J. Brahms Sonata for Two Pianos Op. 34b Natalia Lavrova, Vassily Primakov скачать в хорошем качестве

J. Brahms Sonata for Two Pianos Op. 34b Natalia Lavrova, Vassily Primakov

Brahms's Sonata for Two Pianos Op.34b -performed by Natalia Lavrova and Vassily Primakov We loved playing this piece at Sparkill on October 30th. So we bring it to you in this " black and white" form. Enjoy! V. 0:00 Allegro non Troppo 14:00 Andante, un poco Adagio 21:37 Scherzo. Allegro molto 28:34 Finale. Poco sostenuto- Allegro non troppo "When Brahms drafted an F-minor string quintet with two cellos in 1862 and submitted it to his friends for criticism, Joseph Joachim found that the extraordinarily rich and dramatic content overtaxed the medium of strings alone. It appears that, while not heeding other criticisms about the content, Brahms was convinced that the scoring was not right. Even when he did come back, much later, to the string quintet form, he used the less challenging Mozart combination of two violas instead of two cellos. The first revision was what we now know as the Sonata for Two Pianos. It is unclear whether he meant this to be the final form. Brahms would come to use two pianos as an arrangement medium for larger works (such as the symphonies) to help familiarize musicians and music lovers with their sound. The two-piano predecessor to what would become the Piano Quintet is on a different level from these arrangements. Not only did it precede the final form, but Brahms published it six years later with a separate sub-opus number. He and Carl Tausig, a brilliant virtuoso student of Liszt (who sadly died at age 29), performed the two-piano sonata publicly in Vienna in 1864, and it was well received. Clara Schumann was not satisfied with it, however, and considered it an “arrangement,” spurring Brahms to produce the final piano quintet version. But it is evident that he still considered the duo sonata version to have worth, as shown by its later publication. Like the Quintet, it was dedicated to Princess Anna of Hessen, who was very fond of the two-piano version. In thanks for the dedication, she presented him with Mozart’s manuscript of the great G-minor Symphony to add to his prized collection. It is important to note that neither of the two piano parts matches the piano part from the quintet. It could be argued that certain passages actually work better with the two-piano medium. At the first passionate eruption after the quiet opening of the first movement, the percussive nature of the punctuating chords is not quite as pronounced when played by strings. Particularly in the scherzo movement, in the passages where the second theme has its long-short rhythms “filled in,” the power of four hands pounding on two keyboards is breathtaking. But the slow movement is certainly more effective with strings, as is the introduction to the finale."