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Castelletto di Mirano.

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Intermezzo in B-flat minor, Op. 117, No. 2: Andante non troppo e con molto espressione — Johannes BRAHMS

http://tiny.cc/Brillante 🔉 World Classical Piano – Timeless Masterpieces from the Great Composers ‎ Intermezzo in B-flat minor, Op. 117, No. 2: Andante non troppo e con molto espressione by Johannes Brahms is among the most intimate and poetic works in the late Romantic piano repertoire. Composed during the final years of the composer’s creative life, this expressive intermezzo unfolds through a warm singing melody, delicate inner voices, and rich harmonic colors that reveal BRAHMS at his most reflective and personal. The music flows with quiet intensity, balancing tenderness and melancholy in every phrase with remarkable elegance and emotional restraint.

Often described as a deeply personal musical confession, this intermezzo invites the listener into a world of introspection and lyrical beauty. The flowing accompaniment and subtle rhythmic motion create an atmosphere of calm meditation, while the central section rises with restrained passion before gently returning to the serenity of the opening theme. BRAHMS transforms simple lyrical material into a profound emotional journey filled with nuance, refinement, and timeless Romantic expression.

This performance highlights the delicate balance between clarity and expression that defines the late piano music of BRAHMS. Warm sonorities, expressive phrasing, and intimate character illuminate the emotional depth hidden within every line. The intermezzo remains a beloved masterpiece among pianists and classical music listeners alike. Its quiet voice speaks directly to the heart, offering a lasting moment of reflection, serenity, and enduring poetic lyricism. ‎

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इंटरमेज़ो इन बी-फ्लैट माइनर, ओप. 117, नं. 2 - योहानेस ब्राह्म्स 降B小调间奏曲，作品117之第2首 - 约翰内斯・勃拉姆斯 إنترمتسو في سي بيمول الصغير، مصنف 117، رقم 2 - يوهانس برامز 내림나단조 인터메초, 작품 117 제2번 - 요하네스 브람스 変ロ短調のインテルメッツォ作品117 第2番 - ヨハネス・ブラームス อินเตอร์เมซโซ ในบีแฟลตไมเนอร์ โอปุส 117 หมายเลข 2 - โยฮันเนิส บราห์มส์ Intermezzo giọng Si giáng thứ, Op. 117, số 2 - Johannes BRAHMS Intermezzo dalam B-flat minor, Op. 117, No. 2 - Johannes BRAHMS Intermezzo en si bémol mineur, op. 117, no 2 - Johannes BRAHMS Intermezzo in b-Moll, op. 117, Nr. 2 - Johannes BRAHMS Intermezzo in si bemolle minore, op. 117, n. 2 - Johannes BRAHMS Intermezzo en si bemol menor, op. 117, n.º 2 - Johannes BRAHMS Intermezzo em si bemol menor, op. 117, n.º 2 - Johannes BRAHMS Интермеццо си-бемоль минор, соч. 117, № 2 - Иоганнес БРАМС

“Music begins where the possibilities of language end.” #jeansibelius #finnish #composer #violinist #lateromantic #earlymodern #oneofthegreats (at Garfield Heights, Ohio) https://www.instagram.com/p/Bn8g4ddB65i/?utm_source=ig_tumblr_share&igshid=skwbayp9m8j1

#jeansibelius #finnish #composer #violinist #lateromantic #earlymodern #oneofthegreats

🎵🎶🎹Randomly singing Scriabin's "Etude op. 42 no.5" ( for piano) Didn't realize how hauntingly mysterious this melody was till singing it 😃 _______________ #music #etude #scriabin #lateromantic #classicalmusic #classical #piano #singing #random

#lateromantic #music #singing #classical #etude #classicalmusic #scriabin #random #piano

🎹🎵I remember when I first learned this piece this section made me want to give up 😂😳 - From Scriabin's "Etude op. 42 no.5" ____________________ #piano #scriabin #etude #music #practice #practicing #keyboard #yamaha #pianist #composer #classicalmusic #classical #lateromantic

#keyboard #etude #lateromantic #practice #composer #classicalmusic #classical #yamaha #practicing #music #pianist #piano #scriabin

🎹🎶Randomly singing "Scherzo in B minor" by Balakirev. Used 2 be obsessed with that piano piece 😃 _____ #balakirev #piano #scherzo #singing #classicalmusic #classical #lateromantic

#classicalmusic #balakirev #lateromantic #classical #piano #singing #scherzo

Sibelius: String Quartet in D minor ‘Voces Intimae’

Sophisticated Ladies

Ulrika Jansson, violin Annette Mannheimer, violin Mona Bengtsson, viola Asa Forsberg, cello

BIS CD-463 Recording date: 1989 Duration: [29:41]

#quartet #sibelius #nordic #ladiesquartet #lateromantic

Kreisler: String Quartet in A minor

Artis-Quartett Wien

Peter Schuhmayer, violin Johannes Meissl, violin Herbert Kefer, viola Othmar Müller, cello

Nimbus NI 5942 Recording date: 2016 Duration: [25:44]

This week I continued to explore the fringes of the string quartet repertoire. I'm not sure what led me to Fritz Kreisler's Quartet in A minor. It's the only work of substance of a man who is known as one of the greatest violin virtuosos of all times. As a composer, his reputation rests mainly on a number of musical bonbons ('Liebesfreud', 'Liebesleid'). And then there is his one and only String Quartet, written in 1921. There are very few recordings of it in the catalogue and the Routledge Research and Information Guide on string quartets does not contain a single reference to the work.

Nevertheless, the four-movement piece has a lot going for it. In many ways Kreisler's quartet strikes me as a simple work. In that sense it harks back to the origin of the quartet as a divertimento. The ensemble writing is unsophisticated - most of the work is played more or less in unison - and thematic development is limited. But the quartet's lack of compositional rigour is compensated by an unusual richness of melody and density of atmosphere. One hears echoes of Vienna as a Central-European crossroads of cultures. And particularly in the first movement it is not difficult to pick up reminiscences to the highly strung musical worlds of Gustav Mahler and Alban Berg. Much of the quartet's material is presented in a sweet cantabile voice, reminding us of the pre-WW I apotheosis of Viennese operetta.

So, altogether there is a lot to enjoy. But a great work it is not. There is an amusing anecdote recounted by Arnold Steinhardt, primarius of the Guarneri Quartet. At one point he wanted to convince his colleagues to include the Kreisler in their repertoire. But a playthrough left the other members of the ensemble underwhelmed. They voted it down: “too long,” “one big first violin solo,” “not one of Kreisler’s stronger works.” I have sympathy for both points of view. The quartet is fun to listen to and it must be tremendous fun to play. But it pales in comparison with the masterpieces of the Viennese quartet tradition that form the core of the repertoire.

Stylistically it seems to me that the key challenge is to skillfully emulate iconic elements of Kreisler's playing style - the emphatic vibrato, the portamenti - without tilting towards the vulgar or saccharine. For instance, this young quartet seems to overdo it. Kreisler, in his own 1935 recording, plays it much more soberly and earnestly. I listened to an excellent rendering by the Artis-Quartett Wien that seemed to strike a delightful balance between the classical and the schmalzy. (Interesting detail: the Artis is one of the few ensembles that prefers to perform standing upright.) The Nimbus recording intelligently couples the Kreisler to a youthful work by Alexander von Zemlinsky and Schulhoff's Five Pieces for String Quartet. Technically, the performance is captured in a most truthful acoustic perspective, which considerably adds to the listening pleasure.

#quartet #kreisler #lateromantic #vienna