J. Brahms, F. Chopin, J. S. Bach / F. Busoni - 30th Anniversary of Artistic Work | Nenad Radic скачать в хорошем качестве

J. Brahms, F. Chopin, J. S. Bach / F. Busoni - 30th Anniversary of Artistic Work | Nenad Radic

“In the beginning , there was a word.” Or a sound? Which comes first, language or music? The music is language, too, and the most universal. In the beginning there was a rhythm – Brahms. In the beginning it was melody – Chopin. And, is Brahms just a rhythm? Is Chopin just a tune? Both rhythm and melody are essential elements of poetry. Both Brahms and Chopin are unequivocally poetry. There are also narration, drama, painting, harmony, polyphony… Above all, they demand from the pianist the imagination, freedom, and courage of the poet, they demand the poetic sound of the piano. In a letter to Countess Potocka, Chopin says: “Bach is like an astronomer who uses numbers to find the most beautiful stars. Beethoven embraces the universe with the power of his spirit. I don’t climb that high. I have long since decided that my universe will be a human soul and heart.” Modesty is a noble virtue, but Chopin in the B minor Sonata and Polonaise-Fantasy, alongside with the Ballad in F minor, his most adventurous and complex works, goes far beyond these frameworks. Both Sonata and Polonaise-Fantasy are crowned by the glorious victories of life posing enormous challenges to the pianist. Chopin’s narrative flows naturally and easily like no other. But who would say that behind such an imagination stood an almost sick pedantry, a constant striving for even more perfect expression and notation. And Brahms? He did not appreciate the romantic notion of inspiration. „A thought, an idea, is just inspiration from „above“, It is a gift, a gift I should even despise until I gain the right to it through hard work.“ And hard work, the constant pursuit of perfection, was the ruler of his life. The miraculous imagination of three piano sonatas completed before adulthood, the panegyric praises of Schumann, social success...none of that could “deviate Brahms from the right path“. Throughout his life, every morning, he first wrote canons and fugues for the sake of „mental hygiene“, and only then continued composing current works. That is why his sonatas and symphonies, the power of form, the precision of notation, the mastery of the use of polyphony, and the complexity of the structure can be compared to Beethoven’s masterpieces. It is no coincidence that he was named one of the three great B – Bach, Beethoven, Brahms. But Brahms is at the same time a master of narration, like Schubert. Although he is considered the “king of absolute music” it is impossible to bypass poetic and literary inspirations. One of the main qualities of Brahms’ style , the mastery of the intertwining of the emotions of joy and sorrow, speaks in favor of that. Perfect examples of this mastery are late Intermezzi. It is difficult to imagine a more intimate and fluid piano sound than the late op 117 and 118. Timestamps: 0:00 - Introduction 0:51 - J. Brahms - Intermezzo Op. 117 No. 1 - Andante moderato 6:00 - J. Brahms - Intermezzo Op. 117 No. 2 - Andante non troppo e con molto espressione 10:50 - J. Brahms - Intermezzo Op. 117 No. 3 - Andante con moto 16:15 - J. Brahms - Intermezzo Op. 118 No. 1 - Allegro non assai, ma molto appassionato 18:19 - J. Brahms - Intermezzo Op. 118 No. 2 - Andante teneramente 24:32 - F. Chopin - Polonaise-Fantasie op. 61 - Allegro maestoso 38:05 - F. Chopin - Sonata in B minor - Allegro mastoso 47:20 - F. Chopin - Sonata in B minor - Scherzo - Molto vivace 49:51 - F. Chopin - Sonata in B minor - Largo 1:03:14 - F. Chopin - Sonata in B minor - Finale - Presto, non tanto; Agitato 1:09:47 - Speach 1:14:45 - J. S. Bach/ F. Busoni - Nun komm der Heiden Heiland