Tag Archives: Johannes Brahms

Wigmore Mondays – Behzod Abduraimov: Chopin Ballades and Brahms Variations

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Behzod Abduraimov (piano)

Wigmore Hall, London

Monday, 15 February 2016

Audio (open in a new window)

http://www.bbc.co.uk/programmes/b07032zw

Available until 17 March

What’s the music?

Chopin (1810-1849) – Ballades:

No.1 in G minor Op.23 (c1835) (9 minutes)

No.2 in F major Op.38 (1839) (7 minutes)

No.3 in A flat major Op.47 (1841) (7 minutes)

No.4 in F minor Op.52 (1842-43) (10 minutes)

Brahms – Variations on a theme of Paganini, Book 1 Op.35 (1862-63) (12 minutes)

Spotify

Behzod Abduraimov has not recorded this repertoire as yet, so in case you are unable to hear the radio broadcast the below playlist contains recordings of the Ballades by the legendary Artur Rubinstein – and an equally thrilling recording of the Brahms from pianist Julius Katchen:

About the music

As the name implies, the Ballade is a form that has a literary origin. Chopin seemingly opted to use this name in response to the writings of Adam Mickiewicz – and using such a name gave him freedom of expression and form. So it is that the four ballades for piano each tell their own story, sometimes deciding to apply rigorous structure but on other occasions letting their ideas run free.

More recently it has become a popular concert trend for the four to be performed together, as they span a good range of Chopin’s composing career (12 years) and because their key centres and emotional impressions are complementary. The first and fourth are the most substantial pieces and arguably the most difficult to bring off, while the second is rigorously structured and the third described as more of a ‘salon’ piece – which should not demean it in any way.

Brahms wrote two books of Paganini Variations, taking as his inspiration the composer’s very last Caprice for solo violin, which you can view below:

It was the composer’s last large scale work for solo piano, and was perhaps a surprise to those who had gotten to know him as a serious composer. Here he lets himself off the leash, writing music that seems to be for display purposes as it becomes ever more difficult – despite him referring to his writing as modest ‘finger exercises’. Brahms being Brahms, though, there is still that customary attention to detail throughout the fourteen variations.

Performance verdict

An ambitious program for a lunchtime concert, but one the Uzbek pianist Behzod Abduraimov pulled off with aplomb. He clearly knows the Chopin Ballades very well, for the melodic phrases were invested with a natural instinct that gave him a deceptive amount of room. There were some passages of play that took the breath away, such as the end of the fourth ballade, while in contrast the quieter moments, such as the very private beginning to the third ballade, were equally involving.

The first ballade flowed beautifully, a stream of consciousness that felt instinctive and gained a lot of momentum in its tempestuous central pages.

On occasion the Paganini Variations were too loud, the really fast and firm bits given out with just a bit too much force. Yet that is perhaps the best criticism, for it shows the extent to which Abduraimov was really going for his shots, as it were – nailing most of the really tricky runs and dazzling especially in the right hand of the thirteenth variation.

What should I listen out for?

Chopin

2:54 – the first Ballade begins with a call to arms that soon dims down – where we hear the main theme at 3:25. For much of the first section the pianist appears deep in thought, but soon these thoughts come to the surface, and from 5:00 onwards we hear music of great feeling, rising to a tempestuous climax and a thoroughly convincing finish.

11:45 – the second Ballade has none of the brooding expression of its predecessor, and could almost be mistaken for a Christmas piece at the start, with its blend of grace and nostalgia. Things change dramatically at 13:41 with an outburst from the right hand, a sudden whirlwind of notes that will almost certainly make you jump on headphones! The two contrasting moods alternate through to the end.

18:46 – the third Ballade starts with a beautiful theme and then turns into a graceful, almost balletic triple time dance. A second section at 20:27 is also in the mood for a dance, turning gracefully but then becoming deeper and much firmer. This starts to dominate the ballade as Chopin moves it through increasingly distant key centres, before the main theme returns joyously at 24:40.

25:47 – the fourth and final Ballade does not begin in its ‘home’ key, approaching it by way of an introduction – before arriving at 26:19 with a new theme. The final flurry to the end begins at 34:49 and is brilliantly played.

Brahms

38:16 – Paganini’s theme is heard in some distinctive voicing – and it is not long until the first variation at 38:43, with what sounds like an incredibly difficult piece of writing to play! Other notable variations are the flighty third (39:37), a much quieter and sombre fifth (40:58), and a sixth (41:48) where Brahms’ characteristic rhythms of two against three take hold. There are then some inward looking, quieter moments where the music takes time for thought.

Then at 47:58 we hear the thirteenth variation, and there are some frankly outrageous showboating with glissandi (very fast runs) in the right hand. Who said Brahms isn’t fun?! The end is pretty explosive stuff, and if you listen closely you might be able to hear Abduraimov stamping towards the finish.

Encore

51:49 – very much the calm after the storm, the encore is the pianist Alfred Cortot’s arrangement of the Sicilienne – originally composed by Vivaldi and arranged by Bach (3 minutes)

Further listening

The last Paganini caprice has sparked the imagination of a number of composers, each of whom have written variations on its melody – so at the bottom of the concert playlist you will find the Rhapsody on a theme of Paganini from Rachmaninov, along with Variations from Lutoslawski and Andrew Lloyd Webber. Which one is best?

Meanwhile you can compare Chopin’s approach to the Ballade with that of Brahms, who published his set of four in 1854. The items are on the bottom of the playlist containing the music used in the concert:

On record: Janine Jansen plays Brahms and Bartók Violin Concertos

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Featured recording: Janine Jansen pairs the Brahms Violin Concerto with Bartók’s First
brahms-bartok-jansen

Leading violinist Janine Jansen explores violin concertos by Brahms and Bartók, bringing out the Hungarian connections between them. The accompaniment is from Antonio Pappano and orchestras from the Santa Cecilia Academy and London.

What’s the music like?

This is an unusual pairing that has not been tried on disc before, but it makes perfect sense. Brahms’ Violin Concerto has a finale that makes much of Hungarian gypsy music, so the leap from that to the thoughts of the young Bartók is not as big as you might think.

The Brahms is a big piece, heavily weighted towards its first movement, which at 21 minutes is more than half the length of the work. In this recording Janine Jansen uses cadenzas (the display parts for violin alone) written by Joseph Joachim, Brahms’s friend and the dedicatee of the concerto. Joachim was a long-fingered virtuoso, and because of that the violin part is technically very demanding.

Bartók’s Violin Concerto no.1 is the first of two such published works, and was completed when the composer was in his mid-20s. It also includes traditional Hungarian music but now the language is noticeably more modern, with crunchy harmonies, swaggering cross rhythms and a solo part that sounds more like a duel with the orchestra. In the Brahms the two forces are very much ‘on side’.

Does it all work?

This is an inspired pairing. Jansen plays with a beautiful tone in the Brahms but just as much credit should be levelled at conductor Antonio Pappano and the Santa Cecilia orchestra, for their singing accompaniment that makes the listener want to hum along with the tunes. The Brahms has been recorded a lot of late but in this recording there is a fresh approach, as though the melodies have just been written. The oboe solo in the slow movement is gorgeously played, while the rustic finale is joyous and uninhibited.

The Bartók is similarly fresh, and again the orchestra – this time the London Symphony – cut through all the different textures and crossrhythms to make sense of this occasionally complex music. The rhythmic profile is strong once again, while technically Jansen is right at the top of her game, graceful in the first movement and gritty in the second but without losing any poise.

Is it recommended?

Yes. The two works complement each other in a highly original and brilliantly played pairing.

Listen on Spotify

You can judge for yourself by hearing the album on Spotify here:

Wigmore Mondays – Benjamin Appl & Graham Johnson

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Benjamin Appl (baritone) and Graham Johnson (piano) perform settings of the poetry of Joseph von Eichendorff

Wigmore Hall, London

Monday, 4 January 2016

Audio (open in a new window)

http://www.bbc.co.uk/programmes/b06tkp3w

Available until 3 February

What’s the music?

Schumann (1810-1856): Frühlingsfahrt Op.45/2 (1840); Der Einsiedler Op.83/3 (1850; Der frohe Wandersmann Op.77/1 (1840)

Mendelssohn (1809-1847): Pagenlied (1832); Nachtlied Op.71/6 (1847); Wanderlied Op.57/6 (1841)

Brahms (1833-1897): In der Fremde Op.3/5; Mondnacht; Parole Op.7/2; Anklänge Op.7/3 (all 1852-1853)

Pfitzner (1869-1949): In Danzig Op.22/1 (1907); Der Gärtner Op.9/1 (1888-9); Zum Abschied meiner Tochter Op.10/3 (1901)

Wolf (1860-1903): Nachruf (1880); Das Ständchen; Der Musikant; Der Scholar; Der Freund (all 1888)

Spotify

Benjamin Appl has not yet recorded any of this repertoire, but a reproduction of his program using available versions can be accessed below, for listeners who cannot hear the BBC broadcast. Where possible I have used recordings made by Appl’s mentor, Dietrich Fischer-Dieskau:

About the music

Joseph_Eichendorff

Joseph von Eichendorff (picture used courtesy of Wikipedia)

With around 5,000 song settings of Joseph von Eichendorff’s poetry from the 19th century alone – with thanks to BBC Radio 3 announcer Sara Mohr-Pietsch for the info! – Benjamin Appl and Graham Johnson had no trouble making up a concert of 18 ‘lieder’ for the first Wigmore Hall lunchtime concert of the year.

Their choice gives an intriguing insight into different approaches to the poet. Broadly speaking, Schumann ranges from love-laden to thoughtful and a little morose (though his selection comprises three prayers), Mendelssohn is either forthright or reflective in his three songs; the youthful Brahms is surprisingly relaxed, while Pfitzner emerges as an inventive painter. Perhaps the most striking examples here come from Hugo Wolf, who wanted to focus on the ‘comparatively unknown humourously and robustly sensual side’ of von Eichendorff’s poetry.

Performance verdict

A slightly downbeat return for the WIgmore Hall in 2016, but a concert that was beautifully performed. The pairing of an incredibly experienced pair of hands in Graham Johnson and a singer starting out on his artistic voyage in Benjamin Appl was a good match and yielded many rewards.

Several songs left lasting impressions from the program, among them two from Brahms, with Appl’s control throughout Mondnacht and the picture painting from Johnson in Parole especially notable.

It was good to hear some rarely-sung lieder of Hans Pfitzner, whose use of the piano’s lowest end brought a wholly new texture to In Danzig, while the Wolf selection reminded us how original he could be in his song settings, the piano cast in a prominent role of scene setting, one that Johnson relished and used to his great advantage.

What should I listen out for?

Schumann

2:06 – Frühlingsfahrt (A spring journey) – the initial optimism of this march is quite bracing, but it soon subsides as the poet thinks of old age.

5:31 – Der Einsiedler (The hermit) – quite a sad song, solemn and lost in thought. Again old age is a preoccupation, the piano supporting the vocal melody as a walking stick might support the physical frame.

9:02 – Der frohe Wandersmann (The happy wanderer) – a much more positive, open-air march that talks of streams ‘rushing down the mountains’ and larks that ‘soar heavenwards’. More spring than winter!

Mendelssohn

11:03 – Pagenlied (Page’s song) – a tentative detached figure in the piano part adds to the tension of this song, which is relatively subdued and distracted.

13:11 – Nachtlied (Night song) – there is a withdrawn feel to this song also, until the Nightingale is encouraged to sing out at 14:39.

16:12 – Wanderlied (Song of travel) – a typically busy piano part from Mendelssohn gives the impression of rapid movement, the traveller set on his way with the minimum of fuss – and happily so!

Brahms

20:49 – In der Fremde (In a foreign land) – a rather downcast setting in a minor key, the poet in reflective mood. The piano hints at a major key near the end but such thoughts are quickly forgotten.

22:12 – Mondnacht (Moonlight) – dappled piano lines suggest moonlight in the branches, and there is a more romantic mood, with yearning vocal lines.

25:03 – Parole (Password) – again Brahms thinks privately, using vivid picture painting from the piano that depicts the huntsman through distant calls but also the ‘one last shot’ (26:44), where Johnson adds extra emphasis.

28:02 – Anklänge (Echoes) – a short but evocative song of two halves, the first depicting a lonely house in a forest, the second greeting the maiden inside.

Pfitzner

30:07 – In Danzig – the mood changes dramatically in this darkly coloured song exploiting the lower range of both piano and singer. The mysterious and faintly menacing mood is aided by elusive harmonic movements.

34:38 – Der Gärtner (The Gardener)­ – this song is more conventional in its language, looking back to Schumann and Brahms. The mood is positive and quite dreamy, but reaches a very impressive climax at the end with the words ‘Viel schöne, hohe Fraue, Grüss ich dich tausendmal’ (‘I, lovely gracious lady, greet you a thousand times’)

38:08 – Zum Abschied meiner Tochter (Farewell to my daughter) – a positive farewell, and an expansive setting that reaches another impressive climax at 40:07.

Wolf

42:58 – Nachruf (In memoriam) – the piano imitates the lute in this song as Appl sings a gentle lament

47:06 Das Ständchen (The serenade) – a watery piano introduces an adventurous setting that contains the tune of a serenade but some unconventional dissonances between voice and piano. There is a great deal of sadness in this song.

50:27 – Der Musikant (The minstrel) – the choice of music over marriage is made here by the singer! As if to emphasise his decision there is a rather lovely piano introduction that proves to be the bedrock of the song.

52:14 – Der Scholar (The scholar) – there are a number of examples of picture painting in the piano part for this song, depicting the ‘little birds’ and the rain that ‘rattles on the leaves’. Again the singer extols the virtues of making music but occasionally with a few too many wines! (53:40)

54:55 – Der Freund (The friend) – The joy of friendship is celebrated here, though not without travelling through a storm or two (55:30) where the crushing piano and loud voice descend into brief turmoil before emerging triumphant.

Encore (not heard on the broadcast)

Verschwiegene Liebe (Silent Love) The twinkling piano introduction was followed here by a sensitive and grateful rendition from Appl.

Further listening

As a complement to the concert, how about a recital based on poems by Heinrich Heine? Anothre great influence on 19th century vocal music, Heine’s music was set by a number of composers – and here the great tenor Christoph Prégardien and fortepianist Andreas Staier look at songs by Schubert, Schumann and Mendelssohn:

Under the surface – Kuula Orchestral Music

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Composer: Toivo Kuula (1883-1918)

Nationality: Finnish

What did he write? Kuula is not well known outside of Finland, but in his home country his reputation rests largely on his vocal music, the record company Ondine describing him as ‘a colourful and passionate portrayer of Finnish nature and people’. His catalogue includes numerous works for male choir.

What are the works on this new recording? For this disc of some of his orchestral music, Leif Segerstam has chosen the most popular works in the two South Ostrobothnian Suites­ – the Finnish region where Kuula lived. They led to him being dubbed as a successor to Sibelius. Complementing these are the Festive March and the Prelude and Fugue. All the works date from the last decade of the composer’s short life.

What is the music like? Much of it is attractive, if a little undemanding. The Prelude and Fugue feels as though it is trying a little too hard to impress, but the Festive March is a natural and spontaneous composition that sounds like Brahms on holiday.

Perhaps because they describe the Finnish country, the South Ostrobothnian Suites are the most colourful music here. The first suite is especially notable for the graceful, silvery Folk Song, where the strings taking the lead, while there is a surprisingly rustic feel to the Devil’s Dance. Meanwhile in the second suite a clean orchestral picture emerges for The Bride Arrives, while Kuula shows a gift for picture painting in the evocative woodwind calls towards the end of Rain in the forest. Perhaps the most memorable picture painting occurs in the gamelan figuration of Will-o-the-wisp, the last number in the second suite – which is beautifully played by the Turku Philharmonic Orchestra and their conductor Leif Segerstam.

What’s the verdict? If you like classical music to be slightly in the background then this is ideal, music that doesn’t make too many demands on the listener but is nonetheless rewarding when painting a picture of Finland. It is true the attractive cover draws you in, but on many occasions here there is music to match.

Give this a try if you like… Dvořák, Grieg or lighter Brahms

Spotify Playlist

You can listen to excerpts from the disc at the Presto website (be sure to click on the ‘Listen’ tab)

Meanwhile you can hear the composer’s complete songs for male voice choir on Spotify here:

Wigmore Mondays – Artemis Quartet and Markus Groh: In Memoriam Friedemann Weigle

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Artemis Quartet – with Friedemann Weigle (viola) on the far right.

Markus Groh (piano), Members of the Artemis Quartet – Vineta Sareika (violin), Gregor Sigl (viola), Eckart Runge (cello) – Wigmore Hall, London, live on BBC Radio 3, 30 November 2015

Listening link (open in a new window):

http://www.bbc.co.uk/programmes/b06qjz7t

on the iPlayer until 30 December

Spotify

In case you cannot hear the broadcast, here is a Spotify playlist of the Brahms played in this concert, from available versions on Spotify:

What’s the music?

Bach/Piazzolla, arr. Eckart Runge: Partita for StringTrio – In Memoriam Friedemann Weigle (18 minutes)

Brahms: Piano Quartet No. 3 in C minor, Op. 60 (1875) (35 minutes)

What about the music?

This concert was a tribute to the violist Friedemann Weigle, a member of the Artemis Quartet who sadly died at the age of 53 earlier this year. The quartet write this about the Bach / Piazzolla suite with which they begin, arranged by their cellist Eckart Runge:

“Featuring excerpts from Bach‘s Goldberg Variations, the English Suite BWV808 and the Sinfonia BWV795, as well as two fragments from Piazzolla‘s Oblivion and Fuga 9, the Partita for Trio spans the lifetime of Friedemann, from his beginnings as a church musician’s son to his time as a member of the Artemis Quartett. In 2012, when we were conceptualising our Bach-Piazzolla suite, Friedemann was devoted to arranging the works of Johann Sebastian Bach. He had a special affinity for the music of Bach, music that had accompanied him since his childhood. At the same time, he had been fascinated by pop music – from rock to jazz – since his youth. Indeed, he often proudly said that his first public musical performance was as a drummer in a rock band. Friedemann’s curiosity for new musical forms once again became apparent when he learned – and learned to love – Piazzolla’s Tango Nuevo through the Artemis Quartett.

We performed the Aria from the Goldberg Variations at Friedemann’s funeral. The idea then came about for us to honour Friedemann through the arrangement of a Partita, which would bring together these two aspects of his musical interests and, as a trio, to show the absence of a beloved friend.”

Performance verdict

Sometimes in a concert it almost does not matter what the standard of performing is like, and this was one such occasion. Unfortunately Arcana was unable to attend but I am sure you will be able to gauge the depth of feeling immediately from the sensitive Bach arrangements, which are arranged into a very effective suite.

The BBC Radio 3 announcer Sara Mohr-Pietsch tells us that the last recording at which Friedemann was present was of Brahms String Quartets – and so the group have been performing Brahms with guest pianists on their tour. There is an extra poignancy and potency to their performance of the C minor Piano Quartet No.3, with a depth of feeling that even over the radio is very intense. The resilience and power of the outer movements is most impressive, the rhythms are sharply defined and the slow movement is the soft, beautifully played centre of the performance.

What should I listen out for?

Bach / Piazzolla

1:40 – a solemn opening passage of music, where the held notes on the string trio could be mistaken for the sonorities of the bandoneon – an instrument Piazzolla often used.

5:54 – a fugue – presumably from Bach’s English Suite BWV808 – begins, the players using next to no vibrato and keeping their bows near the bridge of their instruments by the sound of things, to secure quite a coarse sound – but then there is much more of Piazzolla appearing as the music moves into a characterful dance at 7:30. Then at 8:06 the mood changes abruptly again, returning to sorrowful memories.

17:18 – the Aria from the Goldberg Variations signals a switch from the sorrowful minor key to a much more optimistic major. With it the instruments bring more vibrato. The versatility of Bach’s music is very clear in this arrangement, the parts beautifully even in their distribution.

Brahms

markus-groh

Markus Groh (piano)

23:23 – the piece begins with a slow introduction, where a single unison from the piano brings in the strings with their theme. This call and response is repeated. At 24:22 the first movement proper begins, and is notable for its full texture and big musical statement. The music then subsides a little to softer, undulating thoughts and a second theme at 25:30 from the piano. Brahms continues with some powerful statements from both forces. At 31:42 the music is more graceful, led by the piano, but soon the fraught atmosphere returns, and at 32:57 the mood of the slow introduction returns, and the first movement finishes.

33:52 – the Scherzo, which as so often with Brahms features nervy crossrhythms and the feeling of piano versus strings. At 35:12 there is a flowing passage but still the nervousness is present – and at 36:34 the main theme returns, with razor sharp accuracy from the players, before an emphatic finish moves the music from C minor to C major.

38:21 – the slow movement begins with the cello softly playing, an elegiac line that is beautifully rendered here by Eckart Runge over a quiet piano accompaniment. Soon he is joined by the violin and the pattern for this deeply felt piece of music is set, the instruments sticking closely together but playing music of great tenderness and feeling. The movement ends quietly and thoughtfully at 47:45.

47:58 – the finale begins with a sense of nervousness again, the piano figuration dancing around the violin theme, before the music really cuts loose with all four instruments, Brahms unleashing the power at his disposal. In this performance the group take the repeat at 50:00. Then the music moves farther afield, in terms of its distance from the harmonies Brahms uses for the main key – before returning around the 53:35 mark – where we hear another account of the main melody on a lower part of the violin. The work as a whole leaves a strong impression, with a thoroughly convincing finish.

Further listening

Brahms enjoyed writing for the piano with stringed instruments, and his other two Piano Quartets are massive works but ones that repay repeated listening. The more popular of the two is the Piano Quartet No.1 in G minor, a really impressive structure that is one of the composer’s earliest large scale chamber works. The Piano Quartet No.2 in A major followed soon after…and both are given excellent performances on this album from pianist Nicholas Angelich, string playing brothers Renaud and Gautier Capuçon (violin and cello respectively) and Gérald Caussé (viola):