JOHANNES BRAHMS - PIANO CONCERTO N.1 op15 , mov 3 Complete . TATIANA PRIMAK KHOURY

JOHANNES BRAHMS : PIANO CONCERTO N.1 OP 15 in D Minor - Mov 3 , Complete NATIONAL SYMPHONY ORCHESTRA OF UKRAINE DIR. VOLODYMIR SIRENKO SOLO : TATIANA PRIMAK KHOURY The Piano Concerto No. 1 in D minor, Op. 15, is a work for piano and orchestra composed by Johannes Brahms in 1858. The composer gave the work's public debut in Hanover, Germany, the following year. Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany . Brahms originally conceived the work as his first major work for orchestra, what would have been his first symphony. After that proved unsatisfactory, he began molding it into a sonata for two pianos. He sought much advice from his friend Julius Otto Grimm.Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were composed, yielding a work in the more usual three-movement concerto structure.The work reflects Brahms' effort to combine the piano with the orchestra as equal partners, unlike earlier classical concertos, where the orchestra effectively accompanied the pianist. Even for the young Brahms, the concerto-as-showpiece had little appeal. Instead, he enlisted both orchestra and soloist in the service of the musical ideas; technically difficult passages in the concerto are never gratuitous, but extend and develop the thematic material. Such an approach is thoroughly in keeping with Brahms' artistic temperament, but also reflects the concerto's symphonic origins and ambitions. Rondo: Allegro non troppo (D minor → D major) The structure of the Rondo finale is similar to that of the rondo of Beethoven's third piano concerto. There are three themes present in this rondo; the second theme may be considered a strong variation of the first. The third theme is introduced in the episode but is never explicitly developed by the soloist, instead the soloist is "integrated into the orchestral effect." A cadenza follows the bulk of the rondo, with an extensive coda that develops the first and third themes appearing afterward. The coda is in the parallel major, D major.