Johannes Brahms 24 Bit

Acclaimed for its extraordinarily sensitive style, almost telepathic understanding of each other and technical mastery, the Trio Wanderer is one of the world's foremost chamber ensembles. This program contains Brahms's Piano Trio No.1 and Piano Quartet No.3. Composed during 1854 and revised in 1889, the first trio is the only work by Brahms to exist in two published versions. Here, Trio Wanderer treats us to the rarely heard original score.

'The new album ENCOUNTER by IGOR LEVIT will be released on 11 September on Sony Classical. A very personal double album marked by a desire for encounter and togetherness. The program includes rarely played arrangements of Bach and Brahms by Ferruccio Busoni and Max Reger, as well as Palais de Mari – Morton Feldman’s final work for piano.

The Variations on a Theme by Joseph Haydn (German: Variationen über ein Thema von Jos. Haydn), now also called the Saint Anthony Variations, is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873 at Tutzing in Bavaria. It consists of a theme in B♭ major based on a "Chorale St Antoni", eight variations, and a finale. The work was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a.

Sechs Klavierstucke, Op. 118 by Johannes Brahms is one of the most difficult works for an artist to perform in terms of interpretation. The mood of sadness, reflection and melancholy, which runs through almost all the links of the cycle, prompts both the performer and the listener to reflect. The Sonata for Piano and Viola in F minor, Op. 120 No. 1, coming from the late period of Brahms' works too, is also a demanding composition. The piece contains elements of the classical sonata form, but also harmonically advanced harmonic and melodic sections typical of the late Romanticism. Both works by Brahms, which you can listen to on the album of Zofia Antes and Aleksandra Batog, reveal a series of musical phenomena symptomatic only for the late works of the composer.

Eugen Jochum made two complete recordings of the symphonies of Johannes Brahms, one with the Berlin Philharmonic Orchestra in the mid-1950s, the other with the London Philharmonic in 1976. On the strengths of these sets, the conductor Kenneth Woods called him "the greatest Brahms conductor who ever lived". These Jochum performances of Brahms' 4 symphonies, together with the Academic Festival & Tragic overtures, are vintage 1970s Kingsway Hall recordings. Eugen Jochum, steeped in the Germanic tradition, knows exactly how he wants these symphonies to sound & the London Philharmonic Orchestra rise to the occasion with playing they have probably never bettered, with producer Christopher Bishop giving them a sound to match.

There are moments that are forever imprinted in one’s mind. Feelings and impressions from scenes past from decades before can be recalled instantaneously with the appropriate trigger. These memories shape lives and attitudes, whether recalled impeccably or distorted by time.

Jakub Kuszelki is a polish pianist, Prize winner of the 18th International Piano Competition Frederic Chopin in 2021.

Ulf Wallin and Roland Pöntinen made their first duo-recording for BIS in 1991 and have released acclaimed recital discs ranging from Schumann and Liszt to Alfred Schnittke, by way of Schoenberg and Hindemith. With the present disc they bring their most recent project to a close: a recording of all the works by Johannes Brahms for violin and piano. These include not only the three well-known and -loved numbered violin sonatas, but also the Scherzo from the so-called F.A.E. Sonata and the composer’s own violin versions of the two sonatas for clarinet and piano. Wallin and Pöntinen open the present disc with Sonata No. 2 in E flat major, Op. 120, composed in 1894 for clarinet and transcribed for the violin a year later. As the clarinet part extends further down than the lowest note on the violin, Brahms made considerable revisions to the clarinet part, which entailed changes in the piano part, and consequently the printing of a new piano score. This is followed by the second and third violin sonatas, in A major and D minor respectively. Both works were composed during the summer of 1886 in Thun in Switzerland and are clearly related, even though they inhabit completely different expressive worlds.

Pianist Alexandre Tharaud and cellist Jean-Guihen Queyras are long-established as a duo team, but this is the first time that Queyras has joined Tharaud for an Erato recording. They have chosen works that lie at the heart of the Romantic repertoire, all by Brahms: his two cello sonatas and the duo’s own transcriptions of six of the Hungarian Dances.

Only 30 years separate the clarinet quintets of Brahms and Hindemith; yet these are not just two artists' temperaments, not two different concepts, not two distinct aesthetics. What separates them is the world of harmony and that of established disorder.