@@wealllive2 Agreed. I took acid and listened to a bunch of violin concertos once, and it completely changed my perspective on those concertos. Made me a much better musician.
@@ErikWilliamsviolin You can count me among the initiated my friend. I thought it was a strange comment and wondered about it's origins. I suppose it could be denial, affirmation seeking, or self justification in judging others with propaganda as proof of their error. Who knows?
The cellist seems to match the pianist in controlled outer expression while the violinist and violist compliment each other's enjoyment of the freedom afforded to their spirits in playing this. It is good
Flat out one the best performances of this masterwork out there. This is a "take no prisoners"-style performance that suits Brahms perfectly. I'd love to hear more from this quartet.
I am not fully aquainted with the expression "take no prisoners" the swede I am. In my mind it it stand for "shoot them instead of having some troubles with putting them in prison". So I hesitate before this expression in a musical connection.
A little trivia about Op. 60, which is generally regarded as one of the great masterpieces of 19th century romantic music. Was begun in 1855, around the time Brahms' friend and mentor Robert Schumann lost his sanity and died in an asylum, leaving his wife Clara and 8 children. Brahms didn't finish it until 1975, when he was in his maturity as a composer. The first movement almost certainly reflects the shock and darkness Brahms felt at the loss of Robert Schumann. The piece also contains numerous musical references to Clara, whom Brahms fell in love with and proposed marriage to (she turned him down). The third movement, with the cello opening one of the most gorgeous lines Brahms ever wrote, may have been a love song to Clara -- or to Robert. When Brahms presented the quartet to his publisher, he joked that it should have a drawing of Werther on the cover -- a reference to a novel by Goethe about the emotional tribulations of a young man in love.
I was also told that Brahms wrote the Andante as a love song to Clara, by Menahem Pressler at one of the Beaux Art Trio's final concerts. I looked around and saw other women in the audience tearing up.
chambermusic doesnt get any better than this: superb performance !!!!!!! every performance I saw so far from this Hochrhein Musikfestival is of the highest possible level: musicians ,the acoustics of the room ,the recording engineers, the camerawork, it just blows my mind away. Bravo!
@@christianfreedom-seeker934 Can you please keep your weird American "conservative" paranoia away from videos of beautiful music like this? I'm sorry that your favorite racist youtuber is being reprimanded for hate speech, that has nothing to do with classical music.
The andante is music for the ages ...intensely moving in a shatteringly quiet way..the harmonic progression that squeezes out more pathos is so Brahmsian.
I grew up playing the cello, and I have loved great music my whole life... But, for some reason, this wondrous creation by one of my favorite composers escaped my attention until now... The Andante is remarkably beautiful - simply haunting... What a wonderful day it is when you discover something like this - it's like Brahms is still with us, and at least for me, creating something entirely new to fill my life with beauty and joy...
I had the exact same experience. Assuming you've heard the Jacquelyn du Pre recording of his Cello Sonata #1 on YT? This piece rivals it for beauty and majesty. Both are glorious, invaluable gems.
@@AnHonestDoubter He said to his publisher that the frontispiece of the score should have the image of a man with a gun to his head. He wrote this piece about his unrequited love, and obsession, with Clara Schumann.
Friends, this is telling the story of everything that has come and is coming to us all. I truly love this performance, it is a permanent facet of my psyche through my days and dreams
Brahms quote: To realize that we are one with the Creator, as Beethoven did, is a wonderful and awe-inspiring experience. Very few human beings ever come into that realization and this is why there are so few great composers or creative geniuses in any line of human endeavor. I always contemplate all this before commencing to compose. This is the first step. . . . I immediately feel vibrations that thrill my whole being. . . . In this exalted state, I see clearly what is obscure in my ordinary moods; then I feel capable of drawing inspiration from above, as Beethoven did. . . . Straightaway the ideas flow in upon me, . . . and not only do I see distinct themes in my mind’s eye, but they are clothed in the right forms, harmonies, and orchestrations. Measure by measure, the finished product is revealed to me when I am in those rare, inspired moods. . . . I have to be in a semi-trance condition to get such results - a condition when the conscious mind is in temporary abeyance and the subconscious is in control, for it is through the subconscious mind, which is part of Omnipotence, that the inspiration comes. I have to be careful, however, not to lose consciousness, otherwise the ideas fade away.
This is my first time listening to this piece, and it leaves me speechless, because how well you played this, and also how not many people know about this amazing piece
Nelson Goerner has to be one of the finest chamber music pianists in the entire world! I'm not familiar with him until the Schumann Quartet and this work. Veronika Eberle plays with such control, perfect intonation, heart-felt expression! It's a miracle of collaboration resounding in this hall and through the recording that touches our hearts and minds!
This is profound music, so profound that I had to get really old to understand how profound it is. Now I love it. It has taken almost a lifetime. Maybe the best experiences come late in life?
Most musicians I know fell hard for Brahms early in life, as teens or at college/conservatory. Brahms chamber music inspired many of us to learn our instruments so that we might someday play it. But at the same time some of this music resonates more late in life; viscerally I understand it better at 62 than I did as a teenager.
@@tomboyer5608 Thank you Tom. We who are not classical musicians perhaps are "slow starters", sometimes very slow starters. What I know by now is that it is never too late.
Dit is de allermooiste uitvoering ooit die ik van de "Werther" gehoord heb. Gevoelig, zuiver, vloeiend; de instrumenten worden zó bespeeld dat het als vanzelf lijkt te gaan; ik denk dat de componist erg tevreden zou zijn geweest. Dit is al de zesde keer dat ik naar deze uitvoering luister...
I do not read Dutch(?) but if the mention of Werther is meant to suggest any similarity between the character of Brahms and that of the self-obsessed "hero" of Goethe's novel I beg to differ.
@@marcoesquandolez - It most certainly is not. I know the biographies inside out. He wrote his works for the public and of course she was one of the first he wanted to hear his works. They had some quite serious fights. Clara worshipped Robert and every work of his was wonderful even when some of the later works were weak. With Brahms she seemed to take some revenge on this sibmissive attitude. She often complained about his works, passages in them. There was a point when Brahms shoiwed his new works first to friends - the Herzognebergs - and not to Clara. A typical remark from her diary ' new work by Brahms. unfortunately the usual weak/bad spots' - flaue Stellen. Brahms said specfically when he was young that the slow movement of his D minor Concerto was a portrait of Clara, a literal portrait, obviously not - inspired by thoughts of her. After one of their most lethal fights, he said, to make up to her again - that all his slow movements were still about her. - I'd say, still about those youthful feelings he had about her.
@@felixdevilliers1 I'm quite glad that you've read the biographies and the letters just as the rest of us have. Brahms wrote his c minor quartet about his unrequited love for her. He intended there to be a silhouette of a man holding a revolver to his head on the frontispiece, to reflect the suicidal mood he was in. You misspelled Herzogenberg.
@@marcoesquandolez - Absoute nonsense. Brahms did not imdiicate anywhere that the suggestion to his publisher had amything to do with unrequited love fot Clara..Give me your source. He was generally depressed at that stage. His Piano Concerto was rejected by the public He was hard up nd having a difficult time.. Schumann's fate and death had upset him. I think the feigned, humorous suicide idea had more to do with his love for Schumann. Yes, Brahms was in love with Clara but we will never know what actually happemed between them He and Clara agreed together that it was better for them to go their separate ways.. In a freeer society than ours they might have had a love afair. openly. Someone tried to prove that Felix was the son of Brahms but I have been through the dates and it would easily have been possible for Robert to have conceived him well before his final illness. He was an habotual fucker like Bach. Clara was very faithful even to the memory of her hisband. I don't think she would have found it easy to go from Clara Schumann to being Clara Brahms. That Schumann name was sacred to her.. Brahms always shied away from a conclusive relationship with a woman. Something in him was teriffied of such domestication. He was practically engaged to - was her name Agathe .Siebold? - and everyone was shocked when he suddenly broke away from her. I think I am remembering correctly that he wrote to her saying they should just have a love affair and not get married. That is what made her withdraw. I don't think there are many people who have been through all the biographies, letters and diaries in German as thoroughly as I have. Robert and Clara were idols of mine from the age of 14.. I lived with them. I'm not surprised that I spelled Herzogenberg wrongly. I keep making typing slips and don't always manage to correct them all. I have already corrected dozens in this note.
Ein Brahms mit gleich drei (!!!) Superlativen A Allerbeste Livekonzert Filmaufnahme überhaupt Gestochen schafe Bilder Natürlichste Farben Kameraführung perfekt B Allerbeste Interpretation von Brahms drittem Klavier quartett op. 60 die ich über - haupt kenne und je im Leben gehört habe (ich hab das Werk oft gehört : Musikverein Konzerthaus Musikuni Wien Die Musik fließt extrem ruhig u. völlig unaufgeregt ohne je den großen Spannungsbogen der Brahmsschen Emotionalität zu verlassen Die Ausgewogenheit von allergrößter innerer Ruhe u. größtmöglicher Dramatik (scheinbar ein Widerspruch in sich selbst) - hier gelingt er auf phantastische Art und Weise C Ein phantastischer Ton mit aller - bester räumlicher Akustik detail - reich differenziert und lupenrein trotz der mp3 Reduktion auf You- tube - mehr als ungewöhnlch Eine Interpretation die tatsächlich keine Wünsche offenläßt und alles darstellt bis ins allerletzte Detail .... Richard Schnaitl aus Wien
A exquisite performance I’d love to visit this Festival just over the Border from Switzerland whould love to visit and attend a concert! Hope it will still be on in 2022
Beautiful!! For some reason it took me a long time to warm up to the Brahms Pn 4tets - maybe because there's SO much other great Brahms to listen to. In the Andante there are a couple of cello themes that could easily branch into ones from the 2nd Piano Con.
Pur non costituendo un quartetto che suona insieme abitualmente, i quattro solisti dimostrano un ragguardevole affiatamento. Grande intelligenza interpretativa nell'aver saputo rilevare tutta la tragicità di fondo della composizione; un'aura quasi tenebrosa che, per contrasto, il dolce lirismo del terzo movimento non fa che rendere più intensa.
Musica sublime, costruzione perfetta, profondità che pochi compositori raggiungono; il movimento lirico è di una bellezza raggelante. Complimenti agli esecutori molto capaci e passionali.
@@frankstein9982 wow, your timestamp was fortuitous! It made me really appreciate the Mastercraft of even seconds of this piece. At 9:06 the violinist makes a deep, descending melody, which is then answered by the viola in the same fashion, though slightly deeper, then both join to make the same melody in unison. So simple and beautiful!
Hermosa composición y espléndida interpretación!!! Un placer poder disfrutar de este cuarteto de Brahms en el marco de ese escenario místico!!! Arte en todos los sentidos!!!
Can anyone once and for all explain to me how on earth Benjamim Britten could have called Brahms a terrible composer? If just doesn't make any sense at all. Obviously Britten was extremely brilliant but how could he possibly have said such a thing about Brahms' amazing compositions?
composers say things like that when they need to put some distance between themselves and the other one. All artists do this; it's not very generous but it happens.
At times Brahms seems like he's imitating Beethoven (and then trying to change some notes around so it's not obvious). Brahms couldn't really escape those comparisons, especially since someone called his 1st symphony "Beethoven's Tenth". I actually used to feel that way too but once you get exposed to more of his pieces you find that it's not always the case. I think the style of the late piano intermezzos is especially unique.
Como poucos músicos podem dar.nos boa música ! mas podiam ter um aspecto de mais contentes, parecem contrariados, salvo no brilhante solo do violoncelo. Parabéns, também aos autores do vídeo. O abraço desde Lisboa-Portugal
i'm listening to this wonderful performance in a very sad day for the history of Italian, and most likely European Democracy, when neo fascist are about to rule again over our marvelous country, meditating over the ignorance of part of the people which, as it happened hundred years ago, can generate an evil and devastating historical period which can weep out the Harmony, the Beauty, the Tolerance, the Magic which Music and Art represent for Man Kind... let's stand up, don't allow them with our indifference to destroy what our fathers conquered with their blood and lives
@@BlindeEzel The string players give all this music has and their instruments can. The pianist, albeit very musical, does not extract all colours that this piece and indeed his Steinway warrant.
Actually, they are all outstanding, individually AND collaboratively. As for balance and tone, perhaps the equipment you are listening with needs to be upgraded? You would be very, very fortunate indeed to attend a live performance of this work that surpasses this one,, I assure you.
Fantastic music and a wonderful performance. But the idea of using a visual edit every three of four seconds is just maddening. What is the point of all this? Does the editor think this is some sort of pop music video? Does the editor believe that the music is not strong enough to sustain a single perspective for more than a few seconds - that the listener needs some sort of extra visual excitement. It just shows a lack of musical understanding from the editor. How about trying one edit every minute - give the music a chance to make its own impression? This is just a visual train wreck. Stop it. The music deservers more respect than this.
Tristram I agree most emphatically. I would go further and say that the visual aspect of chamber and symphonic music is not necessary. The same visual-butterfly mind ruins most music videos including operas. I find music on TV to be unwatchable. Furthermore, before the invention of moving pictures (and probably since) operas were meant to be seen in an opera house where the average distance to the action was a few tens of metres. To me the idea of a "close up" in opera is anathema.
Brahms....Was the Patron Saint Of Unrequited Love....To See what I mean .....go right to 13:54 ......His Love For Clara Haunted Him His Entire Life . ❤
If something is in C minor does it automatically make people talk about Beethoven's fifth? Brahms already has pretty famous piece in C minor that people compare to Beethoven...
