I like the interpretation. I used to think this an angry piece of music after hearing some overenthusiastic renderings. She brings out the passion but in a controlled way as already commented.
This particular piece of totally overplayed, and I think that's why so many people have their own opinions about how it should be played. Your performance is astounding, with a lot of touch and feeling. Thumbs up!
What's not to like about it? Incredible technique, masterful interpretation, artistry off the charts. But let's face it, pianists know Brahms is "difficult" or perhaps I should say "awkward". His style is certainly recognizable but it is ephemeral, hard to pin down. Tha's why Ms. Schirmer's rendition shines - she found her Inner Brahms.
Great performance, shows lots of work. Am big time Brahms fantatic with many playlists of just Brahms. Very nice piano also. This is not an easy piece to play this well!!!
Perhaps the reason you are a Brahms fanatic is because he seems to have been the romantic composer who wrote the greatest number of masterpieces for various forms. He only let us down by not composing a cello concerto. (Per- haps he did and de- stroyed it, as he was wont to do with compositions he was dubious about.)
After taking lessons for just short of a year my teacher and I decided to tackle this piece. That was four months ago, and I'm just now finally reaching the last page of the song. Easily the hardest piece I've tried to learn, but also the most fun. This song leaves a lot of room for expression and has a relentless sound that I just adore. And if it weren't for Ragna Schirmer here, I probably wouldn't have liked the song and would have decided against learning it. No one's interpretation stands up to hers in my eyes. The way she plays it is just perfect and makes it my absolute favorite song, ever. Other pianists I've noticed tend to play this piece in a rather robotic fashion or don't take advantage of this song's expressive nature. They often ignore the crescendos during the ostinato sections or play those sections with very little pedal, leading to a lifeless sound which doesn't flow well during the parts of the song which should make you feel the most emotion. But not this woman. I've listened to this video god knows how many times now over the last four months and the ostinato sections (especially the one after 6:00) always give me chills. Always. Bravo, Ragna Schirmer. Bravo. I dream of one day playing this song like you do.
@@kangchenjunga591 ha ha as I was listening to this I was thinking I would aim (!) for a version in between these two, these are far and away my favourite recordings.
I had dismissed this piece after listening to Argerich's interpretation. Your performance sold me enough to include it in my diploma program. Good job!
Ágata No sólo de Clara vivió Brahms. Cuando contaba 25 años (hacía dos que había muerto Schumann y Clara estaba sola y había que apoyarla) se sintió atraído por la hermosa voz de una cantante, Ágata von Siebold. Escribió para ella algunas canciones, comenzaron a verse con frecuencia y los amigos de ambos pronosticaban ya un pronto noviazgo cuando la relación desembocó en un imprevisto enfriamiento. Julie Treinta años después, su asidua presencia en casa de Clara Schumann lo llevó de manera natural a fijar sus ojos en una hija de ésta, Julie, lo que molestó a Clara. Pero Julie casó con otro y Brahms no halló nada mejor que escribirle una canción de bodas, lo que volvió a molestar a Clara. Elisabeth Algo más maduro, en 1863, el compositor de cuarenta años conoció en Viena a una chica que deseaba tomar clases con él. Elisabeth Stockhausen se llamaba y era tal su perturbadora belleza que Brahms no podía enhebrar palabras en su presencia. Menos podía hacerle clases. De modo que la derivó a un colega, Julius Epstein, que según se cuenta sufrió los mismos inconvenientes. Diez años más tarde Elisabeth había casado, precisamente con un compositor, se llamaba ahora Elisabeth von Herzogenberg, y estaba convertida en una notable pianista y compositora. A ella envió Brahms un par de breves obras para piano compuestas durante una estadía en Pörtschach, en el verano de 1879. No bien las terminó, envió el manuscrito a Elisabeth, quien en animosa carta a vuelta de correo recomendaba un nuevo y más justo título para ellas: Rapsodias debían llamarse y no simplemente Klavierstücke (piezas para piano) como las había titulado Brahms. Si difícil era hablar con Elisabeth, más lo era contradecirla, de modo que pese a no estar plenamente convencido del cambio el autor no desoyó su consejo, y así fueron publicadas al año siguiente: Dos Rapsodias para piano, opus 79, dedicadas, como podía preverse, a Elisabeth von Herzogenberg. Colaboración de la página: www.labellezadeescuchar.blogspot.com
Brahms' testosterone level was maxed out when he composed this! One of the finest videos on you tube, and the equal of my long-standing favorite by Morton Estrin on the Connoisseur Society label.(Audio only, but check it out on YT.)
Very nice! I'm getting ready to record this, I'll try to do as well as you did. Yours is the best interpretation of the 3 I listened to just now (to my way of thinking about the piece.) Thank you for sharing the video.
This is such an amazing interpretation! It’s so similar to how I interpreted it. I performed this at 17 while attending a performing arts HS-and played for my audition into Hartt School of Music and a grad of. You truly capture the nuances and tonal qualities that so many overplay. Your accents are so incredible that so many people miss. Bravo!!!!
Переслушала множество музыкантов, но это исполнение кажется мне самым сбалансированным, самым убедительныи, и что самое главное- самым волнующим.Настоящий алмаз. Браво!
Check also Anton Mordasov. the version on youtube is on stage, although he has a minor mistake, it is wonderfully played. This and Anton's are my favorite versions so far.
Using the "F" word undermines everything you said; If you are this loose with foul language; this means that every time you open your mouth during your existence here on earth you are under- mining everything you say, and turning every civilized person off.
Yes indeed; She got it right. Wonderfully expressive and "romantic" but...the sloppy tuning and mushy audio engineering did not match the piano performance and equally fine video. This makes it difficult to listen too for long. What's the deal with bad engineering from audio persons and tuners who insist on cheating clients by using temperaments? Take a moment and listen to this one done with clear/precise tuning and engineering. It is a high school age audition (non edited) recording so the video requirements were more strict: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bpRZtn_jPe8.html
Many good things, the ritard in the last few measures is wrong! Brahms write quasi ritard. and actually writes the ritard out by going from quarter nte triplets, then quarter notes. Th final cadence needsto be strictly in time--which reinforces the idea of the written out ritard. I'm very skeptical of the posters proclaiming they learned it after 6 months or a year of lessons and of those saying it's not so difficult: let's hear THEM play it!
War vor vielen Jahren bei einem Schumann-Konzert von Frau Schirmer, wo ich sofort gespürt habe: Diese Frau hat eine ganz besondere Beziehung zur deutschen Romantik! Anhand ihrer Brahms-Interpretation nun kann ich es erneut bestätigen: Kraftvoll, brillant, gefühlvoll und mit überragender Klangqualität👍👍👍!
was looking for different recording of this Rhapsody for a matter of sound style (I'm a sound engineer). And just stuck with your performance. Even I'm in love with Murray's interpretations of Brahms. Thank you.
Ich fand die Interpretation der Brahms Rhapsodie g-moll sehr gut. Besonders die Stellen 'misterioso' waren sehr überzeugend, und das 'quasi ritardando' am Ende war nicht übertrieben. - Ich habe dieses Stück 1949 mit meiner Lehrerin in Dresden studiert.
I love the phrasing, voicing, coloring and flow that Ragna gives this piece. To me she gets all the moments and moods so expertly expressed. The bass parts are so rich and wonderful! Enrapturing!
🌠CELESTIALI!🌠 "MUSIC TO SOOTHE THE SAVAGE BREAST, SOFTEN ROCKS, AND BEND THE KNOTTED OAK." William Congreve ODD HOW BRAHMS WAS AN ATHIEST, WHILE BEING ONE OF GOD'S GREAT GIFTS TO THE WORLD. THE "DIVINE ARCHITECT OF THE UNIVERSE AND CREATOR OF ALL THINGS" WORKS IN MYSTERIOUS WAYS. THIS PERFORMANCE BELONGS IN THE PANTHEON OF THE GREATEST CLASSICAL MUSIC VIDEOS EVER PRODUCED.
