브람스피아노소나타2번

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작성자보디가드 조회 220회 작성일 2021-12-04 06:56:26 댓글 0

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Yekwon Sunwoo : Brahms Piano Sonata No.2

선우예권 브람스 피아노 소나타 2번

Yekwon Sunwoo
J.Brahms : Piano Sonata No.2 in F# minor, Op.2
17.7.2018

(Source:
)

* Performance at Gewandhaus (21.4.2018)

Shen Tseng : Extraordinary!
Railroad Hill 0철덕 : 아잉♡♡
godlove6980 : Miss you, YK
0603김민하 : 15:44
머유니 : 오

Brahms: Sonata No.2 in F-sharp minor, Op.2 (Zimerman)

A marvellous performance of a beautifully constructed sonata. As is usually the case with Brahms, if you come here looking for sugary melodies or passages of sparking brilliance you’ll be disappointed. Brahms, even at the young age at which he wrote this sonata, was (astoundingly) already too musically mature for that. What Brahms *does* offer is here, however, is immensely rewarding– an expressive directness that if handled clumsily comes across as crudity (but which Zimerman handles perfectly), and a sense of structure and logic that is absolutely self-assured, even unshakeable. [One example: the third movement is the fourth variation of the second movement!] Although you’ll often hear this sonata (the first Brahms wrote, though published as the second) described as a juvenile work, full of bombast, that assessment strikes me as being very far off the mark: consider the desolate, minimalist beauty of the second movement, its late-Beethoveneque sense of deconstuctive stillness, and you realise there’s nothing bombastic about this work at all.

00:00 – Mvt 1, Allegro non troppo ma energico. A brooding movement in conventional sonata-allegro form. Brahms strenuously resists dwelling for long in any well-defined mood here, and Zimerman perfectly captures the profound sense of unease that pervades this movement. Note how the restatement of Theme 1 in the recapitulation is altered to be more dissonant and unsettling, a striking decision for a section that is supposed to bring the movement to a close.

06:09 – Mvt 2, Andante con espressione. A theme and variations based on a German song. The melody is vanishingly skeletal, based on a stark call-and-response structure. At the end of the third variation, the music comes to rest on the dominant, achingly unresolved. Brahms directs the performer to move straight on to the scherzo, which is really the fourth variation on the theme. Zimerman’s playing generates an incredible sense of disintegration, of falling-apart. Even the high syncopated responses of the second variation and the aching-toward-lushness of the third variation sound disturbing.

12:28 – Mvt 3, Scherzo. The opening call-and-response of Mvt 2 is simply transferred to the 6/8 meter. The calls are played in octaves, the responses in much higher harmonies. Unusually, the trio is a lot longer than the scherzo, and contains numerous beautiful and deceptive shifts to minor where a major key is expected, generating a modal sense of placid calm.

17:01 – Mvt 4, Finale. Usually, this is by far and away the most substantial movement of the work, beginning with a lengthy introduction, whose subject is also the first theme of this movement – although in the exposition the theme now opens with a biting half-step dissonance. The exposition here gets a full repeat (unlike that of Mvt 1). In the recapitulation, Theme 1 has subtle variations in the harmony and accompaniment from its initial presentation, but the most striking variation is in the second phrase, where Brahms seems to want to shift everything up a half-step, but then quickly moves back home at the trill and cadence, which is extended a bar with broken arpeggios. The development is also spectacular, featuring modulations which appear to overshoot their mark, only to find their way rapidly home. Even the ending of this movement is mysterious: the bottom F-sharp of the closing scale, hushed and secretive, is followed by two suddenly loud, jarring rolled F-sharp major chords, and the slow coda has the effect of arresting, rather than fulfilling the movement’s progress. Zimerman rises to the remarkable structural demands of this movement, handling this movement’s vast textural terrain with great confidence [see 26:28, etc].
durcheinander : Zimerman's sound is always so balanced: open and full, yet soft and elegant. That's something I've hardly heard in any pianist. Holy shit, I really can't get over how amazing he is.
Adan Ayup : Extraordinaria composición...
Jack of all trades : I've never heard Brahms write anything like the second movement to this. Extraordinary. Crystalline and atmospheric; richly colored with chromaticism and punctuated with dissonance, it pulses with a sort of ethereal energy that glows and quivers in the darkness. The depth of emotion here is quite unbelievable when you look at the conciseness of the construction. Again. Extraordinary.
Wout DC : The dissonances in the last section of the second movement are amazing!
Merek R : When the Schumann's heard this and the actual 2nd piano sonata, Robert was overwhelmed by the orchestral nature and maturity of Brahms. Even at a young age (actually composed at 18 yrs - Swafford ) Brahms shows such an acumen for structure and form. What it must have sounded to hear such a young genius play this masterwork!

[월클콘서트] Brahms Piano Sonata No. 2 in F-sharp minor, Op. 2 ׀ 피아니스트 정의경 ׀ 월요클래식 46화

월요클래식 콘서트 시리즈 'Neue Bahnen'
브람스의 피아노 소나타들은 모두 스무 살 무렵에 작곡된 젊은 작곡가의 초상을 담고 있습니다. 그 중에서도 브람스가 가장 먼저 완성한 작품이 바로 2번 소나타랍니다. 깊은 사색과 진지한 태도로 긴 음악 여정을 완주한 그의 출발점을 피아니스트 정의경의 연주로 함께 들어볼까요? 연주자들이 직접 만드는 월요클래식 콘서트 시리즈!

00:08 1악장 Allegro non troppo, ma energico
06:41 2악장 Andante con espressione
12:15 3악장 Scherzo: Allegro-Poco più moderato
15:38 4악장 Finale: Sostenuto-Allegro non troppo e rubato-Molto sostenuto

※ 코로나19의 확산 방지를 위해서 이번 시즌 월클콘은 무관중 라이브로 진행합니다. 본 연주는 사회적 거리두기 2단계 방역 지침을 준수하여 소수의 인원이 촬영하였습니다.

©2021 월요클래식 All rights reserved.

#브람스 #피아노 #소나타 #2번
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여러분의 구독과 좋아요가 더 좋은 월클을 만드는 힘이 됩니다. 팔로우하고 함께해주세요. :)

☞피아니스트 #정의경
https://blog.naver.com/studiogj/222204206525

♬월요클래식 페이스북 페이지
https://www.facebook.com/studiogj21

♬스튜디오 공작 인스타그램
https://www.instagram.com/studiogj21
월요클래식 MusicalMondays : 다음주 월요일에는 연주자와 함께하는 연주뒤풀이 코너를 통해 브람스 피아노 소나타에 대한 이야기를 들어봅니다. 정의경 피아니스트의 브람스 소나타 렉처도 기대해주세요!
Yeonhoo Kwag : 청력이 무지 좋아진 느낌 .. 피아노실력도 미모도 월클.. 너무 잘들었어요 !!!!!!!! 이제 귀에서 흐른 꿀 모은거 판매하러 가볼게요 ~~~!!!!!
SH Jeong : 월클 덕분에 클알못이 브람스 피아노 소나타도 들어보네요. 멋진 연주 감사합니다~ ^^
남정 :
실시간 공개듣다 전화오는 바람에
맥끊겨서..다시 들어도 너무 좋습니다.
4악장 코다에서는 초집중^^ 제 귀가 연주에 대롱대롱 매달린듯..
멋진 연주 고맙습니다~♡
Jmw : 와 2번 곡좋아해서 1악장만 친 취미생인데
진짜 엄청잘치시네요 ㅠㅠ 1악장만 들으려다가 다들었습니다...혹시나 3번도 나중에 기회되면 들려주세요 잘들었습니다

... 

#브람스피아노소나타2번

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