Right up there with Heifetz/Piatigorski, the casting is impeccable. Both of these two are just so free and wild and their sound is so lush and richly textured, perfect for this music!!!
Wonderful music-making. I have this performance on CD, published in the 1980s. What a gift to see as well as hear these exceptional music-makers! Many thanks to Oleh Kuzminchuk for publishing this performance. You do us all a service.
I know im randomly asking but does any of you know a tool to log back into an Instagram account? I was dumb forgot the password. I would love any help you can give me!
@Malcolm Denver I really appreciate your reply. I got to the site thru google and I'm in the hacking process atm. Takes quite some time so I will get back to you later with my results.
Love Maisky's intro, especially the penultimate note and his expression - deeply suspicious - about what is happening next! Also struck me that their teachers (Oistrakh and Rostropovitch) made the definitive recording of the Brahms double, which may partly explain why this works so well.
The two of them can be argued to be best alive in the world in their respective instruments. The trio they formed with Mrs. Argerich is unforgettable. Their Brahms leaves me without words.
Awesome video - thank you so much for posting - especially the last movement. Everyday I am thankful for RU-vid because I'm able to be a part of performances I could never have attended.
크레머의 음색은 나에게는 항시 다소 날카롭게 들리는데 나만의 생각인가~? 과연 브람스는 하나의 멜로디을 자유자제를 펼쳐나가는 그 능력은 천재를 넘어 신비스럽군요 마치 텀퓨터 쳐럼 조화롭고 무궁무진 합니다, 바흐의 대위법에 버금가는 그의 음악을 펼쳐나가는 기법은 앞으로 이런 음악가가 또나올까 싶씁니다
Great performance just as the Mishakov ,Miller ,Toscanini in 1948 , 34 years earlier than this. Very characteristic: Toscanini version 29.29 and Bernstein version 35.30 . The timings of recordings made between are typically from 31 to 34 minutes. The tempo of performances have become slower and slower during the first 40 years after Second World War. This is just one example. I have observed this in performances of many other masterpieces.
Extreme effect: 2nd piano concerto of JB - I always wondered, why this tempo in the beginning (horn solo)? So I searched on youtube... the older the recordings, the shorter, even the several Tosanini-recordings... the earliest is terrific!
some say slow, some say dramatic. I would say dramatic since the finale of his recording of Korsakov's capriccio Espagnol is so much faster than a lot of the others. I'm sure there are other examples of this but that is the main one that comes to my mind.
@@111violist not really, if I may suggest have a look to the Brahms Piano concerto n. 1 with Glenn Gould and Bernstein. Introducing the concert Bernstein explain exactly the dynamic between Director and Soloist and the problems he had to face with Mr. Gould.
It is in good old tradition not necessarily custom to play this without music stands (for sure they have it memorized completely!), regarding the 'chamber music'-character of the unusual scoring with two soloists. It was common in older times e.g. (and I would insist on it) to play piano-acvompanied sonatas with a music stand, when the pianist does, since it is NOT music for a virtuoso and a sidekick, but chamber music for two equal partners. A 1st violinist wouldn't play from memory in a string quartet (except all 4 do so). I always found Anne-Sophie Mutter playing Beethoven Sonatas without a music stand a bad example of behaviour on stage... You can read in the extremely recommended book by Gregor Piatigorsky, that he played Piano Trio with Heifetz (!) and Rubinstein (!) with music on the stands, although he played Schubert B flat major Trio from memory - infact the two others, for fun a little bit kidding him, placed the cello part of Wagner 'Meistersinger'-Ouverture on his stand and he regocnized only when it was to late, after tuning. So he took sweet revenge and played the whole Trio from memory, interested fixing the music and from time to time turning pages. The two others hardly avoided to fell from their chairs of laughing... (In the same book, Piatigorsky reports, how, when he was section leader of the Berlin Philharmonic under Furtwängler, a not named soloist came along for Dvorak's cello concerto and indeed in everyone of the 3 movements had a black-out and he, Piatigorsky, jumped in, playing the Solo part from memory from his Tutti-chair. After the performance, the soloist called Piatigorsky 'arrogant idiot'. P.'s comment: I wish, he would follow the old manner and use the sheet music...) Of course, here both could play from memory here, but for some reason it established not to do so, and it underlines the unpretentious character of the performance...
@@borisbrinkmann Hey, thank you for this answer. I was not aware of this history and not aware that it has ever been considered bad etiquette to play a sonata (violin-piano, say) without the score.
There was an absolutely absurd performance of the Beethoven Triple concerto...: Anne-Sophie Mutter without music stand, behaving like a soloist, her husband Andre Previn the exact opposite at the piano, switching between looking into the music and onto the keyboard like a news speaker, Lynn Harrell, somehow grinning and being happy to make music with the young people (although the age difference must have been marginal, but that was the habit; I could swear that he was smoking a pipe - no, that was the other guy... ;-) Harrell also with music stand) and Kurt Masur trying to keep all that together... What is wrong with somebody, to play the Triple concerto from memory, when the 2 others use the music and one of them is your husband...?
