Brahms: Four Hand Piano Music, Vol. 1

Editorial Reviews
Amazon.com
Much as I love Brahms, only about half this music is worth hearing. The Schumann Variations is a heartfelt piece based on a theme written by Schumann, Brahms's mentor, in a delirium. The Waltzes, not Brahms's most profound music, are charming and filled with gracious melodies. But the Souvenir de la Russie is early hackwork that Brahms obviously didn't take seriously (he published it under a pseudonym). And even if Brahms permitted the Neue Liebeslieder waltzes to be played without the voices, they sound very empty and uninteresting that way. Since the pianists are excellent, the timing is generous, and the price is low, the disc is still worth buying. But stop it halfway through. --Leslie Gerber

Tracks:

Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 1 in Gm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 2 in Dm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 3 in F
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 4 in Fm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 5 in F#m
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 6 in Db
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 7 in A
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 8 in Am
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 9 in Em
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 10 in E
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 11 in Dm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 12 in Dm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 13 in D
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 14 in Dm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 15 in Bb
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 16 in Fm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 17 in F#m
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 18 in D
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 19 in Bm
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 20 in Em
Four Hand Piano Music Vol. 2: 21 Hungarian Dances, WoO 1: Hungarian Dance No. 21 in Em
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 1
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 2
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 3
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 4
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 5
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 6
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 7
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 8
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 9
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 10
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 11
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 12
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 13
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 14
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 15
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 16
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 17
Four Hand Piano Music Vol. 2: 18 Liebeslieder Waltzes, Op. 52 a : Liebeslieder Waltz No. 18

Customer Reviews:

Brahms with four hands. .......2004-12-22

Seventy-six minutes of Brahms' most popular music is found on this enjoyable CD. Matthies and Köhn seem to have been engaged in recording all Brahms' fourhanded piano music for Naxos. And it is amazing how much of it there is! So acute is their insight into each of the Hungarian Dances that you'll not wish to be hearing them in their orchestral versions instead. The Liebeslieder Waltzes are affectionately played, but the original version, with a quartet of singers, is to be preferred.

Beautiful And Authentic Sounding.......2004-08-28

I really enjoyed this recording. The musicians are excellent and the sound quality is crisp. Although you usually hear these peices performed by orchestra, they were originally written by Brahms as four hand piano pieces. So when you listen to these recordings, you are listening to them the way that the composer intended and it adds to the authenticity. My favorites are Dance No. 4 which has an achingly beautiful melody and alternates between slow minor and fast major keys. Of course Dance No. 5 is the most famous and that is another favorite. Dance No. 8 is an interesting song written in A Minor with a descending and ascending melody. This is a great bargain for the price.

Exquisite.......2001-07-10

Don't let the low price fool you. This is a top-notch recording by two of Germany's leading pianists, who specialize in this type of music. The tempos are brisk, with plenty of rubato and portamento, beautifully matched from piano to piano. There is plenty of Gypsy fire. Listen to number 4 and it will remind you of the piano accompaniment to old silent films, as it should! Number 6 makes the most of the augmented seventh/tonic combination that makes one want to get up and dance.

I like my Liebeslieder Waltzes sung, but these are a real treat as well.

Music by Brahms that everyone will like.......1998-11-02

Perhaps not since Walter and Beatriz Klien recorded these Hungarian Dances some 30 years ago (Turnabout TV34068S) has such a fine new recording of the four-hand piano version of these magnificent dances been issued. And, to my ear, it is just this four-hand version of these ambitious dances that provides what is required--more power than the solo version, with no sacrifice of authenticity and nuance as frequently happens in their orchestral renderings. Here you can distinguish and appreciate those "wrong notes" in the sixth dance which are usually lost when the work is performed by full orchestra. These German pianists play with a remarkable combination of accuracy and spontaneity; one senses they love the music and want to do everything possible to bring it unscathed to the listener. And the technical clarity and presence of the recording will delight you. This disc also includes Brahms' 18 Liebeslieder Waltzes, Op. 52a. Although I personally am partial to the vocal version of this music, Matthies and Koehn here again do a first-rate job in bringing out the romantic, and even dreamlike, qualities of these unusual and captivating melodies. You will not quickly tire of this recording.

Average customer rating:

From The Deeply Serious To The Unashamedly Popular
Very good CD

Brahms: Four Hand Piano Music, Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000014D1
Release Date: 1997-04-22

Tracks:

Variations On A Theme By Schumann, Op. 23: Variation #1
Variations On A Theme By Schumann, Op. 23: Variations #2
Variations On A Theme By Schumann, Op. 23: Variations #3
Variations On A Theme By Schumann, Op. 23: Variations #4
Variations On A Theme By Schumann, Op. 23: Variations #5
Variations On A Theme By Schumann, Op. 23: Variations #6
Variations On A Theme By Schumann, Op. 23: Variations #7
Variations On A Theme By Schumann, Op. 23: Variations #8
Variations On A Theme By Schumann, Op. 23: Variations #9
Variations On A Theme By Schumann, Op. 23: Variations #10
Variations On A Theme By Schumann, Op. 23: Variations #11
16 Waltzes, Op. 39: 16 Waltzes #1
16 Waltzes, Op. 39: 16 Waltzes #2
16 Waltzes, Op. 39: 16 Waltzes #3
16 Waltzes, Op. 39: 16 Waltzes #4
16 Waltzes, Op. 39: 16 Waltzes #5
16 Waltzes, Op. 39: 16 Waltzes #6
16 Waltzes, Op. 39: 16 Waltzes #7
16 Waltzes, Op. 39: 16 Waltzes #8
16 Waltzes, Op. 39: 16 Waltzes #9
16 Waltzes, Op. 39: 16 Waltzes #10
16 Waltzes, Op. 39: 16 Waltzes #11
16 Waltzes, Op. 39: 16 Waltzes #12
16 Waltzes, Op. 39: 16 Waltzes #13
16 Waltzes, Op. 39: 16 Waltzes #14
16 Waltzes, Op. 39: 16 Waltzes #15
16 Waltzes, Op. 39: 16 Waltzes #16
Souvenir de la Russie, Anh. IV - 6: Russian National Anthem
Souvenir de la Russie, Anh. IV - 6: The Branch
Souvenir de la Russie, Anh. IV - 6: Do Not Wake Her At Dawn
Souvenir de la Russie, Anh. IV - 6: The Nightingale
Souvenir de la Russie, Anh. IV - 6: There's A Big Nillage On the Road
Souvenir de la Russie, Anh. IV - 6: 'KOCA' (The Plait)
15 Neue Liebeslieder Waltzes, Op. 65a: Forego, Heart, Escape
15 Neue Liebeslieder Waltzes, Op. 65a: Gloomy Shades Of The Night
15 Neue Liebeslieder Waltzes, Op. 65a: On Each Hand The Fingers I Had Covered With Rings
15 Neue Liebeslieder Waltzes, Op. 65a: Black Eyes, You Only May Sign To Me
15 Neue Liebeslieder Waltzes, Op. 65a: Protect, Protect Your Son, Neighbor
15 Neue Liebeslieder Waltzes, Op. 65a: Put Roses On Mother for Me
15 Neue Liebeslieder Waltzes, Op. 65a: From Mountains Heavy Showers Are Coming in Waves
15 Neue Liebeslieder Waltzes, Op. 65a: Tender Grasses In The Quarter
15 Neue Liebeslieder Waltzes, Op. 65a: Preying Upon My Heart, I Feel A Poison
15 Neue Liebeslieder Waltzes, Op. 65a: I Sweetly Fondle Such And Such
15 Neue Liebeslieder Waltzes, Op. 65a: All, All You Say to Me, You Flatterer, Is In Vain
15 Neue Liebeslieder Waltzes, Op. 65a: Black Forest, Your Shadow Is So Dismal
15 Neue Liebeslieder Waltzes, Op. 65a: No, Beloved, Do Not Sit Down So Close To Me
15 Neue Liebeslieder Waltzes, Op. 65a: Eye Of Flames, Dark Hair
15 Neue Liebeslieder Waltzes, Op. 65a: 'In the End': Now Then, Muses, No More Of This

Amazon.com

Much as I love Brahms, only about half this music is worth hearing. The Schumann Variations is a heartfelt piece based on a theme written by Schumann, Brahms's mentor, in a delirium. The Waltzes, not Brahms's most profound music, are charming and filled with gracious melodies. But the Souvenir de la Russie is early hackwork that Brahms obviously didn't take seriously (he published it under a pseudonym). And even if Brahms permitted the Neue Liebeslieder waltzes to be played without the voices, they sound very empty and uninteresting that way. Since the pianists are excellent, the timing is generous, and the price is low, the disc is still worth buying. But stop it halfway through. --Leslie Gerber

Customer Reviews:

From The Deeply Serious To The Unashamedly Popular .......2006-03-23

This is a 'must have' disc for Brahms lovers, even if just for the first item - Variations on a Theme by Schumann, Op. 23. Schumann's solemn melody was written while 'recuperating' in a mental asylum, after having suffered a serious breakdown and suicide attempt. Schumann then wrote a short set of simple variations on that melody - his last known composition. Brahms of course knew the poignancy surrounding the creation of this piece and out of veneration for his sorely missed friend and mentor followed suit with his own set, five years after Schumann's death in the same asylum. This is deeply felt and in places vibrant music, immaculately crafted and very beautiful.

The two sets of waltzes (Opp. 39 & 65a) included on this disc are light and delicious and played with such infectious enthusiasm that I defy any music lover not to be captivated by them. As for the remaining piece, Souvenir de la Russie, it is even lighter, consisting of his arrangements of and fantasies on popular tunes. Being Brahms' earliest surviving composition (dating from his teens), it is worth having for that reason alone.

The two pianists are unimaginably united in their conception and delivery of this wonderful repertoire, not to mention technically brilliant. Sound is crisp and clear. What more could you want?

Very good CD.......2002-06-15

Very good album, very good interpretation. I bought it together with the slavonic dances from Dvorak, same people playing, it is even better than the Brahms.

Average customer rating:

Sumptuous Brahms
Volume 10 in an Absolutely Superb Brahms Four-Hand Series

Brahms: Four Hand Piano Music, Vol. 10

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Four Hand Piano Music 7

ASIN: B0000ZKY0Q
Release Date: 2004-02-17

Tracks:

Allegro
Romanze: Poco Adagio
Allegretto Molto Moderato E Comodo
Allegro
Allegro Non Troppo
Andante Moderato
Quasi Minuetto, Moderato
Finale: Allegro Non Assai

Customer Reviews:

Sumptuous Brahms.......2006-11-29

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original form. Before exploring the Naxos Four Hand Series, I had not heard any orchestral/chamber 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's music.

I must apologize because I cannot inform the Brahms lovers out there how these four hand arrangements measure up to the original string quartets. I'm sure there's many shades of colors and beautiful subtleties that cannot be transferred to the piano. And I cannot comment, like Mr. Morrison below me about the differences. However, I can speak from a pianophile's point of view that this music is in a class of its own on the piano. As a fledgeling Brahmsian, I can also say that these arrangements of the quartets are just as graceful and first-rate as the music in the previous volumes of this series. Brahms's music always works on the piano, whether it's the German Requiem, the Symphony No. 4, or these magnificent String Quartets, Brahms can always infuse his arrangements with power and immaculate clarity. His arrangements can all be heard as if they were an original piano composition. In my view, these arrangements should not be compared to the original at all; they are musically efficacious and quite worthy on the piano, and that's all that matters here.

The first String Quartet in C minor is bursting with drama and Beethovenian splendor. Pianistically, the first movement is a powerhouse. This piano duo combines an impassioned interpretation with a supreme mastery of dynamics. The musical content is just pure Brahms: noble, beautiful, introspective, and brimming with agreeable thematic development. The second movement is a stream of tenderness on the piano. With gorgeous harmonies and fluid phrases, it sounds like it could be a fine second movement of a piano sonata. The mood of the third movement seems connected to the second, but is richer in melody and the little allegretto theme is a wonderful invention from Brahms. Although the entire movement seems like it's played in pp, the piano duo play with an unstable touch, like they could just explode into brilliant passage works at any moment. This never happens until the fourth movement, where the fire from the first movement is rekindled. Brahms conveys a seemingly infinite amount of ideas. The music itself sounds intense, heroic, and magnificent enough to be a movement from a grand sonata. Whatever the original string quartet movement sounds like, the piano duo has given me enough satisfaction with such a full-blooded and animated execution.

The second String Quartet in A minor is another high-quality creation from Brahms. Even lacking the aural experience of the original version, I think the music is so tremendous and feel that the piano arrangement imbues it with clarity and dynamism. The first movement is one of those furious allegro's that swells with fervor. Both the first and second theme are exemplary opposites of tension and release. The power and rapture of these themes are expressed with such sensitivity: at once, the duo is in the midst of a turbulent brio and then a second later they whisper to one another. Can a string ensemble really match this? The second movement is another example: extreme quiet and pensive reflections with a few splices of fortissimo moments. Phrases of somber beauty abound here and this kind of andante is well-suited for the piano, in my opinion. The last two movements are grand tapestries of music. The counterpoint, as Morrison said below me, is never marred but rather unveiled. These movements are sheer polyphonic tour-de-forces and Brahms surprises me yet again with his incredible and infinite pools of musical ideas.

Bottom line: For those already aware of the high-caliber works featured here from Brahms, I'm sure I preach to the choir. However, I do this while also expressing my enthusiasm for this piano duo and why I think the piano performance of these works should be enjoyed. This kind of music, as I said, is perfect for the piano. Not only does it sound great in the sonorous and sparkling registers of the keyboard, but it sounds completely unhindered and clear. I might even be so bold as to suggest that the intimacy of the string quartet has been successfully rivaled here. Highly recommended.

Volume 10 in an Absolutely Superb Brahms Four-Hand Series.......2004-03-18

Perhaps because I was a pianist, not a string player, I've been a huge fan of this continuing series of recordings of Brahms music arranged by the composer for four-hands at one piano featuring the piano duet team of Silke-Thora Matthies and Christian Kohn. (But I am not uniformly a fan of piano transcriptions: my enjoyment did not extend to a recent Naxos release of Stravinsky's 'Firebird' in the composer's own transcription for solo piano.) The only clunker up to now, as far as I'm concerned, was the 'German Requiem,' primarily because one really does miss the vocal soloists and choir. But I was a little bit leery about how it would go when this series reached Brahms's chamber music - up to now it's been arrangements of orchestral music in the series - but I needn't have worried. Indeed, I think this release, number ten in the series, may be the best yet.

This CD contains the four-hand arrangements of the two Opus 51 String Quartets. Not having seen the scores for the piano duet arrangements I had wondered if Brahms added to what is essentially a four-voice texture. After hearing the recording I can assert that he added very little except for some octave doublings in the bass to strengthen the texture and some tremolos in the upper voices in order to convey what otherwise, on the piano, would be thunks rather than sustained string chords. Where they are added they contribute to the sound but they are hardly noticeable after one gets used to them. Brahms clearly knew what he was doing.

What IS noticeable is how clear the piano-sound makes both the almost constant polyphony and frequent counterrhythms. In fact, in the first movement of the Second Quartet, which abounds in both of those features, one often loses, in string quartet performances, the gist of the counterpoint as well as rhythmic clarity due to the frequent and confusing voice-crossing four-against-three-against-two passages. Even very good quartets sometimes get mired in the congested texture and the metric complications. That doesn't happen here because of the slight percussive quality of piano tone. A viola-playing friend commented that this piano duet version would be helpful in coaching young quartets here, because it would help them hear what is supposed to come out in these passages. An interesting observation, I think. Finally I am astounded to find that I actually prefer the fourth movement of the Second Quartet in the piano-duet version. See what you think.

I need not comment about the superb musicianship of this piano duet team. They are beyond praise. And since they seem now about to embark on the piano-duet versions of the chamber music I expect we can anticipate further enjoyment.

So, if you've enjoyed this series up to now, prepare to be very pleased again and, with me, to anticipate future chamber music transcriptions. Thank you, Naxos, for this brilliant series so brilliantly conceived, performed and recorded.

TT=69:02

Tracks:

Allegro Ma non Troppo
Andante Ma Moderato
Scherzo: Allegro Molto
Rondo: Poco Allegretto E Grazioso
Allegro Non Troppo
Poco Adagio
Scherzo: Allegro Non Troppo
Poco Allegro

Customer Reviews:

The piano duo vigorously celebrates Brahms's chamber works.......2006-12-24

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original form. Before exploring the Naxos Four Hand Series, I had not heard any orchestral/chamber 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's music.

Having already reviewed 10 volumes from this Naxos series, I wasn't sure what to expect from the String Sextets. Would they rival the String Quintets and the Piano Quartet, which are my favorite Brahms chamber works from this series? Yes. They may not dethrone those favorites of mine, but these piano arrangements of the String Sextets definitely rival them. This disc contains some of the most tender, magnificent, subtlely beautiful and endearing music I've encountered from Brahms's chamber pieces (so far). Having not heard a string ensemble play these, I don't need the Brahmsians to tell me what I'm missing. But I don't see my lack of exposure as an impediment to review these performances. Indeed, this piano duo and the four-hand arrangements themselves are always superlative. Matthies and Kohn imbue Brahms with all the necessary attributes to make any work of his sound like a brilliant and noble piano composition. Instead of asking does the duo pick up the tone colors, the intimacy, and richness of a string ensemble, one should ask: do they play with sensitivity, control, gusto, and excellent technique? I can answer yes to all of those.

The first String Sextet is my favorite of them all. The first movement is just a delightful escapade full of lush piano phrasing and beautiful harmonies that lilt on the piano. This is not the stereotypical dark or heavy Brahms, but a cheerful romantic Brahms; the duo plays this with such delicacy and sweetness. The second movement is the shining star of this entire disc. It's a titanic and majestic movement in the style of Bach. On the piano, it sounds like some glorious long-lost Variations on a Theme. This is a powerhouse of a piece and the piano duo plays it with grandeur, perfection of dynamics, and heroic virtuosity. The following Scherzo is bursting with melody and rhythmic excitement. It's a compact Scherzo, just under 3 minutes, with an agreeable trio; the separate voices that verge on the point of becoming polyphonic sound crisp and clear on the piano. The last movement, is perhaps Brahms's loveliest: a Rondo with a somewhat feminine and pastoral theme. As we can expect, the piano duo plays their heart out, treating the canonic passages and forte moments with passion.

The second String Sextet is another jewel of immensely satisfying piano music. The first movement is unique in that it takes its time to identify a theme. There is a mystical and foggy mood that hovers over the piece; with the exquisite dynamic control, one anticipates but never really knows when the piano duo will suddenly play stronger or louder. Surprises abound everywhere and the movement itself is wholesome and masculine Brahms. The Scherzo movement is another melodious gem with splendid moments of pianistic brio, but the the poco adagio movement is the stunning winner here with a kind of serenity only heard from the piano. The duo whisper to each other as they communicate Brahms's ideas. There is an air of Baroque flavor with its various contrapuntal outbursts, and the piano emphasizes this quite nicely, I think. The final movement is full of contrasting lively rapidity and lyrical reflection. On the piano, the entire work emanates with warmth and refinement, a perfect display of the piano's versatility.

Bottom line: I share Scott's (the review below me) enthusiasm about this entire series. Indeed, I find the piano performances on each disc and the entire series itself an invaluable contribution to Brahms and Romantic piano discography. The String Sextets are early but brilliantly beautiful music, perfectly represented with all nuances, textures and themes and given impeccable treatment by the piano duo.

Glorious!.......2005-02-23

I'll admit it: I want this series to go on forever. I know it won't but I haven't had the heart to check the Grove Dictionary or Jan Swafford's Brahms biography to see how many more four-hand arrangements Brahms made of his own orchestral compositions that this sterling piano duo hasn't yet recorded. Thirteen discs so far! And this one contains arrangements of two of my all-time favorite Brahms compositions, the two String Sextets, Opp. 18 and 36. What marvelous music this is. And how marvelously they sound as piano duets. By now, we know that Matthies and Köhn are spectacularly good at Brahms and this disc is no exception. Even for someone who knows and loves the Sextets in their original garb, it takes only a few seconds to be seduced by their recasting as piano duets. I thought, in Op. 18's first moments, that I would be disappointed not to hear the dark lower strings intoning that glorious melody, but after about two nano-seconds I didn't miss the celli and violas at all. To be honest I have only one very minor quibble with these performances: I think they take the tempo of Op. 18's Rondo (4th movement) just a tad too fast. Other than that I can't think of a single criticism. And I'm pretty picky about my Brahms. As for high points, and there are many--and to pick a couple of the subtle ones--just listen to the wistful, spare Adagio of the Second Sextet or the delicate beginning of that sextet's second movement, the fugato that ensues with Matthies-Köhn delineating the threads of polyphony so subtly, and then the outburst of Gypsy music.

So there you have it. Another marvelous addition to this continuing triumph for a previously unknown piano four-hand team. (Now, I wonder, did Brahms ever get around to making a piano duet arrangement of his Second Piano Concerto, as he did of the First? If he did, it would be SOMETHING. I'm crossing my fingers.)

Urgently recommended for Brahmsians of all stripes.

TT=74:35

Scott Morrison

Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Average customer rating:

Marian Anderson - an outstanding collection

Marian Anderson Rare and Unpublished Recordings, 1936 - 1952

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000C2C7
Release Date: 1999-11-30

Tracks:

Se Florindo E Fedele
Begrussung
Die Flote Weich Gefuhl
Die Forelle
Der Doppelganger
Wohin?
Der Jungling Und Der Tod
Der Erlkonig
Denn Es Gehet Dem Menschen
Ich Wandte Mich Und Sahe
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Wenn Ich Mit Menschen
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Im Feld Ein Madchen Singt
Var Det En Drom?
When I Am Laid In Earth
O Men From The Fields
When Night Descends (In The Silence Of Night)
Elegie
Let Us Break Bread Together
My Soul's Been Anchored In De Lord
Trampin'
Sinner, Please Doan Let Dis Harves' Pass
Honor, Honor
The Cuckoo
Will O' The Wisp

Amazon.com

The rich-toned, musically elegant, always dignified contralto Marian Anderson (1897-1993) is probably best known as the first African-American to sing at New York's Metropolitan Opera House, but by the time she did (in the mid '50s), her once burnished, glorious voice was no longer at its best. Years before, when she was not permitted to sing in the Daughters of the American Revolution's Constitution Hall (or any other hall in the U.S. capital), she gave a concert in the open air, in front of the Lincoln Memorial, which was attended by press, dignitaries, and a crowd of more than 75,000. Much of her late work is well known--arias from Verdi's Un ballo in maschera, spirituals, and the like--but this CD also allows us to hear the voice when it was young--in the 1930s and '40s. One can almost hear Schubert's trout ("Die Forelle") dancing around in the water, and an aria by Scarlatti shows Anderson's coloratura abilities--the big voice could be scaled down to intimate, chamberlike proportions. She brings her intelligence and textual insights to other songs by Schubert and Brahms as well. This is a marvelous collection and a fine tribute to an American original. --Robert Levine

Customer Reviews:

Marian Anderson - an outstanding collection.......2003-05-03

This CD with recordings of Marian Anderson between 1936 and 1952, should be heavily promoted. The CD gives listeners a fantastic opportunity to hear the singer in a variety of song styles and languages. I heard her sing live, once, in the 1960's and was stunned then by her vocal skills and musicality. This is the first record or CD which truly reflects her amazing talent.

Average customer rating:

Another enjoyable collection of Brahms pearls
Really Excellent...
An Unalloyed Joy!

Brahms: Four Hand Piano Music, Vol. 12
Brahms , Matthies , and Köhn
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

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Brahms: Four Hand Piano Music, Vol. 13
Brahms: Four Hand Piano Music, Vol. 10
Brahms: Four Hand Piano Music, Vol. 11
Brahms: Four Hand Piano Music, Vol. 9
A German Requiem Four Hand Piano Music Vol. 5

ASIN: B0002TB2B0
Release Date: 2004-09-21

Tracks:

Allegro Ma Non Troppo
Adagio
Un Poco Allegretto
Vivace Ma Non Troppo Presto
Allegro
Intermezzo: Allegro Ma Non Troppo
Andante Con Moto
Presto: Rondo Alla Zingarese

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. String Quintet No. 2 was written near the end of the composer's life, while Piano Quartet No. 1 was composed thirty years before. Both are effective in two-piano versions, No. 1 with its Hungarian finale and No. 2 with its orchestral textures clarified in piano reduction.

Customer Reviews:

Another enjoyable collection of Brahms pearls.......2006-12-14

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original form. Before exploring the Naxos Four Hand Series, I had not heard any orchestral/chamber 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's music.

In my opinion, this disc contains some of the best chamber music I've heard from Brahms so far. The previous volume disappointed me a bit because the Op. 67 String Quartet seemed inferior to the Op. 51 String Quartets. The String Quintet No. 1, however, made up for it and now with this volume, I feel the Op. 111 String Quintet is the King of Brahms's string chamber pieces. That may be a bold assertion coming from someone like me who hasn't even heard the chamber version at the time of listening to this, but the piano proves its competency and remarkable powers in showcasing these premium works. As I've said many times when reviewing previous volumes in this series, I believe there is an inherent quality in Brahms's music which always sounds original and fresh on the piano. These arrangements do not bow to the chamber versions; they should be considered like individual piano compositions.

The String Quintet Op. 111 is superlative Brahms, filled with abundant ideas, pleasant harmonies, thrilling modulations, and beautiful melodies. And how compact it is too. The whole thing, with its hefty four movements, is only 32 minutes. Each movement is a jewel in the crown of the whole composition. The piano glorifies this music and it adequately emulates the intimacy and tension undoubtedly found in the original chamber work. The first movement is just pianistic grandeur. The cheery opening bars and the splendidly attractive themes are stellar examples of the greatness of Brahms's music. The second movement is even more profound, with its meditative mood and gorgeous harmonies. I can't stress enough how beautiful this music is when the rich piano tones give it such flavor. The third movement is a short and delightful allegretto with a melodious main theme that gets stuck in your head for days. As they've demonstrated before, this piano duo plays with an agreeable touch and a wonderful intensity which provides a crisp and deep sound. The fourth movement is short but unique: lively rhythms contrasted with slower lines of music. With its tasteful trills and furious moments it sounds almost like a Beethoven piano composition.

If the awesome second String Quintet wasn't enough to stupefy, the early Piano Quartet No. 1 reveals Brahms's talent and budding genius; it exceeded my expectations by all means. Conceptually, the work oozes with orchestral attributes: epic length, four large movements, and multiple layers and lines of music which have a quasi-symphonic strength, especially in the first movement. And it's the first movement, a massive tour-de-force of an Allegro, which remains as the most memorable part of this entire work. Brahms writes some incredibly robust and beautiful music here. And the piano duo plays this titanic movement with passion, aplomb and virtuosity. Describing the movement itself is like communicating the effect of an aurora borealis. The second movement and third movement are a little lighter in content, but still endearing; I love the lyrical but rousing Andante. The last movement is an invigorated Hungarian rondo. It sounds Lisztian, especially with the flurries that suggest Liszt's Transcendental Etude No. 5 "Will-o-Wisps." It progresses further with a charming and majestic theme which sounds richly harmonized and augmented on the piano. This is quite a spectacular ending to a superior chamber piece.

Bottom line: This four-hand piano arrangement is absolutely monumental. With this recording, Brahms's high caliber chamber pieces become colossal solo piano works of astounding suspense, drama, and beauty. I have no curiosities about the original chamber version because this breathtaking piano duo has quenched my thirst with these outstanding Brahms arrangements. Highly recommended.

Really Excellent..........2005-01-17

This is a very fine performance, recording of a great transcription by old papa Brahms. The whole four-handed series by Matthies & Kohn is highly recommended.

The two works featured here seem to me to work very well as 4-handed transcriptions because of the nature of their original forms of string quintet & piano quartet. I have a few reservations about Brahms' 4-hand setting of his string quartets, because of the essential timbral nature of the string quartet form: it works so well for his quartets, that I'm afraid that something is lost in transcripton to piano 4-hands. Nevertheless, these two pieces work very well.

Recorded sound is excellent.

An Unalloyed Joy!.......2004-09-23

String Quintet No. 2 in G major, Op. 111 &
Piano Quartet No. 1 in G minor, Op. 25,
played by Christian Köhn and Silka-Thora Matthies, piano four hands

What a joy this series has been. We're up to volume twelve and although I know it has to come to an end sooner or later - Naxos hasn't told us yet how many volumes there will ultimately be - I frankly don't know when I've been so enthralled by a series of CDs. (I thank a friend in Cambridge, Massachusetts for putting me onto it in the first place.) I suppose there are those who sniff and say that we should simply stick with the music that Brahms himself wrote, and leave these piano reductions alone. But that's the point: Brahms DID write these arrangements and they are every bit as expert as the more familiar versions. In this volume we have two of his most beloved chamber works, and in smashing performances by the piano duet of Christian Köhn and Silka-Thora Matthies (who, btw, don't just play Brahms--they have a CD of music by contemporary German composer Giselher Klebe coming out this month and I'll be reviewing it soon).

As to the performances, they are, as we've come to expect, not only technically completely secure, they are musicianly and full of that inimitable Brahmsian warmth. One may miss the sound of the cello in the Quintet's vaunting opening theme or the sustaining quality of string chords in the slower passages, but there is much to be said for the clarity added by the piano timbre. (Need I add that I'm a pianist myself and willingly admit that I love the sound of the piano above all others, but perhaps only by a small margin.) Somehow Köhn and Matthies manage to give the illusion of string instrument legato in, say, the long-limbed melodies of Quintet movements II and III. And one must say that the ability to convey both the string sound AND the piano sound in the Piano Quartet is astounding. (How do they manage to do that without getting their fingers tangled up with those of their partner?)

One particular highlight: in the exciting gypsy rondo of the Piano Quartet the duo amaze with their breakneck tempo. They play it faster than I've ever heard it, and I can tell you from having played the piano part of this quartet myself, that is no small feat--those sixteenths notes come faster than the speed of light, particularly in the theme immediately after the first statement of the rondo theme. My goodness, this is exhilarating playing!

Need I say this CD is an unalloyed joy and an urgent recommendation to anyone who is even the least bit curious about Brahms's way with transforming two of his most treasured chamber works into piano duets. Yes!

TT=75:17

Scott Morrison

Average customer rating:

Mindblowing and wondrous
Exceptional performance, interesting to compare, but not perfect sound
This Triumphant Series Continues with a Real Rarity

Brahms: Four Hand Piano Music, Vol. 9

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Brahms: Symphony No. 1; Triumphlied
A German Requiem Four Hand Piano Music Vol. 5

ASIN: B0000CDJK7
Release Date: 2003-11-18

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:

Seranade No. 1 In D Major, Op. 11: Allegro molto
Seranade No. 1 In D Major, Op. 11: Scherzo: Allegro non troppo
Seranade No. 1 In D Major, Op. 11: Adagio non troppo
Seranade No. 1 In D Major, Op. 11: Minuetto I & II
Seranade No. 1 In D Major, Op. 11: Scherzo: Allegro
Seranade No. 1 In D Major, Op. 11: Rondo: Allegro
Serenade No. 2 In A Major, Op. 16: Allegro moderato
Serenade No. 2 In A Major, Op. 16: Scherzo: Vivace
Serenade No. 2 In A Major, Op. 16: Adagio non troppo
Serenade No. 2 In A Major, Op. 16: Quasi menuetto
Serenade No. 2 In A Major, Op. 16: Rondo: Allegro

Customer Reviews:

Satisfying and gorgeous.......2006-10-21

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 recording is another excellent achievement for the Romantic piano recording world. Many Brahms enthusiasts or classical music lovers shun or snub their noses at "Four Hand" arrangements or "transcriptions" for being some kind of lackluster rendition without the colors and dynamics of the orchestra. These people forget that ALL orchestral/chamber music, even operas, were arranged for the piano in the 19th century because that was the only way the average public could hear this music. In a way, I'm familiarizing myself with this music just like they did. I haven't heard these Serenades in their orchestral form. But I can still judge the merits and compositional qualities of this work through the piano: the music notes are there. Beyond that, these arrangements sound like wholesome original piano compositions: they are dramatic, beautiful, sonorous, and deeply fleshed out. I don't need the orchestral version to hear that.

The Serenade No. 1, for instance, is an early work from Brahms that demonstrates his distinct melodic genius and advanced understanding of harmony. I'm sure its orchestral version is just as stupendous, and I'm sure Brahms lovers will tell me it's better. But I don't care because this music on piano is convincing enough. The first "Allegro molto" movement is nearly 13 minutes long, but when I listened to that main theme, the swelling heavenly consonances, and the sheer grandeur, it got my attention on a first hearing alone. The second movement is a successful scherzo in the fashion of Beethoven. Again, Brahms amazes me with his musical ideas, especially the original melodies and rhythms found here. Now, surely the most beautiful and sublime movement in this serenade is the tranquil third movement, a heartwarming and romantic adagio where Brahms can showcase his brooding lyrical side. At 13 minutes, this is an epic excursion into a musical fantasy world. Just like a Beethoven string quartet or Mozart mass, there are certain moments here that can change your life. The subsequent Minuetto and Scherzo movement are little miniature movements, but short length doesn't dictate the quality of Brahms' music. He packs a lot of beautiful and rich ideas into each one. The final movement, the Rondo, is a rollicking finale to this colossal serenade.

The Serenade No. 2 is shorter than its predecessor, and yet just as astounding and captivating. Brahms seems to express himself best through the first and third movement. The pattern of movements in both Serenades are nearly identical: the first movement is an Allegro and the third is an Adagio, both being the longest of the Serenade. Brahms explores a gentle haze in the first movement. The cloudy music sounds wonderful on the piano, and then it soars and progresses into an ecstatic mood with splendid moments and beautiful harmonies. The second movement is just as exciting as any of his other Scherzo's. But the most profound movement is the third, a serious adagio with some storming moments of anger, contrasted by soft reflections. The piano picks up these dynamics eloquently. The music is utterly transcending; it's as if Brahms had composed this music exclusively for the piano. The last two movements, a Menuetto and Rondo are all worthy diversions of opulence, and conclude an exquisite work with a positive afterthought.

Bottom line: My assessment of the movements may bore some, and even though I reviewed the music itself, I did so to display the effectiveness of the piano arrangement. I just can't emphasize enough how unbelievably powerful this music is through the medium of the keyboard. If you're one of those people suspicious of a "lackluster" piano arrangement, cast that notion aside. These are Brahms' own arrangements and the music sounds incredibly sumptuous and mighty. Sometimes with certain orchestral pieces, the orchestra drowns out the underscored layers and nuances of music. But here the piano seeks to clarify those layers and glorify those nuances. Highly recommended to all Brahms lovers or pianophiles.

Brahms' Two Serenades Done Right!.......2005-01-19

I prefer this realization of Brahms' two Serenades to almost any other recordings on the market--and I don't think there are too many out there anyway....

The Serenades work well for piano 4-hands, and Matthies & Kohn do a great job.

Sound is fine.

For Brahms/Piano Lovers.......2003-07-30

A recording of the transcription of Symphony 1 for piano is a bit superfluous, but if you love Brahms first symphony then it's...super. Obviously, the symphony loses quite a bit of its emotional impact in translation, but the music is sometimes more intelligible. I thought there could have been a little more dynamic contrast in the first movement, but this is impressive playing, generally.

If you like Brahms and romantic-era piano music, but don't think Brahms wrote enough good piano music, then you will like this.

Fantastic.......2000-08-27

I bought this record based in the recomendation of Grammophone magazine. The review was accurate. Beautiful, profound piano music.

Mrs. Matthies and Mr. Köhn do a wonderful team, each one aware of their own playing and of their partner, creating a solemn and crisp at the same time atmosphere.

Seranade No. 2 is better for my taste and sound more mature, but both were composed at the same time.

Tracks:

Vivace
Andante
Agitato (Allegretto Non Troppo)
Poco Allegretto Con Variazioni
Allegro Non Troppo Ma Con Brio
Grave Ed Appassianato - Allegretto Vivace
Allegro Energico

Customer Reviews:

Masterful Brahms and a worthy performance.......2006-12-07

A little disclaimer for the reader of this review: I've not heard any of these works on this CD in their original form. Before exploring the Naxos Four Hand Series, I had not heard any orchestral/chamber 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's music.

This disc continues a delightful expedition into the four-hand arrangements of Brahms's chamber works. Being unfamiliar with the original chamber version of the Op. 67 String Quartet and the Op. 88 String Quintet, I'll undoubtedly disappoint the reader of this review. I can't make a proper comparison and vouch for this disc from the standpoint of an experienced Brahms listener. I will say, however, that I've familiarized myself with all the music up to this volume in the Brahms Four Hand series from Naxos; I see myself fit enough to recommend it because of the *piano performance* alone. Indeed, I've always thought Brahms's music ideas perfect for any medium. His lush harmonies, fluid counterpoint and other beautiful textures are made clear and gorgeous in this piano recording. Kohn and Matthies have done it once again. They play these pieces with grace, poise, and with a flawless touch. Such attributes are appropriate and crucial for this kind of music. Fortunately, this piano duo delivers that and more.

I would have given this CD 5 stars but I'm afraid I don't share as much affection and appreciation for the String Quartet No. 3 as I do for the Op. 51 (on Vol. 10). It's still a magnificent and tender work, don't get me wrong. The first movement is deceptively dramatic and arousing with its lively rhythms and whirling momentum. It showcases wonderful dynamics on the piano and charms with its light-hearted melodies. Musically, however, I find it a little less-inspired than the Op. 51 string quartets, whose first movements outclass this one in my opinion. The second movement, however, is the glorious achievement in this quartet. There's something about this kind of music from Brahms that carries itself better on the piano. The introspective phrases, the underlying mellowness and the dramatic outbursts make for outstanding piano passage work. It sounds like a majestic piano sonata movement. However, the agitato third movement doesn't sustain my interest. Repeated listenings make it musically attractive, but the main allegretto theme is not my favorite from Brahms. This is no fault on the piano performers, either. On the contrary, they crystallize the musical content and deliver a beautiful interpretation. The fourth movement contains a similar quality of music: eloquent, masterful, beautiful, but sometimes boring and unimaginative. That must seem like an odd combination, but this is just coming from someone who just listened to the Op. 51. I'm afraid this last String Quartet doesn't captivate me like the previous two did. Regardless, there are sublime moments and this is still outstanding music compared to other mediocrities.

The String Quintet, on the other hand, is a gem played with furor and passion. On the piano, it possesses awesome grandeur and beautiful homophony. The first movement is warm and quasi-pastoral with a lovely main theme which is given some superior thematic development. Brahms displays his prowess here with fusing virtuosity and lyricism, sequencing and modulation. I can't compare this with the original string quintet, but the piano sounds indomitable anyway. The performers infuse the instrument with an unwavering stream of energy, and they play with vigor and titanic strength. The second movement celebrates the dark moods and tones only found in the piano. There are moments in this second movement that transcend all of Brahms's musical ideas thus far on this disc. Curiously, this movement loses its power with the irregular and awkward interjection of an allegretto in between the morbid and solemn subjects. I frankly didn't care for the allegretto because I wanted Brahms to stay on course with tragedy. In those tragic moments, the piano highlights some amazing tone colors and dark timbres in the lowest bass. Despite the distracting interlude of cheerfulness, Brahms makes up for it with his spellbinding return to darkness and melancholy. After two sections of the allegretto, the end of the piece reaches the apex of sublime sadness. The piano helps express these few phrases of powerful Chopinesque despair. This tender moment is so brief; it seeps through for just a few seconds and vanishes forever. The last movement is a fugal tour-de-force and the pianists lift the shadows away to reveal the stellar counterpoint. On the whole, this work is a monumental chamber piece from Brahms, and the piano raises the composition to a lofty plane.

Bottom line: Brahms's String Quartet No. 3 is, in my opinion, inferior to the Op. 51 quartets. The String Quintet No. 1 does make up for this, though. And disregarding any of my biases, I still think both works shine under the fingers of this piano duo. But really, Brahms's music is always successful on this medium. To some, the piano may seem lacking. Does it match the intricacies of the string quartet? I don't know. But it does a fine job in both illuminating separate lines, especially in the polyphony, and communicating the power of Brahms's music.

The Last Quartet & the First Quintet for Piano 4-Hands: A++.......2004-06-23

I'm afraid anyone who has read my reviews of earlier issues in this series of much of Brahms's output as he arranged it for piano four-hands will know what to expect in this notice. Yes, another rave. I'm sorry to be so boring, but this series is simply magnificent. Thank you, Silke-Thora Matthies and Christian Köhn, Naxos, and most of all Herr Brahms!

This disc combines Brahms's Third String Quartet, Op. 67, and the First String Quintet, Op. 88. The arrangements are, being by the composer himself, expert and telling. The playing is what we've come to expect from this young four-hand piano team, namely flexible, unfailingly musicianly and full of energy or songful repose whenever needed. My only quibble, and it's not the fault of the executants, is that no piano can successfully imitate the luscious sound of the string quintet in that memorable tune at the beginning of the Op. 88 Quintet, one of Brahms's loveliest creations. Once it gets in my head it stays for days.

One correspondent has asked me why anyone would want to have piano duet recordings of Brahms's music when there are so many excellent recordings of the music with original instrumentation; my answer is that these arrangement add to our understanding of Brahms's craft, his musical thought processes and, as well, they are magnificent music-making, capable of standing on their own. One advantage, for instance, is the frequent clarification of polyphonic textures. Perhaps there is a limited audience for this sort of thing, but since I started writing about this series I've had correspondence with a number of music-lovers who, like me, have been enraptured by the arrangements, the musicianly playing and the crisp, lifelike recorded sound. Of course, there are some of us who simply can't get enough of Brahms; e.g., I recently reviewed a recording, not in this series, of the 'German Requiem' sung by a French chamber choir (Accentus) and accompanied by two pianos, an arrangement Brahms made for a London concert. Stunning!

It's hard to know what might be coming in this series, but one can only hope that the Second Quintet and the two String Sextets are in the pipeline. I fervently hope so!

Heartily recommended.

TT=68:30