BRAHMS: Piano Concerto No. 1 in D Minor, Opus 15

Vladimir Ashkenazy, Piano
Carlo Maria Guilini, conductor
Los Angeles Philharmonic Orchestra

This Brahms concerto showcases the composer at his absolute best: romantic lyricism brought to new heights with skillful writing for both piano and orchestra. In fact, it isn't a concerto in the conventional sense where the piano takes the leading part but more like a symphony where the piano plays a decisive part with the orchestra, not over, above or against it.

This is clear at the onset as the main theme in the Maestoso section-- powerful, gripping and hard-- is introduced by the orchestra in fortissimo. The piano delivers a contrasting mood as it introduces lyrical themes reconciling the inner tension released by the orchestra. With powerful octave passages by the soloist, as well as the return of the main theme this time played by the piano, the movement ends as it gloomily starts.

In fact, the first Maestoso is said to have been inspired by the news that Brahms' mentor and champion, Robert Schumann, had attempted suicide.

1st Movement: Maestoso. Poco più moderato.

Part 1

Part 2

Part 3

2nd Movement: Adagio

The middle movement is very contemplative: it's all about a serene and gentle adagio that is like a solemn prayer or hymn that rises to glorious heights and gradually fades into a dignified pianissimo.

Part 1

Part 2

3rd Movement: Rondo: Allegro non troppo

Quintessential Brahms!!! powerful, leaping octaves and robust and almost brusque themes are set against a backdrop of struggles and conflicts from the Maestoso section that are finally brought here and resolved in one, spectacular and bravura close.

Part 1

Part 2

Fantastic playing by Vladimir Ashkenazy, there's nothing more I can say except that his rendition is a sensitive reading of Brahms' powerful masterwork.