Brahms, Scherzo in E-flat minor Op.4 played by Wilhelm Kempff

Brahms wrote this powerful scherzo in 1851 when he was still only 18. Wilhelm Kempff's recording dates from 1958.

Artwork is by Jacob van Ruisdael (1628-1682)

Category:

Music

Tags:

• Brahms
• Scherzo in E-flat minor Op.4
• Wilhelm Kempff
• paulprocopolis

[pianopera]

I admire Kempff's touch, his colours and his rhythmic control. Pianistically it's superior to Carl Friedberg's live recording (made when he was 81 years old) but I still prefer F. because he made the dramatic character of the work more clear to me.

[paulprocopolis]

@pianopera Thanks for pointing me towards Firedberg whose recording I have just enjoyed listening to. He plays with great character and actually I find his overall conception of the work quite similar to Kempff's. For sheer splendour I think Arrau's Philips recording takes some beating.

[KarloFeder]

Der Klang von Kempff: quasi immateriell, lichtdurchfutet, schlank, farbig. Einfach unübertroffen! Vor allem im Forte wunderbar zu hören, gerade bei Brahms... (und wichtig: er eilt nicht bei den "schweren" Akkorden) Kempff ist ein spiritueller und sensueller Pianist

[paulprocopolis]

@KarloFeder Ja, das ist sein sound einzigartig

[LouTim52]

Not only do I admire your refined taste for exciting music combined with a great and meticulous performer, but I also your choice of at work, though from a different epoche, seems to underline and enhance the total experience of this treat!

Thx for uploading!

[twilightsymphony]

I cannot wait for summer to come when i will be practising this for my Diploma <3

[gsherlock]

You know I'm an admirer of Kempff, and here he is decoding Brahms with such clarity. I'll make a point of tracking down the Arrau though.

[berlinzerberus]

...weird Scherzando alla Brahms, but no question, a great composer was coming at that time and a great master played: Wilhelm Kempff pointed out the grotesque and fantastical aspects of the Scherzo which had been developed from the minuet first embedded as a sonata movement and then emancipated to a single and independent piano piece. Superb, how he makes the coherences of both trios clear. The first [main] part on a high level, great sound and tone, Brahms deslagged and nervously played partly.