Customer Reviews

Brahms: Piano Pieces Opp. 116 - 119

5 star:		(11)
4 star:		(1)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

Behind the Grimaud diva-persona presented on the cover is a complex interpreter whose interesting, although by no means universally praiseworthy interpretations of late Brahms on this recording are destined to controversy.

In a way, her ambiguous stance toward the music makes the CD a to-own, a worthy addition to the collection of connoisseurs who already own say, five recordings of all these haunting 'lullabies of sorrow'.

But, alas, that's the problem really... there just isn't enough 'sorrow' in Grimaud's youthful soul-thrashing approach to the music, although there is a good dose of 'haunting'. She makes the Intermezzi press forward (A Major) or lean back (e minor) too much; or else glosses over moments of surreal beauty that others might dwell on.

In spite of it all, however, I really like this recording. It has a sort of 'involved detachment' only a young French woman living in the US could pull off-- Grimaud's is a 'postmodern' and 'pan-cultural' reading of Brahms. Ego there is (we could do without THAT many breathing sounds!); but late at night in the lamplit hazes of pre-sleep, I think Helene fit to conjure the shade of Brahms, the old master, in his maturest reflections.

Grimaud makes these pieces as important as life. She uses Brahms' all-important countermelodies and inner voices to greater effect than has any other pianist I've heard, while being as direct and assertive as Brahms sometimes demands. The powerful use of small gestures, a totally persuasive sense of overall form and some of my personal-favorite compositions keep me repeating this CD. I have 8 recordings of 118/2, and only that of Heinrich Neuhaus (see YouTube) is in her league.

This is one of my top 2 favorite CDs from Ms. Grimaud. I really wish I could hear her perform a recital of this disc. It's great, I don't know of many recordings for these works. Too bad Brendel won't record them, that would be fun to hear. Anyway, Grimaud's playing on this disc really made me take notice of Brahms' music more than ever before, so I must thank her for this. These works from Brahms are some of the most persona;/intimate masterpieces ever written for solo piano, and that intimacy comes across very well in this recording. Much better than Grimaud's Beethoven recordings.

This album is simply excellent. Helene Grimaud's interpretation is very intense, and at the same time the pianist seems extremely concentrated on what she is doing, and knows perpectly well what these late-Brahms pieces are about. Even with such a strong personality - which makes her playing quite easily recognisable - she is still faithful to the score.
Highly recommended.

I purchased this disc on a leap of faith. I have since not been dissatisfied in the least by this disc. In fact this recording has beome a favorite of mine. I do not claim great knowledge of pianists' interpretative abilities. I can only say that I purchased this disc because it seemed to be the only one I could find on which the Fantasien, Itermezzi, and Klavierstucke (Opus 116, 117, 118, and 119) were available on one disc.

I find the music to be richly recorded but not overbearing. I enjoy Ms. Grimaud's playing. I have other discs with some of the pieces on this recording. I find that this recording compares favorably with these others in my collection. I would recommend this disc to another purchaser without reservation.

The lead reviewer must be right when he predicts that Grimaud's late Brahms can't help but be controversial. She polarizes opinion, and you can get two dozen people to agree with the highest praise or loudest complaints. I'd like to dabble in prophecy, too. If the paths of Horowitz and Cherkassky give us a hint, it's possible to start out as a stylized pianist who divides listeners and wind up a stylized pianist who is beloved. grimaud is rarely simple and natural; she presses phrases forward, adds extra intensity, phrases freely, and generally attracts attention to herself. Depending on who you are, that's either charisma or solipsism.

Her way with Brahms's last four collections of caprices, ballades, and intermezzos isn't to go gentle into that good night. Faced with music that is by turns gloomy, reflective, intimate, and lyrical, she looks first for signs of inner disquiet. Brahms was deeply affected by death throughout his life, and toward the end he was weighed down by the passing of his mother and Clara Schumann. The signs of turmoil reaching for resignation are certainly present, especially in Op. 116, where passionate, troubled outbursts alternate with the calm of intermezzos - in Brahms, the latter term is almost literally an "interlude" between episodes of troubling emotion.

Writing in 1996 when this CD came out, the Gramophone reviewer - along with several reviewers here - found Grimaud more successful in the faster, more forceful items and less so in the reflective ones. I don't accept that. These collections weren't meant to be played as a single program, and if a pianist decides to perform them as such, there needs to be the kind of variety and contrast that keeps a program alive. Grimaud is vital in all these miniatures, and her pacing affords an impressive range of contrasts - the limpid lyricism of Op. 117 no. 1, for example, is just as effective as the stormy Capriccios of Op. 116. It's our mistake, not hers, to generalize about this music, as if it feels and moves the same way all the time.

Speaking as one listener, I find that Grimaud is as successful in these works as another stylized predecessor, Glenn Gould. My only complaint is that she can feel a bit hectoring, but then, Horowitz went much furhter in that regard. For a plainer, more comforting approach to these pieces, one can turn to Julius Katchen; he feels more mature without turning gloomy. A less appreciative term would be stolid.

I have to agree with the other reviewers who express reservations about Grimaud's getting to the bottom of this music, despite all the rubato, all the thrashing at the keyboard. Rather than enhancing this music, I heard all the Big Romanticism as an indication that she really doesn't know how to make these works sing on their own. Right after playing this disc I put on Julius Katchen in these same works and was amazed at the effortless, direct quality of his playing. These are really very simple pieces in the way they strike the ear. Of course, they're really not simple (certainly not techniclaly) but they are supposed to sound simple and direct. I think Grimaud miscalculates the weight each of these miniatures can bear and makes them too heavy, too overburdened. It's like playing the Brahms Second Concerto as though it were the Brahms First Concerto.

This is the second time she has recorded at least some of these works. Her earlier go at op. 118, for Denon are cleaner, clearer and get to the core of these simple, delicate pieces. Here, as in a number of her recent recordings, I feel like she's playing all the notes but somehow missing the character of the music. It's very hard to explain, but when I hear it I can't shake it. I'd like to see more direct simplicity, and more line, direct line.

There isn't much to say about a recording of Hélène Grimaud. Over the years she developed a passionate way of interpreting you can only compare to the greatest in history.

This CD presents a very special recording. There is just her and the piano building a symbiosis you find rarely. When you listen to this recording you feel like she's expressing all her thoghts, feelings, and experiences she made.

If you are able to turn up the volume, you'll even hear her breathing. Once she told me that she respires that loud because she'd like to sing along when she's playing. This shows her passion for music and adds some sort of vivid rythm to it.

A wonderful recording that can make you cry on lonely nights!

Grimaud's Brahms recording is, quite simply, a masterpiece! Ms. Grimaud fully understands the structural complexity of Brahms' piano music and she conveys the deep senses of longing and beauty in these pieces brilliantly! Majestic, elegant, and raw!

Updated on July 1, 2009

[[[[[[[Now that I have this CD for more than a year, I still would highly recommend it to you.

After I received my first CD, I bought a few extra copies for my friends to see if their like it also. Very strangely, most of the favorable feedbacks came back only recently, when they tell me the music is haunting them.

I myself have been listening to this CD for many times. I like Helene, which is obvious, and her sensitivity and superb articulation is just refined. The Intermezzi are my favorite pieces, and all of them just grow on me. The counterpoints are well versed. I especially like a hint, or the slight touch of melancholy undertone that are in the interpretation.

There are too many times that when I have to get up to do something else, but Helene and Brahms together just would not let me move away from my chair. The nuance of Helene beautiful touch and control makes this one of my most loved CD.

I really hope you can share it with me.

Good listening. ]]]]]]

(First review on May, 2008)

Helene Grimaud is a French pianist that one should not overlook. Her knowledge of Brahms is amazing.

Prior to this recording, I really don't think much of Brahms; Bach, Beethoven and some modern composers are much easier to listen to.

On this CD, Helene plays all four intermezzi. Now Brahms' piano Intermezzi are my favorite music.

I especially fond of Opus 116/2, 117/2, 118/2 and finally 118/5. The staccato on the bass octaves are simply sublime. Helene's technique is wonderful, and she is very intelligent.

She is also very incredibly beautiful.

The rest of the intermezzi are very very good, really worth listening to.

The Capriccios are too loud, a bit over-reaching.

But the above mentioned intermezzi are sentimentally sensitive, lovingly romantic, and representing her love of Brahms and people.

The other intermezzi are very very good, but not as sensitive compare with the above favorite four pieces.

The loud, but not thrashing pieces are 117/3, 119/2, 119/3, 119/4. Yet the recording are good enough so that each and every note can be heard, even on your computer. I don't hear any slurring.

I bought the recording to listening to my four favorite intermezzi. I enjoy the rest of the intermezzi as well, but cannot appreciate the very fast and loud Op 117/10, 118/2,3,4.

I'd still highly recommend this CD to you.