Garrick Ohlsson and the COMPLETE works of Brahms!
Most pianists will learn one Brahms piece. Some pianists will learn a whole Brahms Opus. Garrick Ohlsson will learn every piece Brahms ever wrote, and he’ll perform them all from memory in under a week.
Join Garrick Ohlsson for a dive into Brahms’s solo piano music. Having recently performed the cycle at Tanglewood, the composers’ Intermezzi, Rhapsodies, Sonatas, and Variations are all fresh in his mind – and his fingers. Tune in live, join the chat, and submit your questions for Garrick.
Hosted by Ben Laude.
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We are going to be using this thread to gather suggestions and questions!
- What questions do you have on this topic?
- Any particular area you would like me to focus on?
Hi, Can Garrick talk about the Handel Variations, especially variations 8 and 9 and the fugue. Also, in Op. 118 I am interested in the Ballade (I am working on voicing those chords) and the last Intermezzo no.6 in e-flat minor. In the Intermezzo can he talk about his choice of tempo...Brahms says Andante, Largo e mesto but I hear a lot of performers play it so slowly it drags (at least that's the way it sounds to me). I have just started on the Intermezzo, and I'd be interested in any thoughts he has about it.
I'd love to hear what Mr. Ohlsson has to say about the second section marked piu lento in Brahms' 4th ballade (Op. 10 No. 4). I find this section to be very challenging musically because it seems that Brahms is very careful about entering into any clear emotional space — something highly characteristic of his music. I'm curious about Mr. Ohlsson's take on Brahms' indication here at the top of the page, the phrasing of notes (considering the separate rhythms and the half notes that Brahms indicates), and especially the section after bar 55.
one topic: dynamics in Brahms. The score sometimes looks like the Tchaikovsky concerto with full chords in the right hand and octaves in the left, but the dynamic markings are mezzo forte or even piano.
And furthermore (which is not directly related to Brahms, but is something I would always wanted to ask Mr. Ohlsson): He studied two years or so with Claudio Arrau, who studied with Martin Krause, who himself was a pupil of Liszt. Did Mr. Arrau ever mention something in his lessons with Garrick, that he has heard or maybe learned from his teacher (Krause), which came directly from Liszt?
Very enjoyable Livestream! Whenever I hear Garrick speak about music, he exudes, of course, a deep love and vast knowledge of the repertoire. Impressively, he also exudes a charming humility, sensitivity, and sense of humor. Thank you, Garrick! Thank you, Ben! Thank you, Dominic! Thank you to all who asked questions!