J. Brahms, Trio opus 8, by Yuja Wang, Leonidas Kavakos and Gautier Capuçon

This work was composed in 1853-54 and revised in 1891. It therefore has both the energy of youth and the balance of maturity.
As for the interpretation, one only has to listen to the first bars played by Yuja: it is impossible to be more expressive and more sober, more tender and more exact at the same time. It will be the same throughout the work. Of course, Yuja is well surrounded, but she really leads the art of chamber music at its peak.
1er mvmt : 00:22
2e mvmt : 15:12
3e mvmt : 21:53
4e mvmt : 30:47

[@lynnmariaminervini8281]

My favorite Brahms trio! Wonderful to find it played by these extraordinary musicians!

[@carolethompson7818]

I love this piece. All Brahms all the time, especially his chamber works.

[@hiobaname]

Thousands are the recording of this heavenly trio,but to me this is the best hereto,both as the playing and as the sound quality.Thanks

[@deannahowe9603]

Holy cow, such an unbelievably beautiful and inspiring recording! I've always loved Yuja, Gautier, and Leonidas as individual performers, but as a trio, they are top-notch! Thank-you for this wonderful rendition.

[@francesschaefer]

indeed she blends superbly with the strings and the performance is so well BALANCED~she of course has the amazing virtuosity but the warmth, voicing, then big powerful sound orchestral, she has it ALL and this trio is GREAT!

[@Don-James]

Wonderful. Thanks for posting the score as well; reading along for a bit, then closing one's eyes and only listening...

[@jackarcher7495]

I have the classic Katchen-Suk-Starker recording on Decca-London, and have long thought it hard to beat, both in performance and sound quality. A desert-island disk for me. But my gosh, this is so beauitfully and senstively played by Wang, Capucon and Kavakos. Thank you very much for posting. I am loving it.

[@francesschaefer]

great that they are playing and recording!

[@walkercatenaccio]

E&F, you are doing a huge service to the world of music. I love chamber music even more than symphonic, since the harmonies are easier to hear in depth, so this performance is altogether my cup of tea.

[@lemenyves34]

One of the best ensemble of its kind ever!

[@awoods2874]

Totally agree with your description.

[@semrabahcivan8627]

Wonderful performance thanks to all of you.

[@mirssk]

너무 좋다...🥲🥲

[@rudyvanderhoeven9628]

Wow!

[@mlckfip]

Thank you for sharing this beautiful performance.

[@KeithOtisEdwards]

If anyone is interested in something different, I have posted an arrangement of the first movement for wind ensemble at kzbin.info/www/bejne/o2ewZ6Cer9CNgdE

[@Ethan-os6hz]

30:48

[@waggishsagacity7947]

In this Piano Trio Brahms was letting his hair down (for a short moment) and fully accepting his Romantic leanings. Fortunately for us, of course. I'm willing to bet that the first revision he'd made in 1891 (at age 58) was to dispense with the rigid titles (allegro, andante etc.) and give a number to each movement. The three musicians played expressively, energetically, masterfully, and as a strong ensemble. This type of approach made their performance memorable and pleasurable. I only wish that the person who couldn't help applauding after the 1st and 3rd movement would stay at home more often or learn to hold his impatient applause until the end of the piece.

[@KeithOtisEdwards]

During the time of the young Brahms, it was acceptable to applaud after each movement, or even _during_ a movement, if the music inspired a reaction- just as with opera. It was that scoundrel Gus Mahler who imposed strict rules that all the audience must remain perfectly silent (and perfectly still) until the very end of the piece, and he would often scold those who expressed their enjoyment. Thus, in our time, attending a classical music concert is the same experience as attending worship. Classical music today, must never be _fun._ See the discussion of this phenomenon in _Crowds and Power_ by Elias Canetti, a book for which he won the Nobel Prize.

[@jackarcher7495]

I frequently attend orchestral performances, and have come to agree with you. I've never noticed that the conductor or musicians mind if there is some applause between movements, and if audience members are moved enough by what they just heard to applaud, what's to object? Sometimes, of course, people applaud because they think the piece has ended, when it has not. A little awkward for them? Sure, but so what? Life's too short to be bothered by that. @@KeithOtisEdwards

[@khai-jernchia2824]

Where do you source these video recordings?

[@eusebiusetflorestan2532]

I don't quite understand the question. It is me, of course, who makes these videos with score, from recordings available on KZbin, medici.tv, etc. It's a big job, which I hope is appreciated!

[@raoultak]

@@eusebiusetflorestan2532 Very much appreciated!!!!! Thank you so much.

[@eusebiusetflorestan2532]

@@raoultak Thanks to you!

[@falamimire]

@@eusebiusetflorestan2532 It is without any doubt and many thanks for your hardwork!

[@eusebiusetflorestan2532]

@@falamimire Thanks to you!

[@user-wi2pw9tg5b]

Ed Y3

[@kimsahl8555]

More Brahms less players.

[@richardlloyd-jones8312]

One liners mean nothing, being untestable, and are, almost invariably, the work of trolls.

[@kimsahl8555]

@@richardlloyd-jones8312 Yes, the op.8 is my favorite with op.50 (Tchaikovsky). Very good playing.

[@richardlloyd-jones8312]

@@kimsahl8555 In light of what you say I evidently misunderstood you: I agree that the performance is outstanding. One of Wang's great strengths is her rendering of the tender emotions without ever slipping, as sometimes the best do, into mawkishness.

[@henrithellier7684]

...Beaucoup trop de resonnances...de reverbérations !!