119, a work that shows clearly why the “conservative” Brahms was so beloved by the 12-tone composers to come. You could sample almost anywhere, but try the uniquely flexible tonal implications of the first of the four Klavierstücke, Op. The listener has the sense of being drawn into a vortex of complexity as each work seems to explore new structural possibilities. 15, Freire plays the rest of the music chronologically. With the exception of the final Waltz in A flat major, Op. Freire has been playing the sonata since his teenage years, and he manages to make the music sound deliberate and inevitable despite its rather feverish intensity. 5, dates from 1853, when Brahms was 20: it is youthful music par excellence, with five movements and a shifting set of moods that pose interpretive challenges for the pianist. Yet the program does cover a good deal of Brahms’ keyboard thinking: piano compositions, except for variation sets, are sparse during his middle years. The title Brahms might seem an odd one for this collection of Brahms piano pieces, containing one piano sonata and an assortment of 12 short pieces, mostly from the end of the composer’s life.
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