Brahms - Piano Concerto No. 2 in B-flat Major, Op. 83 (recording of the Century: Sviatoslav Richter)

[@classicalmusicreference]

Album available // Brahms: Piano Concerto No. 2, Op. 83 by Sviatoslav Richter 🎧 Qobuz (Hi-Res) cutt.ly/oeo3VGad Tidal (Hi-Res) cutt.ly/Qeo30ntN 🎧 Deezer (Hi-Fi) cutt.ly/ieo30HTy Amazon Music (Hi-Res) cutt.ly/Jeo30BQt 🎧 Spotify (mp3) cutt.ly/geo3078X KZbin Music (mp4) cutt.ly/Eeo32uVR 🎧 Apple Music (off) Idagio (Hi-Fi) cutt.ly/Qeo4kX9w 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website Johannes Brahms (1833-1897) Piano Concerto No. 2 in B-flat Major, Op. 83 00:00 I. Allegro non troppo (2024 Remastered, Chicago 1960) 16:55 II. Allegro appassionato (2024 Remastered, Chicago 1960) 25:42 III. Andante (2024 Remastered, Chicago 1960) 38:30 IV. Allegretto grazioso (2024 Remastered, Chicago 1960) Piano: Sviatoslav Richter Chicago Symphony Orchestra Conductor: Erich Leinsdorf Recorded in 1960, at Chicago New mastering in 2024 by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about Piano Concerto No. 2 in B-flat Major, Op. 83. The first drafts of this work date back to the spring of 1878, when Brahms had just returned from a trip to Italy. However, the composition of the violin concerto occupied him for almost the entire summer, and it was only after a second trip to Italy that he resumed work on this concerto during a stay in Pressbaum, near Vienna, in 1881. The piece was first performed in November 1881 with Brahms at the piano and Alexander Erkel conducting. The score was not published until September 1882. In March of that year, he wrote to his publisher: "I do not understand why there should be such a rush for the concerto. It rests here quite comfortably with me and bothers no one." This concerto differs from others in that it consists of four movements. Even more than in the D minor concerto, Brahms merged the piano part with that of the orchestra in such a way that, if the soloist does not possess uncommon strength, the piano can easily be drowned out by the orchestra. Emil Gilels is known for the perfection of his execution and the typically Russian vigor of his playing. He was also endowed with extreme sensitivity and profound insight. All these qualities make him one of the best interpreters of Brahms' piano concertos. I. Allegro non troppo. The piano begins immediately after a single horn has presented the theme. It is a very simple theme, of great beauty, featuring an almost naive symmetry, a question and an answer. The first three notes of the question and the answer alert the listener each time they are heard, preparing them for either development or a return to the original form. The triplets (present in the theme), which Brahms borrowed from Hungarian folk music, are typical of his writing. II. Allegro appassionato. Billroth thought that this passionate allegro could very well have been omitted, but when Brahms was asked why it was included, he replied: "You see, the first movement is so simple." After a piano cadenza, the orchestra takes up the two themes and develops them extensively and meticulously. III. Andante. The peaceful introduction, entrusted to the solo cello, forms a happy contrast with the vigor of the second movement. The tune played by the solo cello first resembles Brahms' melody 'Immer leiser wird mein Schlummer' (which, in fact, was written several years after the concerto) and then Todessehnen (Desire for Death). This andante, with its solo part for cello, is one of the wonders of the entire repertoire. IV. Allegretto grazioso. Brahms' biographer, Alfred von Ehrmann, wrote about this movement that it "was as graceful as a ballet, as witty as a comedy, as fresh as a pastoral, as intoxicating as champagne." Peter Latham adds: "For the lightness and brilliance of this music, there is only one model: Mozart." Other Album available // Brahms: The 2 Piano Concertos by Claudio Arrau 🎧 Qobuz (Hi-Res) bit.ly/3NefFtb Tidal (Hi-Res) bit.ly/3JjSX1s 🎧 Apple Music (Lossless) apple.co/3CMdPen Idagio (Hi-Fi) bit.ly/3D3utWW 🎧 Deezer (Hi-Fi) bit.ly/3qQIAfp Amazon Music (Hi-Fi) amzn.to/3tA7LUE 🎧 Spotify (mp3) spoti.fi/3CBfMKk KZbin Music (mp4) bit.ly/3XaVfWq Johannes Brahms PLAYLIST (reference recordings): kzbin.info/www/bejne/p3bFqYJ3nciCqMk

[@perry1559]

Strangely enough, I still think concerto 1 is a better piece, both slow movements are perfectly lovely, but that back and forth with the two clarinets either just pulls the heartstrings in a way only Brahms could have created.

[@belialah]

This is the greatest music recording in human history.

[@Mezzotenor]

Christ on waterskis... if Richter was this white-hot in the studio, he must have been borderline-scary in live performances! I completely get why his fans are so nuts about him. I hope Brahms gave him a big hug when he made it to heaven, because this concerto needed him, big time.

[@perry1559]

He wasn’t as exciting without an audience. Sort of the opposite of Gould.

[@EElgar1857]

Or, one could describe his playing as brutal.

[@william-michaelcostello7776]

I bought this recording when I was 12. My first Brahms 2 and still my favorite.

[@greatmusicalgems]

The most electrifying performance I've heard of the 2nd⚡️⚡️

[@dordiwesterlund2528]

Just listened to the Zimmerman version. This one is so much better in literally all respects. Wonderful!

[@classicalmusicreference]

Piano Concerto No. 2 in B-flat Major, Op. 83. The first drafts of this work date back to the spring of 1878, when Brahms had just returned from a trip to Italy. However, the composition of the violin concerto occupied him for almost the entire summer, and it was only after a second trip to Italy that he resumed work on this concerto during a stay in Pressbaum, near Vienna, in 1881. The piece was first performed in November 1881 with Brahms at the piano and Alexander Erkel conducting. The score was not published until September 1882. In March of that year, he wrote to his publisher: "I do not understand why there should be such a rush for the concerto. It rests here quite comfortably with me and bothers no one." This concerto differs from others in that it consists of four movements. Even more than in the D minor concerto, Brahms merged the piano part with that of the orchestra in such a way that, if the soloist does not possess uncommon strength, the piano can easily be drowned out by the orchestra. Emil Gilels is known for the perfection of his execution and the typically Russian vigor of his playing. He was also endowed with extreme sensitivity and profound insight. All these qualities make him one of the best interpreters of Brahms' piano concertos. I. Allegro non troppo. The piano begins immediately after a single horn has presented the theme. It is a very simple theme, of great beauty, featuring an almost naive symmetry, a question and an answer. The first three notes of the question and the answer alert the listener each time they are heard, preparing them for either development or a return to the original form. The triplets (present in the theme), which Brahms borrowed from Hungarian folk music, are typical of his writing. II. Allegro appassionato. Billroth thought that this passionate allegro could very well have been omitted, but when Brahms was asked why it was included, he replied: "You see, the first movement is so simple." After a piano cadenza, the orchestra takes up the two themes and develops them extensively and meticulously. III. Andante. The peaceful introduction, entrusted to the solo cello, forms a happy contrast with the vigor of the second movement. The tune played by the solo cello first resembles Brahms' melody 'Immer leiser wird mein Schlummer' (which, in fact, was written several years after the concerto) and then Todessehnen (Desire for Death). This andante, with its solo part for cello, is one of the wonders of the entire repertoire. IV. Allegretto grazioso. Brahms' biographer, Alfred von Ehrmann, wrote about this movement that it "was as graceful as a ballet, as witty as a comedy, as fresh as a pastoral, as intoxicating as champagne." Peter Latham adds: "For the lightness and brilliance of this music, there is only one model: Mozart." Other Album available // Dvořák: Serenades Op. 22 & Op. 44 by Hans Schmidt-Isserstedt 🎧 Qobuz (Hi-Res) bit.ly/3NefFtb Tidal (Hi-Res) bit.ly/3JjSX1s 🎧 Apple Music (Lossless) apple.co/3CMdPen Idagio (Hi-Fi) bit.ly/3D3utWW 🎧 Deezer (Hi-Fi) bit.ly/3qQIAfp Amazon Music (Hi-Fi) amzn.to/3tA7LUE 🎧 Spotify (mp3) spoti.fi/3CBfMKk KZbin Music (mp4) bit.ly/3XaVfWq

[@fransmeersman2334]

Marvelous performance by the magical combination "Richter, Leinsdorf and the Chicago Symphony Orchestra". Great sound quality. Thank you !!

[@montanamontana80]

Johannes Brahms: Piano Concerto No.2 op.83 in B-Flat Major - Analysis 00:01 1.Allegro non troppo (B-flat Major) 16:55 2.Allegro Appassionato (D minor) 25:44 3.Andante (B-flat Major) 32:41 più adagio (F# Major) 34:22 Andante (B-flat Major) Cello: Robert LaMarchina (1928~2003) 38:31 4.Allegretto Grazioso (B-flat Major) Johannes Brahms (1833~1897) 🎶1881🎶 Sviatoslav Richter: Piano (1915~1997) Cello: Robert LaMarchina (1928~2003) Horn: Julian Leuba (1929~2019) Chicago Symphony Orchestra (1891) Erich Leinsdorf: Conductor (1912~1993) First American Recording RCA Recording: 17 & 18 October 1960 Orchestra Hall Chicago Illinois, USA (1904) Released: 31 Oct 1960 *3rd Annual Grammy Awards 13 April 1961 Los Angeles 1st American Concert 15 Oct 1960 Sol Hurok: Impresario RCA & Steinway: Sponsors Lewis Layton: Engineer Richard Mohr: Producer Peter Dellheim: Producer RCA Victor Red Seal (LSC-2466) Series: Living Stereo Format: Vinyl LP Stereo, Indianapolis Pressing Plant - USA A New Orthophonic High Fidelity Recording Courtesy of Capitol Records © by Radio Corporation of America 1960 An Introduction to…BRAHMS (Symphony with Piano obligato) 1st Movement: Allegro non troppo (B-Flat) ORCHESTRAL EXPOSITION (Bar 1~67) 00:01 01. Introduction; opening horn call & piano's answer. 1er Theme (character of a question) Following subject material playing by the Horn, echoed by the piano 00:28 continued in the orchestra 00:01 02. Rising three-note scalewise pattern 00:03 03. Quicker, descending six-note answer 00:15 04. 2nd answering phrase 00:28 05. 1er Main Theme completed by orchestra, very simply, very gently (Lovely pastoral relaxed kind of movement) by woodwinds. 00:43 06. Peace shattered as piano bursts back in like a tiger (Cadenza) Paraphrazed in the piano 01:17 07. Variant of opening horn call in bass 01:32 08. Orchestra returns; beginning of Exposition proper (Transform to a Heroic March) Noble & Triumphant (A-Bar 29) 02:20 09. Big, singing 2nd Theme in orchestra; piano 'forgotten' Beautiful, graceful, romantic theme (Chromatic) 2nd exposition 02:47 10. Call to arms by strings marshalling of orchestral forces (Come on to Victory) Theme 3 (B-Bar 56) 02:58 Agitated & restless SOLO EXPOSITION (B+13 Bar 68~173) 03:16 11. Piano re-enters fry with massive expansion of opening figure (Piano enters triumphantly) 03:30 12. Piano 'explores' 2 main facets of opening theme (Original Mood) 03:49 13. Transition. Sense of key weakened. Piano & orchestra come together. Three-note rise 03:58 14. Piano & orchestra 'argue' over speed of thematic three-note rise 04:07 15. Piano & orchestra in friendly dialogue before piano falls away 04:19 (C-Bar 92) 04:44 16. 'Winged' harmonic shadow of pure pianistic tone-colour Change of atmosphere 05:37 17. New transitional theme from orchestra developed by piano (D-Bar 118) (Mysterious fragment) 06:05 18. After indecision & discussion, the mood suddenly turns playful 02:21 19. Reminder of 2nd Main Theme in its original form 06:26 (E-Bar 137) 06:48 20. Transfomation of 2nd Main Theme by piano (F minor) (E+9 Bar 146) Very Passionate 02:48 21. Piano hijacks orchestra's 'call to arms' & cascading scales 07:07 22. Piano & orchestra, now allies, explore theme but with piano (Bar 154) ORCHESTRAL CLOSING (F-Bar 174~188) 07:53 23. Dramatic eruption of orchestra leads to the Development section F minor (Very charge) DEVELOPMENT (F+15 Bar 189~259) Section 1 (Bar 189~213) 08:28 24. Pianistic 'Tiger' replaced by gentle reflective, soft-spoken poet (3rd Horn) 09:07 25. Transformed 'tiger' theme amicably shared by piano & orchestra 09:39 Section 2 (G+9 Bar 213~238) 09:57 26. An apparently new theme, but Battle Hymn of the Republic? 10:21 27. Brief, downward-driving section prepares for the Recapitulation Preparation for Recapitulation (H-Bar 238~259) 10:34 Three angry chords with piano Arpeggios 10:37 The mood immeditely becomes more quiet 11:01 28. On the threshold of the Recapitulation (Atmospheric tone colour) (Bassoon, Flute, Oboe) RECAPITULATION (I-Bar 256~331) 11:23 29. The Magical Return The instrumentation is now warm, soft & rich. Angelic choir of winds, brass, some strings (Aura of love) 11:34 Now the main Theme takes shape (Horn) (I+3 Bar 259) 12:01 30. From Gate-crashing Tiger to Celestial Tenderness & a surprise (From darkness to daylight) CODA (N-Bar 332~376) 14:51 31. Unexpected & portentus change of mood, suggesting tragedy 15:17 32. Summation (Heroic, burst, power with magnificent close. ***************************** Second Movement: 2.Allegro Appassionato (D minor) EXPOSITION (Bar 1~113) 16:55 34. The upward-driving opening gambit, piano alone (Mephistophelic Scherzo) Deep and Dark movement. The germ of this theme can be found in Brahms' D Major Serenade Op.11/2 Scherzo for orchestra written twenty years earlier. kzbin.info/www/bejne/n3SZlpprn7-peJI 16:58 35. Downward-driving answer from lower strings 16:55 36. Theme vs Melody 17:32 37. Eerie, unharmonised, 'white' sound of 2nd Theme (Bar 43) Mirror image of the 1er theme. (Second theme suggestive of a waltz character). 17:45 38. Theme 2 taken up & developed by piano 18:40 Reprise DEVELOPMENT (B -25 / Bar 114~314) Section 1 (B -25 / Bar 114~140) 20:21 39. Expectation & surprise; harmonic fluidity & intensifying drama 20:46 Section 2 (B-Bar 140~187) 20:58 40. Return (& transformation) of Theme Two. (Robust and masculin) Cadenza for orchestra (Very exciting) 21:19 41. Theme 1 returns in orchestra Section 3 (C+21 / Bar 188~203) 21:27 41. Theme 3 emerges in D major mode. "Trio - Largamente" (Trio - Joyful and happy) Section 4 (C+37 / Bar 204~239) 21:43 42. Sequence of fragmentary episodes begins with unexpected fanfare. Majestic treatment. 21:56 43. Variant of Theme 3 in piano (characteristic diabolical) Brahmsian in joke 22:08 44. Rescored variant of 'fanfare' theme; from grandeur to solemnity Section 5 (D -20 / Bar 240~255) the piano assumes a new, very lyrical, peaceful theme in F major and then d minor. 22:17 45. Rhapsodic variant of fanfare, this time for piano alone (Romantic Rhapsody - Tranquil theme) 22:32 Section 6 (D -4 / Bar 256~285) Dialogue on cadenza. Trio material. Section 4 material. 22:58 Preparation for Recapitulation (Bar 286~314) D minor RECAPITULATION (F-Bar 315~419) 23:25 46. Recapitulation of opening, with piano & orchestra reversing roles. (Dramtically shifted) 24:04 47. Theme 2 transformed by new instrumentation (Flute, Bassoon, Horn & Piano) 24:59 CODA (G+15 / Bar 419~457) Final fortissimo flourish ends the stormy movement. +++++++++++++++++++++ Third Movement 3.Andante (B-flat Major) God giving inspiration! 25:44 The slow movement is in the tonic key of B♭ major and is unusual in utilizing an extensive cello solo within a piano concerto (the source of this idea may be Clara Schumann's Piano Concerto 1833 2nd mov Romanza). kzbin.info/www/bejne/aoLQl6KZj8dpaNUsi=P3EqEpRu-GJ_rkuH Form Lied & Variation Part A (Bar 1~58) 25:44 49. Introduction, cue and First Main Theme. Solo Cello (Melancholy Melody) (Sound like an improvisation on a song, melt smoothly like a soft colors on a autumn sunset). Figure (Long, short long, short long) ***The exquisitely songful, nocturnal slow movement is based entirely on the solo cello’s eight-measure phrase, which is subsequently passed to the violins and then expanded by the piano - a melody to which Brahms would later used this melody in one of his favorite songs, "Immer leiser wird mein Schlummer" Op. 105, No. 2, written in 1886 (Ever gentler grows my slumber).*** kzbin.info/www/bejne/pHasfqqdhNyKjbs Schumann: Romance for piano op.28 No.2 kzbin.info/www/bejne/ravUZGSNbpl7o7c 26:44 50. Theme One taken up by strings (Bar 9) 27:43 and solo oboe (A-Bar 17) 28:43 piano's entry (A+6 Bar 23) 28:45 51. Complex variant of Theme One with very different speed & rhythm (A+8 Bar 25) 29:55 52. Orchestra and piano in mixed variants of Theme One, now intensified (passioned dialogue) Cello theme. (B-Bar 35) Più adagio (F# Major) Part B (C+5 / Bar 59~70) 32:41 53. Theme Two, hushed and 'tuneless', with piano, 2 clarinets and strings. "Calm" (A moment of pure contemplation) (Music of Heaven) **The melody of this Più Adagio section in F# major is from a song composed by Brahms in 1878 "Todessehnen" Op.86, No.6** kzbin.info/www/bejne/mWScpIKYj9h-d5o Preparation for return of Part A (D-Bar 71~77) 34:22 54. Cello, Theme returns Andante (B-flat Major) (D-Bar 71) 35:13 Part A (D+7 / Bar 78~94) Cello & Piano 36:10 54. Oboe Theme returns, now delicately embroidered by the piano, giving the feeling, until the end of the movement, of a double concerto. (E-Bar 86) 36:21 Solo piano is now accompanist (E+2 Bar 88) CODA (E+8 / Bar 94~99) 37:08 Più Adagio (Duo Piano & Cello) A beautiful moment of intimacy and peace which is so touching. *To continue the analysis of the 4th movement go to the second comment* ++++++++++++++++++++ ®The Alphabetic Figure used to identify sections in this outline refer to rehearsal numbers in the ‎full orchestral score. The reference (E+2 Bar 88) +2 or -2 indicates the 2 measures before or after (E) rehearsal.

[@RachJoonoff]

실로 놀라움을 금할 길이 없습니다. 브람스의 비장하고 장엄한 선율이 살아 숨쉬고 있습니다.

[@matteovasta5952]

Il più grande concerto romantico per ispirazione, creatività, discorso musicale, fraseggio, suono, etc.: il MIGLIORE 😊. Un pianista superlativo che produce un suono magnifico e magico. Cosa desiderare? SOLO SILENZIO 🤫

[@BRUNOBERNABEI-cd1dj]

Grazie, la sua analisi è meravigliosa, per chiarezza ed estetica musicale. I miei più sentiti e forti complimenti, mi ha fatto capire anche tutta la spaventosa complessità del quarto movimento, la cui “leggerezza “ è veramente una insidia mortale!!

[@davemiller7633]

Yes. A true reference recording

[@W.ClassicMusic]

I work on weekends, too Your music gives me a lot of strength

[@carmel1629]

Magisterial ! Probably one of the very best interpretations of this mighty work. Richter is really on fire throughout and the Chicago Symphony accompany beautifully. It is said that Richter disavowed this performance but in this case he was dead wrong ! Recommended with enthusiasm

[@docmalthus]

Richter didn't care for Leinsdorf (a last minute substitute for a stricken Fritz Reiner), saying that he "pushed" the tempo. And he had only one day in the studio for this recording (ONE TAKE for the final scherzo). In addition to being a great artist Richter was a total pro!

[@Lusofolias2016]

What a lovely performance ! Thanks! prefect sound, btw.

[@wolfgangklofat594]

A very good remastering which reminds me of the single art of Sviatoslav Richter.

[@perry1559]

Amazing ensemble work, the trills at the end of the 1st movement are in perfectly clear unison.

[@lionelthiebaud7081]

L'une des 2 ou 3 meilleures versions du 2ème concerto pour piano de Brahms par un Richter en état de grâce comme le chef et Chicago également. Une merveille absolue.

[@richardjonesm]

liensdorf, le chef d'orchestre est la car Reiner etait malade. Liensdorf a eu moins d'une heure de repitition

[@clementeperronedazara1591]

wonderful recording. Even more surprising, considering that Richter had reservations about it!

[@montanamontana80]

Analysis: 38:31 Fourth Movement 4.Allegretto Grazioso (B-flat Major) (Rondo-Sonata) EXPOSITION (Bar 1~172) 38:31 56. Finale: Introduction, cue and Main Theme. Part 1 (Bar 1) The movement begin with a 3 parts themes. The main tune is light and dance. The last movement of this concerto is a happy, carefree rondo sonata in B flat major. 38:31 The last movement (Allegretto Grazioso) consists of five clearly distinguishable sections, which introduce and develop five different themes. 38:31 The first section (bars 1 to 64) presents themes 1 and 2. The first theme (also the "main theme") (1-8) is first played by the piano and then repeated by the orchestra. 38:41 57. Violins take up tune, with winds and piano accompanying. Taking up the Violas figures. 38:50 58. Piano introduces Part 2 of the main theme, little heavier and emphasis than the part one (Bar 16) 38:50 The second theme (16-20) is likewise presented by the piano and repeated - and expanded - by the orchestra. Finally, a kind of development of the first theme leads on to the next section. 39:22 59. Part 3 of the theme, led by piano, in 'fiercely' self-confident mood (Dramatic mood). (A+10 / Bar 45) The dance continues (New muscular character). 39:43 60. First Episode, Part 1 (A+30 / Bar 65) New Romantic Theme Heavier cast (Hungarian dance) Flutes & Strings (The contrasting motif will be a gypsy tune, with its characteristic "swing"). 39:43 The second section (65-164) contains the next three themes. 39:43 Theme 3 (65-73) is very different from the previous ones, due largely to its minor setting and its distinctive, Hungarian rhythm. 40:00 61. First Episode, Part 2 (B -24 / Bar 81) strong, weak, strong, weak (Unmistakably Hungarian) 40:00 Theme 4 (81-88) is still in a minor 40:10 62. Piano hands theme over to clarinets and bassoons 40:19 63. First Episode, Part 3, in piano, first; then flutes and oboes. (B -8 / Bar 97) (Sweet and lyrical). (Decorated and delicious part). 40:19 Theme 5 (97-104) is in F major. These three themes are each repeated back and forth several times, which gives the section the character of a development. 40:44 64. Strings and flutes take theme, with bubbling commentary from piano 40:56 65. Tipsy dancers (piano and winds) return, tiring; strings take over. (Happy scene). 41:36 DEVELOPMENT (D -8/Bar 165~251) Grazioso Section 1 (D -8 / Bar 165~227) 41:36 The third section (165-308) can be seen as a reprise of the first; it is built on the first two themes, 42:03 66. In the central Episode, the orchestra throws down a dramatic challenge. 42:16 67. ... to which the piano duly responds with a stormy outburst 42:16 but a striking new element is given in E +12 / Bar 201-205 42:49 Section 2 (F -4 / Bar 227~251) 43:01 and repeated in (F +7 / Bar 238-241). 43:21 RECAPITULATION (G -22 / Bar 252~376) 44:23 First Episode, Part 1 (poco espress. - ben marcato - dolce) (H -24 / Bar 309) 44:23 The fourth section (H -24 / 309-376) reprises themes 3, 5 and 4, in that order. CODA - Un poco più presto (I+8 / Bar 377~488) 45:43 68. Piano kick-starts run-up to final section in a variant of the opening theme (a new variant). Section 1 45:43 The final section, the coda, is built on the main theme, but even here (I +8 / Bar 377) Brahms presents a new element, restating the main theme in triple rhythm (a device he used earlier to end his violin concerto) over a little march, first played by the piano, then answered by the orchestra, which trades themes with the soloist before the final chords. 46:01 69. Orchestra sets off on jaunty march, later joined by the piano (K-Bar 400) Section 2. 46:52 70. Piano propels orchestra into final section. (M -6 / Bar 460) Section 3 (Celebrating the epic adventure). *To continue the analysis of the 1st, 2nd & 3rd movements go to the second comment* ®The Alphabetic Figure used to identify sections in this outline refer to rehearsal numbers in the ‎full orchestral score. The reference (M-Bar 460) -6 or +6 indicates the 6 measures before or after (M) rehearsal.

[@Weltschmerz1523]

Thank you!

[@alfredoechevarrieta7512]

Muchas gracias por compartir !

[@les-chouans]

sublime!

[@laurequesada164]

Glorious cello solo in the Andante

[@jmccracken1963]

The principal cellist for this CSO recording was Robert La Marchina, who was "on loan" to the Chicago Symphony Orchestra from the Metropolitan Opera Orchestra for the 1960-1961 season. Frank Miller, who had been hired as principal cello of the CSO in 1959 (when Janos Starker stepped down to pursue a career as soloist and chamber musician), had a number of disagreements with CSO music director Fritz Reiner during the 1959-1960 season and stepped down at the end of the season, accepting an invitation to conduct the Florida Symphony Orchestra during the 1960-1961 season. CSO general manager Eric Oldberg managed to broker a truce of sorts by the spring of 1961, and Miller returned to the CSO as principal cello in either the summer of 1961 (Ravinia Festival) or the fall of 1961 (1961-1962 CSO regular season at Orchestra Hall), and remained as principal cellist of the CSO (as well as conductor of the Evanston Symphony Orchestra and professor of cello at DePaul University) until ill health forced his retirement in the fall of 1984, just a couple or three weeks into the 1984-1985 CSO regular season. (By the way: The conductor for this recording (and the subscription performances the preceding weekend) was supposed to have been Fritz Reiner - but he suffered a heart attack in the fall of 1960 and had to cancel. Erich Leinsdorf was brought in from New York (where he was serving as Musical Advisor to the Metropolitan Opera Association and conducting a number of productions at the Met, including a brand-new production of Gluck's "Alceste" (in English) to conduct the performances and the recording. Two seasons later, Reiner did record - for the second time with the Chicago Symphony Orchestra - the Brahms Piano Concerto No. 2, with Van Cliburn as piano soloist and with Frank Miller playing the solo cello passages in the 3rd movement.)

[@laurequesada164]

Thanks for the info! 🙏

[@litoboy5]

Great

[@mariaamparochulvi36]

Maravilloso momento de desesperación....❤

[@jmccracken1963]

Great opening-bars' solo French horn by Philip Farkas. Equally great solo oboe playing throughout by Ray Still. Those were the days, indeed - and the orchestra that Fritz Reiner built upon the foundation laid by Artur Rodzinski and by Rafael Kubelik was phenomenal and outstanding.

[@yurimeyrowitz6788]

Was it Farkas playing horn on the recording, or, as listed above, Julian Leuba?

[@jgjt2221]

명반 중의 명반

[@calebhu6383]

22:17

[@Panzerino02]

Richter won a Grammy for this....

[@fulgenjbatista4640]

❤

[@johnwatson8323]

♥️♥️♥️♥️♥️

[@khlee4069]

Sadly, Richter said it was one of his worst records.

[@willrobinson1229]

Richter's "worst" is our "best"

[@declamatory]

He should have played better, then.

[@othmanhassanmajid8192]

I agree.... prefer Yuja Wang... but not as a reference as the old school are quite stubborn and like to cling onto memories.... which is no bad thing and is helpful for those with dementia. ❤😊

[@hectorberlioz1449]

​@@othmanhassanmajid8192one of the most stupid comments I ever read! You have no idea about quality. The new Rachmaninoff concerto recordings on DG of Yuja are not good at all. Indeed , nothing to compare with the ' old school'. What do you know about orchestras conductors, soloist , recordings in general.... I think you don't know anything 😖

[@watutman]

I don't like the way Richter is playing this. Good KZbin performances for me are Geza Anda's second recording of it with V Karajan, Yuja Wang's is pretty good, some of her best work, Emanuel Ax at the Proms is pretty good.

[@rainerlanglotz3134]

What is outstanding here is the orchestra lead by the great and underrated conductor Leinsdorf. Richter - supertechnician that he was - seldom plays a wrong note but misses most of the subtleties of Brahms´ musical language. His interpretation is coarse and nowhere comparable to his friend Emil Gilels who (together with Claudio Arrau and Rubinstein) really deserves the gold medal for Brahms 2. concerto. (Radu Lupe, Leon Fleisher and Rudolf Serkin come close)

[@musicmasterplayer4532]

For what it is worth, I can agree with you about Serkin (with Ormandy) being included in the list of elite performances. I would add the most authentic of all, Backhaus in 1939 with Bohm and the Dresden Staatskapelle, Backhaus having studied the work with Brahms himself conducting for Backhaus' own piano professor. I suspect that Richter heard this recording, judging from his opening tempo choices, which are almost impossibly fast in some places. That alone justifies Richter's being awarded the Grammy for this recording, which was his first Grammy award.

[@RaineriHakkarainen]

The Best Brahms concerto no 2 players are Really=Sviatoslav Richter with The Paris Orchestra from 1969 Richter the most monumental and Best structure for music better than Fleisher Arrau Zimerman! Edwin Fischer from 1942 Fischer the big Genius better than Pollini Zimerman Fleisher Arrau! Grigory Sokolov his Brahms no 2 with Finnish Radio Symphony video from 1987 had the Best piano sound! Sokolov his rhythmic vitalness is unbeatable! The Best Brahms concerto no 1 players are Really=Radu Lupu with the Finnish Radio Symphony video from 1996! Lupu had the most colorful piano sound for Brahms no 1! Lupu More relax than Arrau or Zimerman or Fleisher!! Maria Grinberg from 1963 had the Best structure for music!!