.
@@op-xv3ui I think I know what you mean by the hunting calls. I can hear it starting on measure 8.
@@yuk_notkim7658 yes hunting horn calls are short sequences of notes played by huntsmen which give instructions to the hounds. You can hear the same influence in Scarlatti K159.
@o p I see. I'm currently trying to listen to all of Scarlatti's sonatas, and I've heard those hunting calls several times. Another example would be K.140.
If you dislike the style of this interpretation, listen to any extant piano roll recording of Scriabin playing his own pieces. It can be stranger.