04. "Nr. 4: Poco sostenuto - Vivace - Poco sostenuto -Molto allegro - Tempo I"
05. "Nr. 5: Allegro - Vivace - Allegro" Variationen über ein Thema von Robert Schumann op. 23
06. "Thema Leise und innig"
07. "Variation 1: L'istesso tempo Andante molto moderato"
08. "Variation 2"
09. "Variation 3"
10. "Variation 4"
11. "Variation 5: Poco pi? animato"
12. "Variation 6: Allegro non troppo"
13. "Variation 7: Con moto. L'istesso Tempo"
14. "Variation 8: Poco pi? vivo"
15. "Variation 9"
16. "Variation 10: Molto moderato, alla marcia" Liebeslieder-Walzer op. 52a
17. "Nr. 1: Im L?ndler-Tempo"
18. "Nr. 2"
19. "Nr. 3"
20. "Nr. 4"
21. "Nr. 5"
22. "Nr. 6: Grazioso"
23. "Nr. 7"
24. "Nr. 8"
25. "Nr. 9"
26. "Nr. 10"
27. "Nr. 11"
28. "Nr. 12"
29. "Nr. 13"
30. "Nr. 14"
31. "Nr. 15"
32. "Nr. 16: Lebhaft"
33. "Nr. 17: Mit Ausdruck"
34. "Nr. 18: Lebhaft" Ungarische T?nze WoO 1
35. "Nr. 8: Presto"
36. "Nr. 11: Poco Andante"
37. "Nr. 13: Andantino grazioso - Vivace - Tempo I"
Number of discs:
1
Extra-Infos:
Leo Van Doeselaar
Description:
Johannes Brahms composed only a small number of original works for piano four hands, but arranged almost all of his chamber music and orchestral works for this instrumentation. He played most of them immediately after their completion with Clara Schumann and greatly appreciated her opinion.
In his Hungarian Dances Brahms brilliantly transformed original Hungarian melodies and rhythms into mul- ti-coloured orchestral works. The Blüthner grand piano from 1867 shows how Brahms made perfect use of the entire keyboard in his writing for four hands. The various registers appear completely transparent and clear. It is not generally known that Brahms was a great admirer and friend of Johann Strauss. And he loved waltzes! Thus Brahms also created an instrumental version of his Liebes- lieder-Walzer for piano four hands. - LEO VAN DOESELAAR
Brahms composed relatively few original works for piano four hands, but arranged almost all of his chamber music and orchestral works for this instrumentation. He also used to play most of the works for four hands with Clara Schumann immediately after completion. For the piano duo Wyneke Jordans & Leo van Doeselaar, it was an obvious choice to conclude their series of recordings of four-handed piano works by German composers on period instruments with the music of Brahms. On the Blüthner grand piano from 1867, it becomes clear how Brahms made perfect use of the entire keyboard in his writing for four hands. The various registers appear completely transparent and clear.