브람스피아노소나타2번

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작성자소수력발전 조회 60회 작성일 2021-08-29 15:07:20 댓글 0

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Yekwon Sunwoo : Brahms Piano Sonata No.2

선우예권 브람스 피아노 소나타 2번

Yekwon Sunwoo
J.Brahms : Piano Sonata No.2 in F# minor, Op.2
17.7.2018

(Source:
)

* Performance at Gewandhaus (21.4.2018)


Brahms: Sonata No.2 in F-sharp minor, Op.2 (Zimerman)

A marvellous performance of a beautifully constructed sonata. As is usually the case with Brahms, if you come here looking for sugary melodies or passages of sparking brilliance you’ll be disappointed. Brahms, even at the young age at which he wrote this sonata, was (astoundingly) already too musically mature for that. What Brahms *does* offer is here, however, is immensely rewarding– an expressive directness that if handled clumsily comes across as crudity (but which Zimerman handles perfectly), and a sense of structure and logic that is absolutely self-assured, even unshakeable. [One example: the third movement is the fourth variation of the second movement!] Although you’ll often hear this sonata (the first Brahms wrote, though published as the second) described as a juvenile work, full of bombast, that assessment strikes me as being very far off the mark: consider the desolate, minimalist beauty of the second movement, its late-Beethoveneque sense of deconstuctive stillness, and you realise there’s nothing bombastic about this work at all.

00:00 – Mvt 1, Allegro non troppo ma energico. A brooding movement in conventional sonata-allegro form. Brahms strenuously resists dwelling for long in any well-defined mood here, and Zimerman perfectly captures the profound sense of unease that pervades this movement. Note how the restatement of Theme 1 in the recapitulation is altered to be more dissonant and unsettling, a striking decision for a section that is supposed to bring the movement to a close.

06:09 – Mvt 2, Andante con espressione. A theme and variations based on a German song. The melody is vanishingly skeletal, based on a stark call-and-response structure. At the end of the third variation, the music comes to rest on the dominant, achingly unresolved. Brahms directs the performer to move straight on to the scherzo, which is really the fourth variation on the theme. Zimerman’s playing generates an incredible sense of disintegration, of falling-apart. Even the high syncopated responses of the second variation and the aching-toward-lushness of the third variation sound disturbing.

12:28 – Mvt 3, Scherzo. The opening call-and-response of Mvt 2 is simply transferred to the 6/8 meter. The calls are played in octaves, the responses in much higher harmonies. Unusually, the trio is a lot longer than the scherzo, and contains numerous beautiful and deceptive shifts to minor where a major key is expected, generating a modal sense of placid calm.

17:01 – Mvt 4, Finale. Usually, this is by far and away the most substantial movement of the work, beginning with a lengthy introduction, whose subject is also the first theme of this movement – although in the exposition the theme now opens with a biting half-step dissonance. The exposition here gets a full repeat (unlike that of Mvt 1). In the recapitulation, Theme 1 has subtle variations in the harmony and accompaniment from its initial presentation, but the most striking variation is in the second phrase, where Brahms seems to want to shift everything up a half-step, but then quickly moves back home at the trill and cadence, which is extended a bar with broken arpeggios. The development is also spectacular, featuring modulations which appear to overshoot their mark, only to find their way rapidly home. Even the ending of this movement is mysterious: the bottom F-sharp of the closing scale, hushed and secretive, is followed by two suddenly loud, jarring rolled F-sharp major chords, and the slow coda has the effect of arresting, rather than fulfilling the movement’s progress. Zimerman rises to the remarkable structural demands of this movement, handling this movement’s vast textural terrain with great confidence [see 26:28, etc].

[월클콘서트] Brahms Piano Sonata No. 2 in F-sharp minor, Op. 2 ׀ 피아니스트 정의경 ׀ 월요클래식 46화

월요클래식 콘서트 시리즈 'Neue Bahnen'
브람스의 피아노 소나타들은 모두 스무 살 무렵에 작곡된 젊은 작곡가의 초상을 담고 있습니다. 그 중에서도 브람스가 가장 먼저 완성한 작품이 바로 2번 소나타랍니다. 깊은 사색과 진지한 태도로 긴 음악 여정을 완주한 그의 출발점을 피아니스트 정의경의 연주로 함께 들어볼까요? 연주자들이 직접 만드는 월요클래식 콘서트 시리즈!

00:08 1악장 Allegro non troppo, ma energico
06:41 2악장 Andante con espressione
12:15 3악장 Scherzo: Allegro-Poco più moderato
15:38 4악장 Finale: Sostenuto-Allegro non troppo e rubato-Molto sostenuto

※ 코로나19의 확산 방지를 위해서 이번 시즌 월클콘은 무관중 라이브로 진행합니다. 본 연주는 사회적 거리두기 2단계 방역 지침을 준수하여 소수의 인원이 촬영하였습니다.

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#브람스 #피아노 #소나타 #2번
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☞피아니스트 #정의경
https://blog.naver.com/studiogj/222204206525

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