Pianist Nada Johannes Brahms Part II
Pianist Nada Johannes Brahms — a 36-track triple CD album set — is the fifth album in a series of five by Pianist Nada of Johannes Brahms works for solo piano.
The first and second albums in the series—Nada in Hamburg with Johannes Brahms and Vienna: Brahms & Nada— explore the depth of poetry in Brahms’ music. The third album Nada Meets Johannes Brahms is a portrait of Brahms’ deepest and most adventurous self. The fourth album, Capriccios & Intermezzos: Nada & Brahms — a 25-track double CD album displays the wonderful variety and array of colors and moods in Brahms’ music. The fifth album in the series is Pianist Nada/Johannes Brahms Part I, Part II, Part III — a 36-track triple CD album — in the series brings the project Brahms’ works full-circle concentrating on Brahms’ final works.
Read more below in “About the Album” and “Reviews.”
Musician:
Pianist Nada
Composer: Johannes Brahms
Pianist Nada Johannes Brahms — a 36-track triple CD album set — is the fifth album in a series of five by Pianist Nada of Johannes Brahms works for solo piano.
The first and second albums in the series—Nada in Hamburg with Johannes Brahms and Vienna: Brahms & Nada— explore the depth of poetry in Brahms’ music. The third album Nada Meets Johannes Brahms is a portrait of Brahms’ deepest and most adventurous self. The fourth album, Capriccios & Intermezzos: Nada & Brahms — a 25-track double CD album displays the wonderful variety and array of colors and moods in Brahms’ music. The fifth album in the series is Pianist Nada/Johannes Brahms Part I, Part II, Part III — a 36-track triple CD album — in the series brings the project Brahms’ works full-circle concentrating on Brahms’ final works.
Read more below in “About the Album” and “Reviews.”
Musician:
Pianist Nada
Composer: Johannes Brahms
Pianist Nada Johannes Brahms — a 36-track triple CD album set — is the fifth album in a series of five by Pianist Nada of Johannes Brahms works for solo piano.
The first and second albums in the series—Nada in Hamburg with Johannes Brahms and Vienna: Brahms & Nada— explore the depth of poetry in Brahms’ music. The third album Nada Meets Johannes Brahms is a portrait of Brahms’ deepest and most adventurous self. The fourth album, Capriccios & Intermezzos: Nada & Brahms — a 25-track double CD album displays the wonderful variety and array of colors and moods in Brahms’ music. The fifth album in the series is Pianist Nada/Johannes Brahms Part I, Part II, Part III — a 36-track triple CD album — in the series brings the project Brahms’ works full-circle concentrating on Brahms’ final works.
Read more below in “About the Album” and “Reviews.”
Musician:
Pianist Nada
Composer: Johannes Brahms
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Listen to Sample Tracks below
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Dear Herr Brahms:
As with Bach, you bring music to a complete summary of your time. The difference is in style; you are truly a Romantic. There is an expressive and individual message in your music.
Johannes Brahms:
I believe in pure and abstract expression through sounds. I do not give any titles or programs to my music so whoever comes across it has to take a deep breath and dive into its emotional and conceptual universe.
Variations: I made a clear choice in the Handel “Variations” Op. 24 to move away from free variation. This is a large architecture built on the theme which serves as subject to the finale, the Grand Fugue. On the other hand, the two books of “Paganini Variations” Op. 35 are more like etudes. They were written for a young virtuoso I had heard in Vienna. Based on the theme by Paganini, they are inspired by the language of the violin.
In my other etudes, I used themes from other composers as well, such as the “Rondo” after Weber or the Bach “Presto.” The “Gavotte” after Gluck could also be an etude; it was meant to be an encore piece for Frau Schumann.
“Sarabande” and “Gigue”: I had lost my creativity to compose in the early 1850s, so I decided to focus on contrapuntal exercises which I was exchanging regularly with violinist Joseph Joachim. The theme of this “Sarabande” was used again in one of my later string quintets.
“Piano Sonata No. 3,” Op. 5: The third one and last. I am already turning my attention to larger ensembles, such as the orchestra. Contrary to the first two, I wrote it during the difficult time I spent in the Schumann family. A lot of mixed feelings are projected into this music. I dream of a loving dialogue in the second movement; throughout the other movements, my symphonic writing for the piano helps me transcend the dualism and turmoil I experienced at the time.
Passionate and heroic feelings are also characteristics in the “Hungarian Dances” of the later years, especially for the two monumental Nos. 4 and 6.
The sets of shorter works, Op. 116 and 118, represent well my mature years; a time of reflection on everything that has passed. Every measure, every turn of phrase is intensely me. For the one who comprehend my music, there will be no secrets. Those pieces represent my last legacy to the piano.
Pianist Nada:
Your “Requiem” is in the key tone color of F Major in which you express after-life and infinity. I close this program with the Chorale Op. 122, No. 11 which is your last work, also written in F Major. Its title is “Oh World, I must leave thee.” So you will remain eternally with us.
Pianist Nada
October 2020 -
“Some of the most communicative Brahms I’ve ever heard.”
— Jerry Dubins
Farefare Magazine -
Title: Pianist Nada Johannes Brahms
Catalog #: C-7-2020Release date: 2020
UPC: 682131866894
©2020 MEII Enterprises/BMI
