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Introduction to Brahms: Piano Concerto 2
Artist:
Jeremy Siepmann
Format: CD
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Formats and Editions
1. Introduction; Opening Horn Call And Piano's Answer
2. Rising Three-note Scalewise Pattern
3. Quicker, Descending Six-note 'Answer'
4. Second 'Answering' Phrase
5. First Main Theme Completed By Orchestra
6. Peace Shattered As Piano Bursts Back In Like A Tiger
7. Variant Of Opening Horn Call In Bass
8. Orchestra Returns, Beginning Of Exposition Proper
9. Big, 'Singing' Theme In Orchestra; Piano 'Forgotten'
10. Call To Arms By Strings; Marshalling Of Orchestral Forces
11. Piano Re-enters Fray With Massive Expansion Of Opening Figure
12. Piano 'Explores' Two Main Facets Of Opening Theme
13. Transition. Sense Of Key Weakened. Piano And Orchestra Come Toge
14. Piano And Orchestra 'Argue' Over Speed Of Thematic Three-note Ri
15. Piano And Orchestra In Friendly Dialogue Before Piano Falls Away
16. 'Winged' Harmonic Shadow Of Pure Pianistic Tone-Colour
17. New 'Transitional' Theme From Orchestra Developed By Piano
18. After Indecision And Discussion, The Mood Suddenly Turns Playful
19. Reminder Of Second Main Theme In It's Original Form
20. Transformation Of Second Main Theme By Piano
21. Piano Hijacks Orchestra's 'Call To Arms' (First Heard In Track 1
22. Piano And Orchestra, Now Allies, Explore Theme, But With Piano L
23. Dramatic Eruption Of Orchestra Leads To The Development Section
24. Pianistic 'Tiger' Replaced By Gentle, Reflective, Soft-spoken Po
25. Transformed 'Tiger' Theme Amicably Shared By Piano And Orchestra
26. An Apparently New Theme - But Battle Hymn Of The Republic?
27. Brief, Downward-driving Section Prepares For The Recapitulation
28. On The Threshold Of The Recapitulation
29. Recapitulation: The Magical Return
30. From Gate-crashing Tiger To Celestial Tenderness - And A Surpris
31. An Unexpected And Portentous Change Of Mood, Suggesting Tragedy
32. Summation
33. First Movement (Complete)
34. Second Movement: The Upward-driving Opening Gambit, Piano Alone
35. Downward-driving Answer From Lower Strings (Violas, Cellos, Bass
36. Theme Vs Melody
37. Eerie, Unharmonised, 'White' Sound Of Second Theme
38. Second Theme Taken Up And Developed By Piano
39. Expectation And Surprise; Harmonic Fluidity And Intensifying Dra
40. Return (And Transformation) Of Theme Two
41. Theme One Returns In Orchestra; Theme Three Emerges In Major Mod
42. Sequence Of Fragmentary Episodes Begins With Unexpected Fanfare
43. Variant Of Theme Three In Piano (Diabolical Piano Octaves)
44. Rescored Variant Of 'Fanfare' Theme; From Grandeur To Solemnity
45. Rhapsodic Variant Of Fanfare, This Time For Piano Alone
46. Recapitulation Of Opening, With Piano And Orchestra Reversing Ro
47. Theme Two Transformed By New Instrumentation
48. Cue And Second Movement (Complete)
1. Introduction, Cue And First Main Theme
2. Theme One Taken Up By Strings And Solo Oboe; Piano's Entry
3. Complex Variant Of Theme One With Very Different Speed And Rhyth
4. Orchestra And Piano In Mixed Variants Of Theme One, Now Intensif
5. Theme Two, Hushed And 'Tuneless', With Piano, Clarinets And Stri
6. Oboe Theme Returns, Now Delicately Embroidered By The Piano
7. Cue And Third Movement (Complete)
8. Finale: Introduction, Cue And Main Theme
9. Violins Take Up Tune, With Winds And Piano Accompanying
10. Piano Introduces Part 2 Of The Main Theme
11. Part 3 Of The Theme, Led By Piano, In 'Fiercely' Self-confident
12. First Episode, Part 1
13. First Episode, Part 2
14. Piano Hands Theme Over To Clarinets And Bassoons
15. First Episode, Part 3, In Piano, First; Then Flutes And Oboes
16. Strings And Flutes Take Theme, With Bubbling Commentary From Pia
17. Tipsy Dancers (Piano And Winds) Return, Tiring; Strings Take Ove
18. In The Central Episode, The Orchestra Throws Down A Dramatic Cha
19. ...To Which The Piano Duly Responds With A Stormy Outburst
20. Piano Kick-starts Run-up To Final Section In A Variant Of The Ma
21. Orchestra Sets Off On A Jaunty March, Later Joined By The Piano
22. Piano Propels Orchestra Into Final Section
23. Summation And Cue To The Movement As A Whole
24. Finale (Complete)
Details:
Nar by jeremy siepmannMore Info:
There is perhaps no great piano concerto grander than the Brahms B Flat. With the spaciousness of a symphony, the drama of an opera, the intimacy of a lullaby and the intertwining raptures of the greatest love songs. It touches on almost every emotion with extraordinary immediacy and power. It's virtuosity is spell-binding, yet always substantial.
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