Brahms - The Late Piano Works - Avie: AV2136 - download | Presto Music

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Markus Groh's supreme control of the instrument and sensitivity regarding timbre and texture enable him convincingly to stretch the Op 117 No 1 Intermezzo's middle section to its arguable breaking-point.... — Gramophone Classical Music Guide, 2010 More…

Release Date: 30th Jun 2008
Catalogue No: AV2136
Label: Avie
Length: 79 minutes

Contents

Brahms: Intermezzi (3), Op. 117

Work length16:49

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$4.20

Markus Groh

I. Andante moderato, Più Adagio, Un poco più Andante

Track length5:16

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II. Andante non troppo e con molta espressione, Più Adagio

Track length5:00

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III. Andante con moto

Track length6:33

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Brahms: Intermezzi, Op. 116

Work length22:59

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$9.80

Markus Groh

I. Capriccio, Presto energico

Track length2:11

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II. Intermezzo, Andante, Non troppo presto, Andante

Track length3:41

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III. Capriccio, Allegro passionato, Un poco meno Allegro, Tempo I

Track length3:06

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IV. Intermezzo, Adagio

Track length5:23

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V. Intermezzo, Andante con grazia ed intimissimo sentimento

Track length3:02

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VI. Intermezzo, Andantino teneramente

Track length3:25

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VII. Capriccio, Allegro agitato

Track length2:11

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Excerpt, Brahms: Klavierstücke (6), Op. 118

Work length1:51

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Markus Groh

Excerpt, Brahms: Klavierstücke (6), Op. 118

Work length5:37

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Markus Groh

Excerpt, Brahms: Klavierstücke (6), Op. 118

Work length3:37

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Markus Groh

Excerpt, Brahms: Klavierstücke (6), Op. 118

Work length2:32

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Markus Groh

Excerpt, Brahms: Klavierstücke (6), Op. 118

Work length3:54

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Markus Groh

Excerpt, Brahms: Klavierstücke (6), Op. 118

Work length5:45

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Markus Groh

Excerpt, Brahms: Klavierstücke (4), Op. 119

Work length4:17

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$1.40

Markus Groh

Excerpt, Brahms: Klavierstücke (4), Op. 119

Work length4:57

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Markus Groh

Excerpt, Brahms: Klavierstücke (4), Op. 119

Work length1:39

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Markus Groh

Excerpt, Brahms: Klavierstücke (4), Op. 119

Work length5:08

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Markus Groh

About
Reviews
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About

German pianist Markus Groh returns to AVIE after his very successful Liszt’s solo piano music recital (a Gramophone Editor’s Choice). Recorded once more utilizing in the superior quality of the SACD technology, Groh visits Brahms’ challenging four late compositions for piano solo, Opp 116, 117, 118,119, ranging from the most dramatic to the daring and wondering emotions towards this great composer’s late years

Reviews

2010

Markus Groh's supreme control of the instrument and sensitivity regarding timbre and texture enable him convincingly to stretch the Op 117 No 1 Intermezzo's middle section to its arguable breaking-point. The same goes for his full-throated, polyphonically aware conceptions of the A major and G minor Capriccios from Op 116. The Intermezzi, Op 118 No 6 and Op 119 No 1, elicit brooding, weighty interpretations that still manage to convey shape and sustaining power. Notable too are Groh's slightly agitated take on Op 117 No 3's con moto directive, with more varied legato articulation than one commonly hears. The pianist's ample tone and deft delineation of the Op 116 No 7 Capriccio's gnarly textures are all the more impressive once you realise how discreetly he employs the sustain pedal. To be certain, some selections meet with less success: for example, the little C major Intermezzo, Op 119 No 3 (made famous by Myra Hess), is voiced to perfection yet never takes wing; nor does the cycle's closing Rhapsody break out from Groh's four-square shell.
Still, for a single-disc release that includes all four 'late' Brahms piano works, Groh more than holds his own alongside moreseasoned performances.
The dryish room ambience characterising Avie's engineering via conventional twochannel and headphone playback appreciably opens up when experienced in surround-sound.

September 2008

Late Brahms that demonstrates the pianist's supreme control and sensitivity.

15th June 2008

Sometimes in the more fiery pieces, such as the capriccios of Op 116, Groh seems limited in his colour range. Yet it is the poetic touch that matters here, and he clearly possesses that in spades, as the opening piece of Op 117, the beautifully gauged dying cadence of Op 116, No 6, the rich colours of Op 118, No 2, and the direct, unhurried simplicity of the first piece of Op 119 all testify.

20th June 2008

There's much to admire in Groh's playing of these four sets...especially the beautifully judged palette of keyboard colours with which he shades these exquisite pieces. At times the quiet inwardness of the music escapes him - he's more at home, for instance, with the comparative extroversion of the Rhapsodie with which Op 119 ends, than with the delicately pearled intermezzo with which the set opens - and not everything in these pieces unfolds with the naturalness and expressive breadth that they ideally need. But Groh's playing has a musicality and honesty.

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