| Rubinstein - Brahms, Piano Concerto No.1 - I Maestoso (1/3) |
 |
Director : Bernard Haitink.
Concertgebouworkest Amsterdam.
Johannes Brahms's Piano Concerto No. 1 in D
minor (Op. 15) is one of Brahms' most famous
and frequently performed pieces. A concerto
on nearly every major pianist's repertoire,
it presents considerable technical challenges
to the performer.
Brahms worked on the composition for some
years, as was the case with many of his
works. After a prolonged gestation period, it
was first performed on January 22, 1859, in
Hanover, Germany, when Brahms was just 25
years old. Five days later, at Leipzig, an
unenthusiastic audience hissed at the
concerto, while critics savaged it, labelling
it "perfectly unorthodox, banal and horrid".
In a letter to his close personal friend, the
renowned violinist Joseph Joachim, Brahms
stated, "I am only experimenting and feeling
my way", adding sadly, "all the same, the
hissing was rather too much!"
Brahms originally conceived the work as a
sonata for two pianos. Seeking a grander and
fuller sound, Brahms later orchestrated the
work in an attempt to transform it into a
four-movement symphony. However, he also
found that unsatisfactory. Brahms ultimately
decided that he had not sufficiently mastered
the nuances of orchestral color to sustain a
symphony, and instead relied on his skills as
a pianist and composer for the piano to
complete the work as a concerto. Brahms only
retained the original material from the
work's first movement; the remaining
movements were discarded and two new ones
were composed, yielding a work in the more
usual three-movement concerto structure.
Brahms' biographers often note that the first
sketches for the dramatic opening movement
followed quickly on the heels of the 1854
suicide attempt of the composer's dear friend
and mentor, Robert Schumann, an event which
caused great anguish for Brahms. He finally
completed the concerto two years after
Schumann's death in 1856, by which time his
love for Schumann's widow, Clara Schumann,
had fully blossomed.
The degree to which Brahms' personal
experience is embedded in the concerto is
hard to gauge since several other factors
also influenced the musical expression of the
piece. The epic mood links the work
explicitly to the tradition of the Beethoven
symphony that Brahms sought to emulate. The
finale of the concerto, for example, is
clearly modeled on the last movement of
Beethoven's third piano concerto, while the
concerto's key of D minor is the same as both
Beethoven's Ninth Symphony and Mozart's
dramatic Piano Concerto No. 20.
The work reflects Brahms' effort to combine
the piano with the orchestra as equal
partners, unlike earlier classical concertos,
where the orchestra effectively accompanied
the pianist. Even for the young Brahms, the
concerto-as-showpiece had little appeal.
Instead, he enlisted both orchestra and
soloist in the service of the musical ideas;
technically difficult passages in the
concerto are never gratuitous, but extend and
develop the thematic material. Such an
approach is thoroughly in keeping with
Brahms' artistic temperament, but also
reflects the concerto's symphonic origins and
ambitions. His effort drew on both chamber
music techniques and the pre-classical
Baroque concerto grosso, an approach that
later was fully realized in Brahms' Second
Piano Concerto. This first concerto also
demonstrates Brahms' particular interest in
scoring for the timpani and the French horn,
both of whose parts are notoriously
difficult.
Although a work of Brahms' youth, this
concerto is a mature work that points forward
to his later concertos and his First
Symphony. Most notable are its scale and
grandeur, as well as the thrilling technical
difficulties it presents. As time passed, the
work grew in popularity until it was
recognized as a masterpiece.
First movement
Maestoso (mainly in D minor)
The first movement is in sonata form, divided
into four sections: exposition, development,
recapitulation, and coda. The mighty
introduction, inspired by the opening
movement of Beethoven's Ninth Symphony and
incorporating the same menacing clash of D
minor and B-flat major, is one of the most
monumental of any piano concerto. A short
mysterious section follows and soon builds up
to mighty fanfare, followed by another
decrescendo and the entry of the piano. The
fanfare builds itself up again as the entire
piece of music comes crashing down. The
development then opens up with a short motif,
which is repeated again in the later part of
the concerto. Towards the end, the
introductory theme springs up again, played
by the piano, after which the orchestra
combines with the piano to give a tragic if
majestic conclusion in tonic minor chords.
Tags : artur johanness live Bernard Haitink orchestra amsterdam op 15 opus re minor minore |
|
Affichage : 13638
Durée : 455 s |
| Rubinstein - Brahms, Piano Concerto No.1 - I Maestoso (2/3) |
 |
Director : Bernard Haitink.
Concertgebouworkest Amsterdam.
Johannes Brahms's Piano Concerto No. 1 in D
minor (Op. 15) is one of Brahms' most famous
and frequently performed pieces. A concerto
on nearly every major pianist's repertoire,
it presents considerable technical challenges
to the performer.
Brahms worked on the composition for some
years, as was the case with many of his
works. After a prolonged gestation period, it
was first performed on January 22, 1859, in
Hanover, Germany, when Brahms was just 25
years old. Five days later, at Leipzig, an
unenthusiastic audience hissed at the
concerto, while critics savaged it, labelling
it "perfectly unorthodox, banal and horrid".
In a letter to his close personal friend, the
renowned violinist Joseph Joachim, Brahms
stated, "I am only experimenting and feeling
my way", adding sadly, "all the same, the
hissing was rather too much!"
Brahms originally conceived the work as a
sonata for two pianos. Seeking a grander and
fuller sound, Brahms later orchestrated the
work in an attempt to transform it into a
four-movement symphony. However, he also
found that unsatisfactory. Brahms ultimately
decided that he had not sufficiently mastered
the nuances of orchestral color to sustain a
symphony, and instead relied on his skills as
a pianist and composer for the piano to
complete the work as a concerto. Brahms only
retained the original material from the
work's first movement; the remaining
movements were discarded and two new ones
were composed, yielding a work in the more
usual three-movement concerto structure.
Brahms' biographers often note that the first
sketches for the dramatic opening movement
followed quickly on the heels of the 1854
suicide attempt of the composer's dear friend
and mentor, Robert Schumann, an event which
caused great anguish for Brahms. He finally
completed the concerto two years after
Schumann's death in 1856, by which time his
love for Schumann's widow, Clara Schumann,
had fully blossomed.
The degree to which Brahms' personal
experience is embedded in the concerto is
hard to gauge since several other factors
also influenced the musical expression of the
piece. The epic mood links the work
explicitly to the tradition of the Beethoven
symphony that Brahms sought to emulate. The
finale of the concerto, for example, is
clearly modeled on the last movement of
Beethoven's third piano concerto, while the
concerto's key of D minor is the same as both
Beethoven's Ninth Symphony and Mozart's
dramatic Piano Concerto No. 20.
The work reflects Brahms' effort to combine
the piano with the orchestra as equal
partners, unlike earlier classical concertos,
where the orchestra effectively accompanied
the pianist. Even for the young Brahms, the
concerto-as-showpiece had little appeal.
Instead, he enlisted both orchestra and
soloist in the service of the musical ideas;
technically difficult passages in the
concerto are never gratuitous, but extend and
develop the thematic material. Such an
approach is thoroughly in keeping with
Brahms' artistic temperament, but also
reflects the concerto's symphonic origins and
ambitions. His effort drew on both chamber
music techniques and the pre-classical
Baroque concerto grosso, an approach that
later was fully realized in Brahms' Second
Piano Concerto. This first concerto also
demonstrates Brahms' particular interest in
scoring for the timpani and the French horn,
both of whose parts are notoriously
difficult.
Although a work of Brahms' youth, this
concerto is a mature work that points forward
to his later concertos and his First
Symphony. Most notable are its scale and
grandeur, as well as the thrilling technical
difficulties it presents. As time passed, the
work grew in popularity until it was
recognized as a masterpiece.
First movement
Maestoso (mainly in D minor)
The first movement is in sonata form, divided
into four sections: exposition, development,
recapitulation, and coda. The mighty
introduction, inspired by the opening
movement of Beethoven's Ninth Symphony and
incorporating the same menacing clash of D
minor and B-flat major, is one of the most
monumental of any piano concerto. A short
mysterious section follows and soon builds up
to mighty fanfare, followed by another
decrescendo and the entry of the piano. The
fanfare builds itself up again as the entire
piece of music comes crashing down. The
development then opens up with a short motif,
which is repeated again in the later part of
the concerto. Towards the end, the
introductory theme springs up again, played
by the piano, after which the orchestra
combines with the piano to give a tragic if
majestic conclusion in tonic minor chords.
Tags : artur johanness live Bernard Haitink orchestra amsterdam op 15 opus re minor minore |
|
Affichage : 6973
Durée : 552 s |
| J.C.H. Rinck Flötenconcert: Allegro Maestoso (Ab Weegenaar) |
 |
J.C.H. Rinck UIT/FROM Flötenconcert: Allegro
Maestoso, gespeeld door Ab Weegenaar op het
Hinsz-orgel in de Bovenkerk te Kampen
AB WEEGENAAR (1953) behaalde aan het
stedelijk conservatorium te Groningen het
diploma UM (Uitvoerend Musicus) voor fagot en
orgel. Wim van Beek was zijn orgeldocent. Bij
Kees van Eersel behaalde hij het
praktijkdiploma kerkmuziek. Bij de Hogeschool
IDE studeerde Ab Weegenaar af voor
koordirectie.
Als fagotist was hij werkzaam bij het
(voormalige) Noordelijk Filharmonisch Orkest,
het Residentie Orkest om vervolgens
solofagottist te worden bij Het Gelders
Orkest, waar hij ook klavecimbel en orgel
speelde. Door de toenemende werkzaamheden
stopte Ab Weegenaar met zijn werkzaamheden
als fagottist.
Als cantor-organist was hij verbonden aan de
kerken te Groningen, Eelde, Leidschendam,
Arnhem en de Grote Kerk in Wageningen. Medio
1995 volgde een aanstelling als hoofdorganist
van de Sint Nicolaas- of Bovenkerk in Kampen.
Hij is tevens werkzaam als privé orgelleraar
en als koorleider bij diverse koren.
Onder het label S.T.H. verschenen CD's met
orgelwerken en ook met composities uit de
twintigste eeuw voor fagot en piano. Ook als
dirigent heeft hij opnames op zijn naam
staan. Tevens mogen diverse radio-opnames
niet onvermeld blijven.
Zie ook www.abweegenaar.nl en
www.debovenkerk.nl.
AB WEEGENAAR (1953) received his first organ
lessons from his father. At that time he also
studied the bassoon at the Stedelijk
Conservatorium in Groningen. In 1974 he
graduated cum laude. At het same conservatory
he also studied organ and finished this study
in 1980 as a pupil of Wim van Beek. He took
lessons in church organ with Kees van Eersel
en received his first degree in Utrecht as a
church musician. Furthermore he studied with
Stef Tuinstra, Charles de Wolff ans Theo
Jellema. As a bassoon Ab Weegenaar performed
with the former Noordelijk Filharmonisch
Orkest, later with the Residentie Orkest,
finally becoming a solo bassoonist with Het
Gelders Orkest. A few years ago, because of a
lack of time, he took leave of het orchestra.
As a cantor organist Ab Weegenaar was
connected to churches in Groningen, Eelde,
Leidschendam, Arnhem and the Grote Kerk in
Wageningen.
Medio 1995 his appointment as principal
organist of the Bovenkerk in Kampen followed.
In this function he performs on the
Hinsz-organ and the Reil choir organ.
As of 1994 his CD's were regulary published,
especially those recorded at the Bovenkerk.
On some of the CD's he also performs as a
solo bassoonist. He also performed for radio
broadcasts. In 2003 he finished his education
as a choir conductor at het Hogeschool
Gorinchem IDE. Since 2004 he is fully
authorised as a cantor organist according to
the regulation for church music of the PKN
(Protestantse Kerk in Nederland).
See also: www.abweegenaar.nl and
www.debovenkerk.nl.
AB WEEGENAAR (1953) acquérait ses premières
leçons d'orgue de son père.
Pendant cette période il étudiait aussi le
basson dans la 'Stedelijk Conservatorium' Ã
Groningen.
En 1974 il a réussi avec éloges.
Dans la même conservatoire il étudiait
aussi l'orgue, et il finissait cet étudie en
1980 comme élève de Wim van Beek.
Il prenait des leçons dans l'orgue d'église
avec Kees van Eersel et réussait son premier
grade à Utrecht comme musicien de l'église.
En outre il a étudie avec Stef Tuinstra,
Charles de Wolff et Theo Jellema.
Comme basson Ab Weegenaar a été attaché
chez l'ancien 'Noordelijk Filharmonisch
Orkest', après chez le 'Residentie Orkest'
et à la fin il était basson solo chez le
'Gelders Orkest', où il jouait aussi le
clavecin et l'orgue.
Il y a quelques années il quittait
l'orchestra comme basson, Ã cause de son
travail que s'augmentait.
Comme organiste cantate, il est allié à des
églises à Groningen, Eelde, Leidschendam,
Arnhem et la grande église à Wageningen.
à la mi-1995 se succédait une nomination
comme organiste principal de la Bovenkerk Ã
Kampen.
En cette fonction il jouait à le Hinz-orgue
et le Reil-orgue d'église.
Il est en même temps travaillant comme
professeur privé et comme chef du chœur
chez quelques chœurs.
En 1994 ses CDs étaient publié, notamment
ces enregistré dans la Bovenkerk.
Entre la marque S.T.H. paraîtraient CDs avec
ses Å“uvres d'orgue et aussi avec
compositions pour basson et piano du
vingtième siècle.
Aussi comme chef il a quelques
enregistrements à son nom ; encore quelques
émissions radiophonique.
Depuis 2004 il est organiste de cantate en
entente le règlement pour musique d'église
de la PKN (Protestantse Kerk in Nederland).
Voyez aussi : www.abweegenaar.nl et
www.debovenkerk.nl
DVD verschenen onder label 'Improvisata'
Info: www.willemvantwillert.nl
Tags : J.C.H. Rinck Ab Weegenaar Bovenkerk Kampen Organ Flötenconcert Allegro Maestoso Hinsz-organ Music Organmusic |
|
Affichage : 3548
Durée : 433 s |
| Rubinstein - Brahms, Piano Concerto No.1 - I Maestoso (3/3) |
 |
Director : Bernard Haitink.
Concertgebouworkest Amsterdam.
Johannes Brahms's Piano Concerto No. 1 in D
minor (Op. 15) is one of Brahms' most famous
and frequently performed pieces. A concerto
on nearly every major pianist's repertoire,
it presents considerable technical challenges
to the performer.
Brahms worked on the composition for some
years, as was the case with many of his
works. After a prolonged gestation period, it
was first performed on January 22, 1859, in
Hanover, Germany, when Brahms was just 25
years old. Five days later, at Leipzig, an
unenthusiastic audience hissed at the
concerto, while critics savaged it, labelling
it "perfectly unorthodox, banal and horrid".
In a letter to his close personal friend, the
renowned violinist Joseph Joachim, Brahms
stated, "I am only experimenting and feeling
my way", adding sadly, "all the same, the
hissing was rather too much!"
Brahms originally conceived the work as a
sonata for two pianos. Seeking a grander and
fuller sound, Brahms later orchestrated the
work in an attempt to transform it into a
four-movement symphony. However, he also
found that unsatisfactory. Brahms ultimately
decided that he had not sufficiently mastered
the nuances of orchestral color to sustain a
symphony, and instead relied on his skills as
a pianist and composer for the piano to
complete the work as a concerto. Brahms only
retained the original material from the
work's first movement; the remaining
movements were discarded and two new ones
were composed, yielding a work in the more
usual three-movement concerto structure.
Brahms' biographers often note that the first
sketches for the dramatic opening movement
followed quickly on the heels of the 1854
suicide attempt of the composer's dear friend
and mentor, Robert Schumann, an event which
caused great anguish for Brahms. He finally
completed the concerto two years after
Schumann's death in 1856, by which time his
love for Schumann's widow, Clara Schumann,
had fully blossomed.
The degree to which Brahms' personal
experience is embedded in the concerto is
hard to gauge since several other factors
also influenced the musical expression of the
piece. The epic mood links the work
explicitly to the tradition of the Beethoven
symphony that Brahms sought to emulate. The
finale of the concerto, for example, is
clearly modeled on the last movement of
Beethoven's third piano concerto, while the
concerto's key of D minor is the same as both
Beethoven's Ninth Symphony and Mozart's
dramatic Piano Concerto No. 20.
The work reflects Brahms' effort to combine
the piano with the orchestra as equal
partners, unlike earlier classical concertos,
where the orchestra effectively accompanied
the pianist. Even for the young Brahms, the
concerto-as-showpiece had little appeal.
Instead, he enlisted both orchestra and
soloist in the service of the musical ideas;
technically difficult passages in the
concerto are never gratuitous, but extend and
develop the thematic material. Such an
approach is thoroughly in keeping with
Brahms' artistic temperament, but also
reflects the concerto's symphonic origins and
ambitions. His effort drew on both chamber
music techniques and the pre-classical
Baroque concerto grosso, an approach that
later was fully realized in Brahms' Second
Piano Concerto. This first concerto also
demonstrates Brahms' particular interest in
scoring for the timpani and the French horn,
both of whose parts are notoriously
difficult.
Although a work of Brahms' youth, this
concerto is a mature work that points forward
to his later concertos and his First
Symphony. Most notable are its scale and
grandeur, as well as the thrilling technical
difficulties it presents. As time passed, the
work grew in popularity until it was
recognized as a masterpiece.
First movement
Maestoso (mainly in D minor)
The first movement is in sonata form, divided
into four sections: exposition, development,
recapitulation, and coda. The mighty
introduction, inspired by the opening
movement of Beethoven's Ninth Symphony and
incorporating the same menacing clash of D
minor and B-flat major, is one of the most
monumental of any piano concerto. A short
mysterious section follows and soon builds up
to mighty fanfare, followed by another
decrescendo and the entry of the piano. The
fanfare builds itself up again as the entire
piece of music comes crashing down. The
development then opens up with a short motif,
which is repeated again in the later part of
the concerto. Towards the end, the
introductory theme springs up again, played
by the piano, after which the orchestra
combines with the piano to give a tragic if
majestic conclusion in tonic minor chords.
Tags : artur johanness live Bernard Haitink orchestra amsterdam op 15 opus re minor minore |
|
Affichage : 4179
Durée : 327 s |
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