Johannes Brahms Cello Sonatas (Rostropovich,Serkin)[P]1990(Pugzseeders: 11
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Johannes Brahms Cello Sonatas (Rostropovich,Serkin)[P]1990(Pugz (Size: 61.23 MB)
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(contacts, requests, hidden zones, private trackers, maillist, technical support) Ask hugopugz@gmail.com for EAC/APE version if interested. CD : Sonata for Cello and Piano no 1 in E minor, Op. 38 by Johannes Brahms Performer: Mstislav Rostropovich (Cello), Rudolf Serkin (Piano) Period: Romantic Written: 1862-1865; Austria Sonata for Cello and Piano no 2 in F major, Op. 99 by Johannes Brahms Performer: Rudolf Serkin (Piano), Mstislav Rostropovich (Cello) Period: Romantic Written: 1886; Austria Release Date: 10/25/1990 Label: Deutsche Grammophon Catalog #: 410510 Spars Code: DDD Composer: Johannes Brahms Performer: Mstislav Rostropovich, Rudolf Serkin Number of Discs: 1 Recorded in: Stereo The balance is not quite right, with the cello too prominent, but once I got used to that the performances started to take me over. Here we have two of the greatest classical interpreters of their time taking us into the special world of Brahms, and they had me thinking about the composer in a way I have not done in years. Most books and articles I have read about him have a lot to say about Beethoven, but I really doubt whether Brahms's music would have been much different if Beethoven had never lived. Both consciously and by instinct, Brahms was the guardian of the great German musical tradition embodied above all in Bach -- a tradition where pure 'absolute' music expressed itself through an intellectual apparatus of polyphonic and structural devices. Since Bach's time Haydn and Mozart had perfected for instrumental music a compositional system usually called the 'sonata' style. Beethoven had naturally picked this up, but what he forced on to it was a special dimension of highly personalised expression, and it is precisely this way of treating it that Brahms turned his back on. With him we are back, in his own deeply original way, to music using the composer to express ITself. I seem to find that Brahms gets more instinctive understanding from performers than Beethoven does, and I believe quite simply that that is because he understands himself better than Beethoven does himself. Teetering on the verge of incoherence at times was all part of Beethoven's unique greatness, and it is not disrespectful -- quite the reverse -- to say so. I have heard far more good performances than bad ones of these two wonderful sonatas, and the special meaning these particular accounts have for me is not something that I felt at first hearing. When a pianist of very special and unusual gifts is aged 80 or so and has retained his technique and evenness of touch, when he has spent a lifetime developing an austere and uncompromising vision of the instrumental music that we normally think of as being the 'greatest', when he studies completely afresh the works he is to perform with the greatest cellist of the next generation, there is a good chance we are going to get something very special, and I do not believe I am imagining it. This is a totally unique artistic combination offering a very special -- not eccentric in any way but still very special -- insight into a composer that many of us know by heart without really getting our minds round the phenomenon he represents. This record is a milestone in my musical pilgrimage and maybe it will be in yours. Related Torrents
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