Brahms: Four Hand Piano Music, Vol. 9

Editorial Reviews
Album Description
Brahms was an accomplished pianist, whose output for the piano spanned his entire life. In addition to his solo works he made four-hand piano arrangements of many of his orchestral and vocal scores, to give them greater accessibility. The monumental nature of much of Brahms’ orchestral work is in part a sign of the great pains that went into its construction. His First Piano Concerto, which made no concessions to contemporary taste, was conceived originally as a sonata for two pianos, following his earlier three piano sonatas. In this recording we hear the earlier version for piano duet.

Tracks:

Maestoso
Adagio
Rondo: Allegro Non Troppo
Academic Festival Overture, Op. 80

Album Description

Brahms was an accomplished pianist, whose output for the piano spanned his entire life. In addition to his solo works he made four-hand piano arrangements of many of his orchestral and vocal scores, to give them greater accessibility. The monumental nature of much of Brahms' orchestral work is in part a sign of the great pains that went into its construction. His First Piano Concerto, which made no concessions to contemporary taste, was conceived originally as a sonata for two pianos, following his earlier three piano sonatas. In this recording we hear the earlier version for piano duet.

Customer Reviews:

Mindblowing and wondrous.......2006-10-22

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original orchestral form. In fact, I've not heard any orchestral work from Brahms except the Variations on Haydn and a few Hungarian Dances. I'm on an outlandish and rare path of exposing myself to Brahms exclusively through Naxos' Four Hand Piano series. My first taste was the German Requiem for Four Hands, and I was breathless. I still feel stunned by Brahms' music.

This CD is clearly one of the best of the series. Having not heard the Piano Concerto No. 1 at all, I didn't know what to expect: Beethoven grandeur, Chopin lyricism, Liszt bravura, a mix of all? Although influences from all composers are evident, this is not exactly a hybrid of styles: this concerto is a massive exploration into an alien world. Some parts actually reminded me of Alkan's concerto for solo piano. But this is truly and original and inspiring work of titanic proportions; it bursts with melodic power and beautiful harmony. At 53 minutes, this concerto says a lot, but each movement is simply glorious and electrifying. This music belongs on the piano. Obviously Brahms wrote this for such an instrument, but with the absence of the orchestra, it's like the hungry and indomitable piano devoured and assimilated the orchestra into a new magnificence. The piano is like Julius Caesar and the orchestra is the senate: Caesar gobbles up the senate to become supreme imperator.

The first movement, a grand Maestoso with Lisztian tremolandos and almost Franckian organ sonority, the piece has a somewhat dissonant main theme, but Brahms takes it through a stirring and impressive ride. This first movement is 24 minutes of high caliber Brahms expressions, all glorified through the piano and its extensive dynamics and inexhaustible language. The whole concerto seems to exemplify the great marriage of power and beauty. Each movement explores that further, but the first movement is just astounding on the piano. I don't even want to taste the orchestral version now. The second movement is one of those melancholy fusions of Beethoven and Chopin; but despite the reminiscence, it's pure Brahms. In a 15 minute adagio, Brahms cries, ponders, broods, and recants feelings that are sewn together with such perfection, I'm reminded of Beethoven throughout. The last movement recalls the majesty of the first movement but seems to delve even deeper into the piano's possibilities. At times, it capitalizes itself with Lisztian flare, but then carries itself away with Chopinesque rhythmic propulsion. Then all of a sudden some amazing sequences of trills that are as successful as Beethoven's, appear out of a mist and leave me dumbfounded.

With the passing of this gigantic Jupiter of compositions, the Academic Festival Overture seems less exalting and monumental. Despite this, the music itself is not too shabby. Brahms is never impotent in his musical ideas and creates a convincing spectacle of an overture, somewhat mild and wandering when compared with the splendor and grace of the passing PC No. 1. But Brahms was always adept with overtures, as is apparent with his great Tragic Overture. As a piano composition it seems to work out well. All the voices are crisply clarified by the piano, and a certain melodic sparkle seems to charm its way through the keys.

Bottom line: This CD is just another great disc I've bought from Naxos to expand my musical horizons and delve into Brahms through the Four-Hand arrangements. I'm very confident that these arrangements do the composition justice. After all, the impact the Symphonies, the German Requiem and the Serenades have had on me only assures me that the piano is the king of instruments and is superlatively capable of expressing this music to the highest of degrees. Brahms enthusiasts should know that the Piano Concerto No. 1 is utterly hair-raising and sensational for piano four hands. Those new to this music are encouraged to get it right now: it's a masterpiece.

Exceptional performance, interesting to compare, but not perfect sound.......2006-03-12

Releasing recordings of the 4 hand arrangements was a great idea. And these are performed exceptionally. For those of us who don't read music, it is fascinating to listen back-to-back with a full orchestral version to hear what Brahms felt were the essential parts to try to capture in the piano abbreviations. And Matthies and Kohn play very well. The only drawback is that these recordings sound a bit tinny. But I'm glad I have them and also like some of the other 4 hand arrangement CDs they've released.

This Triumphant Series Continues with a Real Rarity.......2003-11-27

I've obtained and vastly enjoyed every single one of this Naxos series of music by Brahms for four-hand piano duet featuring the team of Silka-Thora Matthies and Christian Kohn. Months ago I'd learned of the plans for this particular issue featuring a four-hand version of the First Piano Concerto, the ninth in the series, and have been eagerly awaiting its arrival. It has finally been issued and I have to say that it is a complete triumph.

I had not known, until this issue was announced, that there was ever a four-hand version of the First Piano Concerto. I had known (and played at the keyboard) the two-piano version, which is simply the solo concerto part with a single-piano reduction of the orchestral score. But this version was published in 1874, even before the two-piano version, and indeed one learns from the excellent booklet notes by Keith Anderson that that original version of this concerto was as a two-piano sonata, another fact I had not known.

Still I had some concerns about how this monumental score, with its complex orchestral polyphony and massive piano part, would be reduced for piano four-hands. I needn't have worried. It's all here, and sounds as natural as daylight. There are only a few places where there are some noticeable octave displacements and a few others where one misses the instrumental qualities one can only get from the orchestral accompaniment. And I detected several spots in the first movement where a bit of the accompanimental texture is lightened, with one contrapuntal strand left out. Otherwise, in my opinion, this version can stand as a valid presentation of Brahms's thinking. And of course this concerto is the most symphonic of all piano concerti written up to its time of composition.

As to the playing, it is nonpareil. This piano duet team is simply spectacular in their musicality, their technical abilities. One must also note that the sound of the piano being recorded is rich and full as well, but with clarity (so necessary for bringing out polyphonic voices) and a slight and needed edge in the upper register. So much of Brahms's writing emphasizes close harmonies in the bass and that can get muddy in piano recordings, but that is not the case here. The bass is full and rounded and utterly clear. Just listen to those thunderous trills in the opening measures! Huzzah to the recording engineers as well.

The filler piece, a four-hand reduction of the 'Academic Festival Overture,' is slightly less successful if only because one misses the contributions made by orchestral color. Still, it is jolly, forward-moving and very nicely played.

I don't know what else, if anything, is forthcoming in this wonderful series, but you can bet I'll be getting it when it is issued. Whosever idea it was to issue this series gets my heartfelt thanks (and that of other Brahms-lovers of my acquaintance).

Heartily recommended.

TT=63:20

Tracks:

Badinerie from Orchestral Suite No. 2 - The London Symphony Orchestra
Air on the G String from Orchestral Suite No. 3 - The London Symphony Orchestra
Brandenburg Concerto, No. 3 - The London Symphony Orchestra
1st Movement from Violin Concerto No. 2 - The London Symphony Orchestra
Polonaise and Rondo from Orchestral Suite No. 2 - The London Symphony Orchestra
Harpischord Concerto No. 5 in F Minor - The London Symphony Orchestra
Jesus Bleibet Meine Freude from Cantata No. 147 - The London Symphony Orchestra
Fugue in G Minor, BWV. 1026 - The London Symphony Orchestra
Toccata and Fugue in D Minor - The London Symphony Orchestra

Tracks:

Canon in D - The London Symphony Orchestra
Brandenburg Concerto No. 4 - The London Symphony Orchestra
Largo from Xerxes - The London Symphony Orchestra
Sonata in C, K. 420 - The London Symphony Orchestra
Adagio in G Minor - The London Symphony Orchestra
Spring from the Four Seasons - The London Symphony Orchestra
Toccata and Fugue in D Minor - The London Symphony Orchestra
Harmonious Blacksmith - The London Symphony Orchestra

Tracks:

Symphony No. 5: 1st Movement - The London Symphony Orchestra
Fse - The London Symphony Orchestra
Egmont Overture - The London Symphony Orchestra
1st Movement from Moonlight Sonata, No. 14 - The London Symphony Orchestra
3rd Movement from Violin Concerto - The London Symphony Orchestra
Finale from Symphony No. 9: Ode to Joy - The London Symphony Orchestra

Tracks:

Waltz No. 1: Grand Waltz Brillante: Op. 18 - The London Symphony Orchestra
Waltz No. 6: Petit Chein - The London Symphony Orchestra
Waltz No. 7, Op. 64, No. 2 - The London Symphony Orchestra
Waltz No. 10, Op. 69, No. 2 - The London Symphony Orchestra
Fantaisie-Impromptu in C-Sharp Minor - The London Symphony Orchestra
Raindrop Prelude, Op. 28, No. 15 - The London Symphony Orchestra
Adieu Etude, Op. 10, No. 3 - The London Symphony Orchestra
Heroic Polonaise, Op 53, No. 6 - The London Symphony Orchestra
Mazurka, Op. 7, No. 1 - The London Symphony Orchestra
Mazurka, Op. 33, No. 4 - The London Symphony Orchestra
Nocturne, Op. 9, No. 2 - The London Symphony Orchestra
Nocturne, Op. 15, No. 2 - The London Symphony Orchestra
Berceuse in D Flat, Op. 57 - The London Symphony Orchestra

Tracks:

Water Music: Allegro Deciso - Royal Philharmonic Orchestra
Mornig from Peer Gynt - Royal Philharmonic Orchestra
Farandole from l'Arlesienne Suite II - Royal Philharmonic Orchestra
Waltz from the Serenade for String - Royal Philharmonic Orchestra
Rhapsody Espa Royal Philharmonic Orchestra
Barcarolle from Tales of Hoffman - Royal Philharmonic Orchestra
Trumpet Voluntary - Royal Philharmonic Orchestra
Slavonic Dance No. 2 - Royal Philharmonic Orchestra
Meditation for Thasis: Classics for Love - Royal Philharmonic Orchestra
Hungarian March - Royal Philharmonic Orchestra
Air on the G String: Classic Strings - Royal Philharmonic Orchestra
Claire de Lune - Royal Philharmonic Orchestra
Ride of the Valkyries - Royal Philharmonic Orchestra

Tracks:

Prelude from Tristan und Isolde - Bayreuth Studio Symphony Orchestra
Gymnopedie No. 1 - The London Symphony Orchestra
Overture to Die Fledermaus - Philharmonic Orchestra Of The Vienna Opera
Dance of the Reed Pipes from the Nutcracker - Moscow State Phil Harmonic Orchestra
Adagietto from Symphony No. 5 - Radio Luxembourg Symphony Orchestra
Barber of Seville Orverture - South American Festival Orchestra
Winter from the Four Seasons, 3rd MVT. - Heidelberg Chamber Orchestra
Fugue in G Minor, BWV. 542 - The London Symphony Orchestra
Spring Sonata (1st Movement) - Simone Gutman, Stanley Wiener
Air from the Water Music - Little Orchestra Of London
Scheherazade Symphonic Suite Op. 35 - South American Festival Orchestra
Sabre Dance - Radio Luxembourg Symphony Orchestra

Tracks:

Prelude to Act III; "Lohengrin" - Halle Orchestra
Flute Concerto "La Notte" in G Minor, Op. 10, No. 2 - Munich Pro Arte Chamber Orchestra
Waltz from Symphony No. 5 in E Minor, Op. 64 - Paris Philharmonic Orchestra
Stranger Op. 68/29 - The London Symphony Orchestra
Clarinet Concerto - Little Orchestra Of London
Quodlibet on Welsh Nursery Tunes - Cardiff Symphony Orchestra
Mars, The Bringer of War from "The Planets" Op. 32 - Philharmonic Promenade Orchestra
Minuet - Spitfields Sinfonietta Of London
Moment Musical - The London Symphony Orchestra
Eine Kleine Nachtmusik K. 525 - The London Symphony Orchestra
Sleepers Wake - The London Symphony Orchestra

Tracks:

Overture Oberon - Vienna Symphony Orchestra
Minuet Op. 13 No. 5 - The London Symphony Orchestra
Radetzky March Op. 228 - Vienna Concert Orchestra
Ensaga - Orion Orchestra
Violin Concerto No. 1 in G Minor Op. 26 - Berlin Symphony Orchestra
Overture from lo Speziale - The London Symphony Orchestra
Die Fledermaus (The Bat) Mein Herr Was Dachten Sie (Act 1) - Hamburg Opera
Campanella - The London Symphony Orchestra
Symphony No. 1 in D Major, 1st MVT. - Vienna Symphony Orchestra

Tracks:

Salzburg Symphony No. 1 in D Major K 136 - Munich Symphony Orchestra
Overture: The Gypsy Princess - Vienna Volksoper Orchestra
Concerto Grosso in D Major Op. 3 No. 6 - Wuttemberg Chamber Orchestra
Little Shepherd (Children's Corner Suite) - The London Symphony Orchestra
Devertimento for Orchestra No. 1 - Little Orchestra Of London
"Your Tiny Hand Is Frozen" la Boheme - Rome Opera Orchestra
Fantasia in G Major for Organ BWV 572 - The London Symphony Orchestra
Entry of the Nobles from Mlada - New Philharmonia Orchestra
Venetian Gondolier's Song - George Levinstein
Violin Concerto in E Minor, Op. 64 - Symphony Orchestra Hamburg
Hungarian Dance No. 12 in D Minor - Munich Symphony Orchestra

Tracks:

Ride of the Valkyries - Dresden State Orchestra
Summer from the Four Seasons - Benito Rossi, Violin Orchestra Da Camera Di Milano
Waltz from the Sleeping Beauty - Bramberg Symphony Orchestra
Canon - Sinfonie Orchester Graunke Munich
Prayer - Paris Opera Orchestra
Riding Piece Op. 68.23 from Album for Youth - The London Symphony Orchestra
Coriolan Overture Op. 62 - Sydney Symphony Orchestra
Brandenburg Concerto No. 3 in G Major BWV 1048 - Munich Bach Orchestra
Waltz Op. 39 No. 15 - The London Symphony Orchestra
Oracion del Toro - Gabrieli Strings
Music from the Royal Fireworks - The London Symphony Orchestra
Clarinet Quintet K. 581 - The London Symphony Orchestra

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