Johannes Brahms (1833-1896) absorbed and integrated the musical legacy of his time, as did J.S. Bach before him. The music of Brahms is intimately connected to and rooted in the German-Austrian tradition that he inherited. For Brahms, this tradition was very much a live and relevant; he constantly measured his own efforts against the achievements of Bach, Haydn, Mozart and Beethoven, trying to live up to and continue their legacy. He was not looking back to the past, but ‘progressing’ (to use the terminology of Schoenberg’s essay ‘Brahms the Progressive’) towards a past that was yet to be fulfilled.
This recording contains so many works that I love: The piano pieces, the Intermezzos, the Ballades, and much more.
There is an interesting sense of inevitability in great art, as if every masterpiece was meant to be created exactly as it is. The work s of Brahms are amazingly organic, meticulously calculated and very human at the same time. This fusion of intellect and feeling, sincerity and heartfelt emotion and impeccable taste is unique to Brahms. It makes his music inevitable and indispensable.
Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world.
Here is Mr. Feltsman in music of Robert Schumann, starting with the amazing Kinderszenen:
