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Good evening ladies and gentlemen, welcome back to the Albert Hall. In | :00:46. | :00:49. | |
a moment, the elegant and distinguished Canadian pianist, | :00:49. | :00:56. | |
Angela Hewitt will play solo piano music. Later, a reinvention of one | :00:56. | :01:06. | |
:01:06. | :01:08. | ||
of Johannes Brahms's chamber works. In between those two pieces, a rare | :01:08. | :01:13. | |
chance to hear assured work for piano and orchestra by Schumann, | :01:13. | :01:18. | |
dedicated to brands. Andrew Manze is going to conduct the concert | :01:18. | :01:23. | |
tonight and it is the Scottish Symphony Orchestra on stage tonight. | :01:23. | :01:27. | |
However, they will remain silent for the first few minutes of this | :01:27. | :01:34. | |
concert as we hear two of Brahms's Intermezzo for solo piano. Please | :01:34. | :01:44. | |
:01:44. | :01:44. | ||
Apology for the loss of subtitles for 572 seconds | :01:44. | :11:16. | |
Angela Hewitt playing the pieces in E flat major. Amongst the last | :11:16. | :11:20. | |
pieces he was to write. Earlier this evening, I caught up with | :11:20. | :11:24. | |
answers Hewitt and asked her about the experience of playing solo | :11:24. | :11:27. | |
piano in a vast space at the Royal Albert Hall. | :11:27. | :11:34. | |
I think it is great, you can really draw people in. When I was | :11:34. | :11:39. | |
rehearsing this afternoon, it had a good feeling. Am not going to be | :11:39. | :11:44. | |
afraid of that intimacy in such a big place. Having heard so low | :11:44. | :11:50. | |
Brahms, we're going to hear a piece next by Schumann. This piece, | :11:50. | :11:54. | |
written over 150 years ago but only now getting its first performance | :11:54. | :12:01. | |
at the Proms. It is extraordinary and I have just recorded there. I | :12:01. | :12:03. | |
recorded the complete works of Schumann recently and I have come | :12:03. | :12:11. | |
to love this piece. It is a big virtuoso piano part but it is | :12:11. | :12:15. | |
wonderfully woven into the orchestral fabric. There are some | :12:15. | :12:21. | |
nice oboe and flute solos. It is unusual to have such a gorgeous | :12:21. | :12:28. | |
melody. That is unusual in his late pieces and it is really were | :12:29. | :12:34. | |
playing just for that team. Shall we see it as a concerto, albeit a | :12:34. | :12:44. | |
:12:44. | :12:45. | ||
small one? More just as a concert piece. It is very concise in its | :12:45. | :12:51. | |
material and there is a part that is very grand, bringing it to the | :12:51. | :13:01. | |
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conclusion. But there is a lot Angela Hewitt talking to me earlier | :13:02. | :13:11. | |
on and here she is to play Shimna's introduction and Concert Allegro, | :13:11. | :13:21. | |
:13:21. | :13:21. | ||
Apology for the loss of subtitles for 572 seconds | :13:21. | :27:28. | |
Angela Hewitt playing Schumann's introduction and Concert Allegro, | :27:28. | :27:34. | |
Opus 134. The Scottish Symphony Orchestra conducted by Andrew Manze. | :27:34. | :27:40. | |
Getting its Proms debut tonight. Angela Hewitt, Canadian-born but | :27:40. | :27:50. | |
:27:50. | :27:59. | ||
I have come backstage and am joined straight from the platform by | :27:59. | :28:07. | |
Andrew Manze. Wonderful to hear that, it is extraordinary that a is | :28:07. | :28:12. | |
her first Proms outing. Or what an amazing second melody it has. | :28:12. | :28:15. | |
move on to the peace you will perform in three or four minutes | :28:15. | :28:25. | |
:28:25. | :28:28. | ||
time. Brands Piano Quartet No. 1. Schoenberg was a huge fan of | :28:28. | :28:33. | |
Brahms? Yes and you probably helped him out with some money when he was | :28:33. | :28:40. | |
a struggling musician so he had a great fondness for brands. | :28:40. | :28:43. | |
played the quartet as a musician and he had a very clear idea of | :28:43. | :28:49. | |
what he wanted to do, he wrote that he liked the piece and he thought | :28:49. | :28:55. | |
it was always so badly played. He wanted to rectify that? Yes and | :28:55. | :28:58. | |
that is one thing about the original, the strings are really on | :28:58. | :29:05. | |
the edge. Sean Burke doesn't need to push them because he is using a | :29:05. | :29:10. | |
huge orchestra. He is showing us the beauties inside the peace. | :29:10. | :29:14. | |
have to stop you there because you Orchestra is almost changed. You | :29:14. | :29:20. |