Episodes
| Series | Episode | Title | First Broadcast | Repeated | Comments |
|---|---|---|---|---|---|
| 2011 | 01 | 1865 | 20110815 | Donald Macleod on the year 1865, a time of public acclaim and private grief for Brahms. | |
| 2011 | 02 | 1876 | 20110816 | Donald Macleod focuses on the year 1876, when Brahms completed his first symphony. | |
| 2011 | 03 | 1879 | 20110817 | Donald Macleod on the year 1879 and the flourishing of Brahms's music and his friendships. | |
| 2011 | 04 | 1886 | 20110818 | Donald Macleod on the year 1886, which saw Brahms's final symphony and final flirtation. | |
| 2011 | 05 LAST | 1893 | 20110819 | Donald focuses on the year 1893, and Brahms's grand if irascible old age. | |
| 2012 | 01 | Brahms The Romantic | 20121217 | German 19th century composer Johannes Brahms is perhaps best known for his orchestral and chamber music, but he was also a prolific writer of vocal works. This week, Donald Macleod focuses his attention on music for the voice in all its guises, including some of Brahms's unjustly neglected folksongs, lieder, vocal quartets and choral works. As a young man, Brahms, like many of his contemporaries, fell under the spell of Romanticism and all the heady literature that erupted in that era. In those formative years, he had the opportunity to work with two choirs which enabled him not only to hone his conducting skills, but to develop his craft as a composer. During this time he produced a stream of choral works including three a cappella part-songs full of romantic images; a group of colourful choral songs for the unusual combination of women's voices, two horns and a harp and, at the other emotional extreme, an intense funeral song with dark-hued accompaniment from wind and timpani. Donald Macleod focuses on Brahms's vocal music written when he was a young man. | |
| 2012 | 02 | Triumph Over Adversity | 20121218 | The death of Brahms's mother provided the stimulus for him to complete a work he'd begun a decade before - a setting of the Requiem. It proved to be a turning point in his career; it was the first large-scale work he brought to fruition and went on to be an enormous success. During the summer following his mother's death, Brahms produced a trio for piano, violin and horn, which contains a touching elegy for his mother. Donald Macleod introduces extracts from these contrasting works, as well as a selection of songs published shortly after the premiere of the Requiem, including his famous Lullaby, and a charming vocal quartet all about the Viennese craze for dancing. Donald Macleod introduces works from the years following the death of Brahms's mother. | |
| 2012 | 03 | Recognition | 20121219 | At the age of 38, Brahms was offered the post of artistic adviser and conductor to the prestigious Gesellschaft der Musikfreunde in Vienna, giving him access to the finest choir the city had to offer and a full professional symphony orchestra. Brahms was soon attracting a lot of attention and he came to be regarded as the leading composer of the age in the eyes of musical Vienna. Brahms had long been captivated by the sound of Hungarian folk music and there was nothing he liked better than to listen to the gypsy bands in the cafes and bars of Vienna. Donald Macleod introduces a selection of the Hungarian Dances Brahms had collected over the years, arranged for piano duet. Also, one of the best-loved of his small choral works with orchestra - the Song of Destiny, a group of song settings by one of his favourite poets, Georg Friedrich Daumer, and Brahms's first orchestral work for fourteen years, the St Anthony Variations. Donald Macleod introduces music from Brahms's first decade in Vienna. | |
| 2012 | 04 | 20121220 | Brahms regularly fell in and out of love but never married. And, in spite of his sometimes brusque and arrogant manner, he also cultivated many friendships in the course of his life and inspired great loyalty in the friends he made. He formed a particularly strong bond with Elizabeth von Herzogenberg whose musical judgement he greatly valued. Donald Macleod introduces works associated with some of the most important of his friends including a Rhapsody and a vocal quartet dedicated to Elizabeth von Herzogenberg, two songs for voice, viola and piano presented as a peace offering to his lifelong friend the violin Joseph Joachim, and two songs - one woven into Brahms's second violin sonata - for the singer Hermine Spies. Works associated with some of the most important people in Brahms's life. | ||
| 2012 | 05 LAST | A Last Hurrah | 20121221 | The early 1890s saw the deaths of many of Brahms's close friends and family. Thoughts of his own mortality were clearly beginning to weigh on his mind and for some time he'd been talking about giving up composing altogether. But an encounter with the clarinettist Richard Mühlfeld changed all that. Brahms was so impressed by the silken beauty of Mühlfeld's playing he was inspired to begin composing again. Donald Macleod introduces works from the final decade of Brahms's life including an extract from his clarinet quintet, a group of his finest part-songs for unaccompanied chorus and his four profound meditations on death. Donald Macleod introduces works from Brahms's final burst of creativity. | |
| 2014 | 01 | A Messenger From God | 20141006 | 20150831 (R3) | For Johannes Brahms they were musical heroes who might just deign to hear out this unknown composer hoping to make his mark; for Robert and Clara Schumann the handsome young man was 'a messenger sent from God'. When he first called at their Düsseldorf home, little could Brahms foresee the extent to which their lives life would become inextricably connected. Donald Macleod tells the story of the first encounter between Brahms and Clara Schumann, who would become a lifelong friend, critic and inspiration. Donald Macleod recounts the first meeting between Brahms and Clara Schumann. |
| 2014 | 02 | Brahms To The Rescue | 20141007 | 20150901 (R3) | After Robert Schumann attempted to take his life by hurling himself into the swirling waters of the River Rhine, Brahms rushed to comfort Clara, and offer all the emotional support and practical assistance of which he was capable. Donald Macleod continues the story of their friendship, as we find the young composer steadily falling in love with the woman he admired. For her part, we find Clara coming to depend on his support, and his invigorating company, and admitting him into the tiny company of those she was prepared to address as 'Du' rather than 'Sie'. Donald Macleod focuses on how Brahms began to fall in love with Clara Schumann. |
| 2014 | 03 | A Widow Into The Future | 20141008 | 20150902 (R3) | With the tragic death of Robert Schumann, Brahms reaches a critical moment in his relationship with Clara - should he offer to make her his wife? Or should he abandon the pursuit, and follow his own course in life? Donald Macleod continues his account of their lifelong (although volatile) friendship, and finds Brahms flirting with other female company, much to the annoyance of his first and only true love. Donald Macleod discusses a critical moment in Brahms's relationship with Clara Schumann. |
| 2014 | 04 | Secret Passions | 20141009 | 20150903 (R3) | Johannes Brahms might have rejected the possibility of marrying Clara Schumann, but that was no reason not to pursue one of her daughters, or indeed to flirt with an entire women's choir! Donald Macleod continues the story of their complex relationship, as youthful passion evolves into mature friendship, and Brahms settles into life in Vienna - and sports a beard. Although frequently strained, their friendship would endure, and would help nurture some of Brahms' most loved masterpieces. Exploring the evolution of the complex relationship between Brahms and Clara Schumann. |
| 2014 | 05 LAST | Rows And Reconciliation | 20141010 | 20150904 (R3) | The bearded and bloated Brahms of caricature continued to be inspired by Clara Schumann, despite a multitude of fleeting passions for other women. As Donald Macleod wraps up his account of their long and frequently troubled friendship, we find them at loggerheads in the late evening of their lives about something relatively trivial (an edition of Robert Schumann's 4th Symphony). Clara becomes jealous of the attentions of Frau Elizabeth von Herzogenberg, and feels snubbed. Nevertheless, through all her many personal tragedies, Johannes Brahms remains a constant support, whilst she remained for him an inspiration throughout his life. Right until the end of their lives, he refers his symphonies to her, and dedicates to her some of his most tender, valedictory piano compositions. Exploring how, despite their rows, Brahms and Clara Schumann stayed devoted to one another |
| 2016 | 01 | The Summer Of Love | 20160725 | 20170828 (R3) | Johannes Brahms becomes secretly engaged to Agathe von Siebold, presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the first piano concerto, his German Requiem, concertos for violin, and violin and cello, and also his third and fourth symphonies. During the late 1850's Brahms completed his Piano Concerto No 1 in D minor. It was a period when his relationship was developing with Clara Schumann, and the concerto itself became marked by the memory of Robert Schumann's attempted suicide. It was also a time when Brahms was introduced to, and later secretly became engaged to Agathe von Siebold, although when he should have been more interested in composing a Bridal Song his thoughts actually turned to composing a Funeral Anthem, Begr䀀bnisgesang. Clara Schumann told Brahms she'd like it to be performed at her own funeral. Within a short space of time, Brahms broke off his engagement to Agathe. Brahms, arr. Joseph Joachim Hungarian Dance No 5 in G minor Hagai Shaham, violin Arnon Erez, piano Vor dem Fenster, Op 14 No 1 Dietrich Fischer-Dieskau, baritone Wolfgang Sawallisch, piano Trennung Begr䀀bnisgesang, Op 13 North German Radio Chorus North German Symphony Orchestra Günter Jena, conductor Piano Concerto No 1 in D minor, Op 15 (1st mvt) Nicholas Angelich, piano Frankfurt Radio Symphony Orchestra Paavo J䀀rvi, conductor String Sextet No 1 in B flat major, Op 18 (4th mvt) Berlin Philharmonic Octet Donald Macleod focuses on Brahms's secret engagement to Agathe von Siebold. Johannes Brahms becomes secretly engaged to Agathe von Siebold, presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the first piano concerto, his German Requiem, concertos for violin, and violin and cello, and also his third and fourth symphonies. During the late 1850's Brahms completed his Piano Concerto No 1 in D minor. It was a period when his relationship was developing with Clara Schumann, and the concerto itself became marked by the memory of Robert Schumann's attempted suicide. It was also a time when Brahms was introduced to, and later secretly became engaged to Agathe von Siebold, although when he should have been more interested in composing a Bridal Song his thoughts actually turned to composing a Funeral Anthem, Begr䀀bnisgesang. Clara Schumann told Brahms she'd like it to be performed at her own funeral. Within a short space of time, Brahms broke off his engagement to Agathe. Brahms, arr. Joseph Joachim Hungarian Dance No 5 in G minor Hagai Shaham, violin Arnon Erez, piano Vor dem Fenster, Op 14 No 1 Dietrich Fischer-Dieskau, baritone Wolfgang Sawallisch, piano Trennung Begr䀀bnisgesang, Op 13 North German Radio Chorus North German Symphony Orchestra Günter Jena, conductor Piano Concerto No 1 in D minor, Op 15 (1st mvt) Nicholas Angelich, piano Frankfurt Radio Symphony Orchestra Paavo J䀀rvi, conductor String Sextet No 1 in B flat major, Op 18 (4th mvt) Berlin Philharmonic Octet Donald Macleod focuses on Brahms's secret engagement to Agathe von Siebold. |
| 2016 | 02 | The German Requiem | 20160726 | 20170829 (R3) | With premieres looming in Bremen Cathedral, Johannes Brahms finally completes his German Requiem. Presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and for violin and cello, and also his third and fourth symphonies. During the late 1860s Brahms was preoccupied with completing his German Requiem, in readiness for its premiere at Bremen Cathedral in 1868. He was the first German composer to choose and shape his texts from sources other than the burial service, to convey a message about grief and death. Clara Schumann attended the premiere, as did the composer Max Bruch. During this same period Brahms had fallen in love again, this time with Clara's daughter Julie, who inspired him to write his love songs the Liebeslieder Waltzes. Ein deutsches Requiem, Op 45 (1st mvt) Arnold Schoenberg Choir Vienna Philharmonic Nikolaus Harnoncourt, conductor Piano Quintet in F minor, Op 34 (3rd mvt) Tokyo String Quartet Jon Nakamatsu, piano Ein deutsches Requiem, Op 45 (3rd mvt) Thomas Hampson, baritone Liebeslieder Waltzes, Op 52 (Nos 1-9) Edith Mathis, soprano Brigitte Fassbaender, alto Peter Schreier, tenor Dietrich Fischer-Dieskau, baritone Karl Engel, piano Wolfgang Sawallisch, piano Ein deutsches Requiem, Op 45 (5th mvt) Genia Kühmeier, soprano How, with premieres ahead in Bremen Cathedral, Brahms finally finished his German Requiem. With premieres looming in Bremen Cathedral, Johannes Brahms finally completes his German Requiem. Presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and for violin and cello, and also his third and fourth symphonies. During the late 1860s Brahms was preoccupied with completing his German Requiem, in readiness for its premiere at Bremen Cathedral in 1868. He was the first German composer to choose and shape his texts from sources other than the burial service, to convey a message about grief and death. Clara Schumann attended the premiere, as did the composer Max Bruch. During this same period Brahms had fallen in love again, this time with Clara's daughter Julie, who inspired him to write his love songs the Liebeslieder Waltzes. Ein deutsches Requiem, Op 45 (1st mvt) Arnold Schoenberg Choir Vienna Philharmonic Nikolaus Harnoncourt, conductor Piano Quintet in F minor, Op 34 (3rd mvt) Tokyo String Quartet Jon Nakamatsu, piano Ein deutsches Requiem, Op 45 (3rd mvt) Thomas Hampson, baritone Liebeslieder Waltzes, Op 52 (Nos 1-9) Edith Mathis, soprano Brigitte Fassbaender, alto Peter Schreier, tenor Dietrich Fischer-Dieskau, baritone Karl Engel, piano Wolfgang Sawallisch, piano Ein deutsches Requiem, Op 45 (5th mvt) Genia Kühmeier, soprano How, with premieres ahead in Bremen Cathedral, Brahms finally finished his German Requiem. |
| 2016 | 03 | Reducing A Hostess To Tears | 20160727 | 20170830 (R3) | Johannes Brahms reduces a society hostess to tears for owning 'Wagnerian trash'. Presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and for violin and cello, and also his third and fourth symphonies. During the late 1870s Brahms premiered his First Symphony, and then at lightning speed composed his second. It was around this same time that Brahms was aiding the impoverished Bohemian composer Dvorak, supporting his case for a scholarship and also recommending him to publishers. Brahms could also be amazingly unfeeling at times, and reduced one society hostess to tears when he publicly searched her cupboards for what he called 'Wagnerian Trash'. By 1878 Brahms was also busy writing a work for his friend the violinist Joachim. The two collaborated together on what became Brahms's Violin Concerto. The premiere didn't go well and Brahms subsequently destroyed a draft of a second violin concerto he'd made. Sommerabend, Op 85 No 1 Dietrich Fischer-Dieskau, baritone Daniel Barenboim, piano Symphony No 2 in D major, Op 73 (1st mvt) Berlin Philharmonic Orchestra Simon Rattle, conductor Klavierstücke, Op 76 (Nos 2, 4-5, 7-8) Justus Frantz, piano Violin Concerto in D major, Op 77 (2nd and 3rd mvt) Gidon Kremer, violin Royal Concertgebouw Orchestra Nicolaus Harnoncourt, conductor How Brahms reduced a society hostess to tears for owning 'Wagnerian trash'. Johannes Brahms reduces a society hostess to tears for owning 'Wagnerian trash'. Presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and for violin and cello, and also his third and fourth symphonies. During the late 1870s Brahms premiered his First Symphony, and then at lightning speed composed his second. It was around this same time that Brahms was aiding the impoverished Bohemian composer Dvorak, supporting his case for a scholarship and also recommending him to publishers. Brahms could also be amazingly unfeeling at times, and reduced one society hostess to tears when he publicly searched her cupboards for what he called 'Wagnerian Trash'. By 1878 Brahms was also busy writing a work for his friend the violinist Joachim. The two collaborated together on what became Brahms's Violin Concerto. The premiere didn't go well and Brahms subsequently destroyed a draft of a second violin concerto he'd made. Sommerabend, Op 85 No 1 Dietrich Fischer-Dieskau, baritone Daniel Barenboim, piano Symphony No 2 in D major, Op 73 (1st mvt) Berlin Philharmonic Orchestra Simon Rattle, conductor Klavierstücke, Op 76 (Nos 2, 4-5, 7-8) Justus Frantz, piano Violin Concerto in D major, Op 77 (2nd and 3rd mvt) Gidon Kremer, violin Royal Concertgebouw Orchestra Nicolaus Harnoncourt, conductor How Brahms reduced a society hostess to tears for owning 'Wagnerian trash'. |
| 2016 | 04 | The Little Leopard And The Great Lion | 20160728 | 20170831 (R3) | Johannes Brahms the 'Great Lion' collaborates with the Little Leopard Hans von Bülow. Presented by Donald Macleod. German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and for violin and cello, and also his third and fourth symphonies. During the early 1880s Brahms found a new champion of his music, Hans von Bülow. Bülow became director of music at the ducal court of Saxe-Meiningen, and took charge of the orchestra there. He gave Brahms the opportunity to try out a number of his orchestral works before they were premiered, including his Second Piano Concerto, and also his third and fourth symphonies. Brahms became a favourite at the court with Duke George II, and was awarded the Commander?s Cross of the House of Meiningen. It was for the Duke that Brahms dedicated his Song of the Fates, Gesang der Parzen. Bei dir sind meine Gedanken, Op 95 No 2 Der J䀀ger, Op 95 No 4 (1883-4) Angelika Kirchschlager, mezzo-soprano Graham Johnson, piano N䀀nie, Op 82 Bavarian Radio Symphony Chorus Bavarian Radio Symphony Orchestra Colin Davis, conductor String Quintet No 1 in F major, Op 88 (1st mvt) Amadeus Quartet Cecil Aronowitz, viola Gesang der Parzen, Op 89 Collegium Vocale Gent Orchestre des Champs-Elys退es Philippe Herreweghe, director Symphony No 3 in F major, Op 90 (3rd and 4th mvt) London Philharmonic Orchestra Marin Alsop, conductor Brahms's collaboration with the court of Saxe-Meiningen's musical director, Hans von Bulow Johannes Brahms the 'Great Lion' collaborates with the Little Leopard Hans von Bülow. Presented by Donald Macleod. German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and for violin and cello, and also his third and fourth symphonies. During the early 1880s Brahms found a new champion of his music, Hans von Bülow. Bülow became director of music at the ducal court of Saxe-Meiningen, and took charge of the orchestra there. He gave Brahms the opportunity to try out a number of his orchestral works before they were premiered, including his Second Piano Concerto, and also his third and fourth symphonies. Brahms became a favourite at the court with Duke George II, and was awarded the Commander?s Cross of the House of Meiningen. It was for the Duke that Brahms dedicated his Song of the Fates, Gesang der Parzen. Bei dir sind meine Gedanken, Op 95 No 2 Der J䀀ger, Op 95 No 4 (1883-4) Angelika Kirchschlager, mezzo-soprano Graham Johnson, piano N䀀nie, Op 82 Bavarian Radio Symphony Chorus Bavarian Radio Symphony Orchestra Colin Davis, conductor String Quintet No 1 in F major, Op 88 (1st mvt) Amadeus Quartet Cecil Aronowitz, viola Gesang der Parzen, Op 89 Collegium Vocale Gent Orchestre des Champs-Elys退es Philippe Herreweghe, director Symphony No 3 in F major, Op 90 (3rd and 4th mvt) London Philharmonic Orchestra Marin Alsop, conductor Brahms's collaboration with the court of Saxe-Meiningen's musical director, Hans von Bulow |
| 2016 | 05 LAST | The Senile Production | 20160729 | 20170901 (R3) | Johannes Brahms completes his Double Concerto which was called by one critic 'a senile production'. Presented by Donald Macleod German composer Johannes Brahms became a significant figure in Western music during his own lifetime, and has retained this position ever since. His works were performed throughout Europe, the UK and the USA, and displayed much passion in keeping with the musical language of the mid to late nineteenth century. Donald Macleod this week explores some of the larger orchestral works Brahms composed, taking on the mantle from Beethoven and Schubert, and the periods in which they were written. The series includes the First Piano Concerto, his German Requiem, concertos for violin, and violin and cello, and also his third and fourth symphonies. During the late 1880s Brahms premiered his Fourth Symphony at Meiningen, which was very well received with applause after every movement. This was at a time when he was also working on his Piano Trio No 3 in C minor. He'd last composed for that combination of instruments nearly thirty years previously. Clara said of the Trio that is was inspired throughout with passion. By 1887, Brahms was healing a rift with the violinist Joachim, composing for him a double concerto for violin and cello. Joachim was delighted with the work, although one critic called it 'a senile production'. Komm bald, Op 97 No 5 Thomas Allen, baritone Geoffrey Parsons, piano Piano Trio No 3 in C minor, Op 101 (3rd mvt) Jean-Marc Phillips-Varjab退dian, violin Raphael Pidoux, cello Vincent Coq, piano Double Concerto in A minor, Op 102 Pinchas Zukerman, violin Ralph Kirshbaum, cello London Symphony Orchestra Christoph Eschenbach, conductor Violin Sonata No 3 in D minor, Op 108 (3rd & 4th mvt) Lydia Mordkovitch, violin Gerhard Oppitz, piano On the completion of Brahms's Double Concerto, dubbed by one critic a 'senile production'. |
| 2018 | 01 | The Beginnings Of A Lifelong Bond | 20180514 | 20220425 (R3) | Donald Macleod explores the lifelong friendship between Brahms and the violin virtuoso Joseph Joachim, and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. The week begins with a knock at the door. Brahms meets the titan of German music, Robert Schumann; an encounter set up by Joseph Joachim. Music, song and more than a little drinking was to follow. Scherzo in C Minor ('FAE' Sonata) Isabelle Faust, violin Alexandre Tharaud, piano Hymn To The Veneration Of The Great Joachim! Philippe Graffin, violin Hebe Mensinga, violin Szymon Marciniak, double bass Scherzo in E Flat Minor, Op 4 Jonathan Plowright, piano Piano Sonata No 3 (2nd mvt: Andante espressivo) Nelson Freire, piano Violin Concerto D Major, Op 77 (1st mvt) Vadim Gluzman, violin Lucerne Symphony Orchestra James Gaffigan, conductor Produced by Steven Rajam for BBC Wales. Brahms and violin virtuoso Joseph Joachim meet the titan of German music, Robert Schumann. Donald Macleod explores the lifelong friendship between Brahms and the violin virtuoso Joseph Joachim, and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. The week begins with a knock at the door. Brahms meets the titan of German music, Robert Schumann; an encounter set up by Joseph Joachim. Music, song and more than a little drinking was to follow. Scherzo in C Minor ('FAE' Sonata) Isabelle Faust, violin Alexandre Tharaud, piano Hymn To The Veneration Of The Great Joachim! Philippe Graffin, violin Hebe Mensinga, violin Szymon Marciniak, double bass Scherzo in E Flat Minor, Op 4 Jonathan Plowright, piano Piano Sonata No 3 (2nd mvt: Andante espressivo) Nelson Freire, piano Violin Concerto D Major, Op 77 (1st mvt) Vadim Gluzman, violin Lucerne Symphony Orchestra James Gaffigan, conductor Produced by Steven Rajam for BBC Wales. Brahms and violin virtuoso Joseph Joachim meet the titan of German music, Robert Schumann. |
| 2018 | 02 | Breakdown And Renewal | 20180515 | 20220426 (R3) | Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Today, heartache for the pair as their mentor, Robert Schumann, suffers a catastrophic breakdown. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. After a year feeling on top of the world, Brahms and Joachim's world came crashing down when their mentor, Robert Schumann, suffered a catastrophic breakdown in 1854. Brahms would then deal with further heartache as his First Piano Concerto is ravaged by critics. Featuring the composer's lyrical and much-loved Violin Sonata no. 1. Regenlied, Op 59 No 3 Dietrich Fischer-Dieskau, baritone J怀rg Demus, piano Geistliches Lied, Op 30 Choir of King's College Cambridge Christopher Hughes, organ Stephen Cleobury, conductor Piano Concerto No 1 in D Minor, Op 35 (3rd mvt) Paul Lewis, piano Swedish Radio Symphony Orchestra Daniel Harding, conductor Violin Sonata in G Major, Op 78 Josef Suk, violin Julius Katchen, piano Produced by Steven Rajam for BBC Wales. There's heartache for Brahms as his mentor Robert Schumann suffers a breakdown. Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Today, heartache for the pair as their mentor, Robert Schumann, suffers a catastrophic breakdown. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. After a year feeling on top of the world, Brahms and Joachim's world came crashing down when their mentor, Robert Schumann, suffered a catastrophic breakdown in 1854. Brahms would then deal with further heartache as his First Piano Concerto is ravaged by critics. Featuring the composer's lyrical and much-loved Violin Sonata no. 1. Regenlied, Op 59 No 3 Dietrich Fischer-Dieskau, baritone J怀rg Demus, piano Geistliches Lied, Op 30 Choir of King's College Cambridge Christopher Hughes, organ Stephen Cleobury, conductor Piano Concerto No 1 in D Minor, Op 35 (3rd mvt) Paul Lewis, piano Swedish Radio Symphony Orchestra Daniel Harding, conductor Violin Sonata in G Major, Op 78 Josef Suk, violin Julius Katchen, piano Produced by Steven Rajam for BBC Wales. There's heartache for Brahms as his mentor Robert Schumann suffers a breakdown. |
| 2018 | 03 | A Beard And A Baby | 20180516 | 20220427 (R3) | Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. The partying days were over. Today's episode tells of Joachim's settling down into domestic bliss, and Brahms...growing a beard - a disguise that would from then on become part of his mythology. Donald Macleod presents the much-loved 'Geistliches Wiegenlied', plus a rare piano duet arrangement of Brahms's famous First Symphony. Geistliches Wiegenlied, Op 91 No 2 Alice Coote, mezzo Maxim Rysanov, viola Ashley Wass, piano Symphony No 1 (4th mvt) (original version for piano 4 hands) Duo Crommelynck, piano duet Violin Concerto in D Major, Op 77 (2nd mvt) David Oistrakh, violin Staatskapelle Dresden Franz Konwitschny, conductor Violin Sonata No 2 in A, Op 100 Isabelle Faust, violin Alexander Melnikov, piano Produced by Steven Rajam for BBC Wales. Joachim settles down into domestic bliss, and Brahms grows a beard. Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. The partying days were over. Today's episode tells of Joachim's settling down into domestic bliss, and Brahms...growing a beard - a disguise that would from then on become part of his mythology. Donald Macleod presents the much-loved 'Geistliches Wiegenlied', plus a rare piano duet arrangement of Brahms's famous First Symphony. Geistliches Wiegenlied, Op 91 No 2 Alice Coote, mezzo Maxim Rysanov, viola Ashley Wass, piano Symphony No 1 (4th mvt) (original version for piano 4 hands) Duo Crommelynck, piano duet Violin Concerto in D Major, Op 77 (2nd mvt) David Oistrakh, violin Staatskapelle Dresden Franz Konwitschny, conductor Violin Sonata No 2 in A, Op 100 Isabelle Faust, violin Alexander Melnikov, piano Produced by Steven Rajam for BBC Wales. Joachim settles down into domestic bliss, and Brahms grows a beard. |
| 2018 | 04 | The Break-up | 20180517 | 20220428 (R3) | Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four-decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms' chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. Once upon a time, Joachim was considered as promising a composer as Brahms, before his genius at the violin consumed all his time. Today we get a rare glimpse at Joachim the composer, with his dazzling Second Violin Concerto, 'in the Hungarian Style', before Donald Macleod details how he and Brahms devastatingly fell out after Joachim's acrimonious divorce from his wife Amalie. Violin Concerto No 2 in D Minor 'in the Hungarian Style' (3rd mvt) Christian Tetzlaff, violin Danish National Orchestra Thomas Dausgaard, conductor Hungarian Dance No 5 in G Minor Anne-Sophie Mutter, violin Lambert Orkis, piano Gestillte Sehnsucht, Op 91 No 1 Kathleen Ferrier, contralto Maxim Gilbert, viola Phyllis Spurr, piano Violin Sonata No 3 in D Minor, Op 108 Lars Vogt, piano Violin Concerto D Major, Op 77 (3rd mvt) Janine Jansen, violin London Symphony Orchestra Antonio Pappano, conductor Produced by Steven Rajam for BBC Wales. Exploring the lifelong friendship between Brahms and virtuoso violinist Joseph Joachim. |
| 2018 | 05 LAST | Reconciliation | 20180518 | 20220429 (R3) | Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms's chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. Donald Macleod ends this week celebrating the unique relationship between Johannes Brahms and Joseph Joachim - and the musical riches that emerged from it - with the story of the pair's reconciliation, culminating in the effervescent Double Concerto for violin and cello - the last orchestral work Brahms would ever write. Brahms (arr Joachim) Hungarian Dance No 1 Joseph Joachim, violin [unknown pianist] Wie Melodien zieht es mir, Op 105 Ann Murray, mezzo Malcolm Martineau, piano Immer leiser; Klage; Auf dem Kirchhofe; Verrat, Op 105 Double Concerto for Violin and Cello in A Minor, Op 102 Julia Fischer, violin Daniel Müller-Schott, cello Netherlands Philharmonic Orchestra Yakov Kreizberg, conductor Produced by Steven Rajam for BBC Wales. Exploring the lifelong friendship between Brahms and virtuoso violinist Joseph Joachim. Donald Macleod explores the lifelong friendship between Brahms and the great violin virtuoso Joseph Joachim - and the music of genius that resulted. Throughout his life, Johannes Brahms (1833-1897) enjoyed the close friendship of two kindred musical spirits: the pianist Clara Schumann and the violinist Joseph Joachim. Yet whilst his relationship with the former is much-pored over - friends, colleagues, maybe lovers? - his deep musical connection with Joachim is often passed over. This week, Donald Macleod explores the adventures, trials and tribulations that Brahms and Joachim encountered through their four decade-long association and the musical masterpieces for violin that resulted. Donald presents the three movements of the Violin Concerto across three days in three utterly beguiling, and very different, recordings by Vadim Gluzman, David Oistrakh and Janine Jansen; plus, Friday brings a complete performance of the often-overlooked Double Concerto for Violin and Cello. In between, we'll hear all three violin sonatas in their entirety and a host of jewels from Brahms's chamber output - plus a rare piano-duet performance of his First Symphony by the Duo Crommelynck, and on Friday, a guest appearance from Brahms and Joachim themselves. Donald Macleod ends this week celebrating the unique relationship between Johannes Brahms and Joseph Joachim - and the musical riches that emerged from it - with the story of the pair's reconciliation, culminating in the effervescent Double Concerto for violin and cello - the last orchestral work Brahms would ever write. Brahms (arr Joachim) Hungarian Dance No 1 Joseph Joachim, violin [unknown pianist] Wie Melodien zieht es mir, Op 105 Ann Murray, mezzo Malcolm Martineau, piano Immer leiser; Klage; Auf dem Kirchhofe; Verrat, Op 105 Double Concerto for Violin and Cello in A Minor, Op 102 Julia Fischer, violin Daniel Müller-Schott, cello Netherlands Philharmonic Orchestra Yakov Kreizberg, conductor Produced by Steven Rajam for BBC Wales. Exploring the lifelong friendship between Brahms and virtuoso violinist Joseph Joachim. |
| 2019 | 01 | Free But Alone | 20191216 | 20210329 (R3) | Donald Macleod follows Johannes Brahms's early romance with a young singer. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Today, Brahms becomes engaged to Agathe von Siebold, a relationship doomed to failure. Sonata No 3 in F minor Op.5 (4th movement) Stephen Hough, Piano Lieder & Romanzen, Op 14 (No 4, Ein Sonett & No 7, St䀀ndchen) Simon Bode, tenor Graham Johnson, piano Piano Concerto No 1 in D minor, Op 15 (1st movement) Nelson Friere, piano Gewandhausorchester Riccardo Chailly, conductor Ave Maria, Op 12 Tenebrae Nigel Short, conductor String Sextet No 2 in G, Op 36 (1. Allegro non troppo) Amadeus Quartet Producer: Glyn Tansley for BBC Wales |
| 2019 | 02 | The Gospel Of Johannes | 20191217 | 20210330 (R3) | Donald Macleod explores Brahms's early encounters with Robert and Clara Schumann. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Clara Schumann is probably the person Brahms was closest to in his life. Today, we explore their first meeting, and how she was in awe of the young composer's talent from the start. 2 Gavottes, WoO 3 (Nos 1 and 2) Louis Demetrius Alvanis, piano Piano Sonata No 1 in C major, Op 1 (1. Allegro) Sviatoslav Richter, piano 6 Songs, Op 3 (Nos 2 and 3) Benjamin Appl, baritone Graham Johnson, piano Piano Quartet, Op 25 (3rd and 4th movements) Emanuel Ax, Piano Isaac Stern, Violin Jamie Laredo, Viola Yo-yo Ma, Cello String Sextet No 1in B flat major, Op 18 (2nd movement) Amadeus Quartet Producer: Glyn Tansley for BBC Wales Donald Macleod explores Brahms's relationship with the Schumanns. Donald Macleod explores Brahms's early encounters with Robert and Clara Schumann. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Clara Schumann is probably the person Brahms was closest to in his life. Today, we explore their first meeting, and how she was in awe of the young composer's talent from the start. 2 Gavottes, WoO 3 (Nos 1 and 2) Louis Demetrius Alvanis, piano Piano Sonata No 1 in C major, Op 1 (1. Allegro) Sviatoslav Richter, piano 6 Songs, Op 3 (Nos 2 and 3) Benjamin Appl, baritone Graham Johnson, piano Piano Quartet, Op 25 (3rd and 4th movements) Emanuel Ax, Piano Isaac Stern, Violin Jamie Laredo, Viola Yo-yo Ma, Cello String Sextet No 1in B flat major, Op 18 (2nd movement) Amadeus Quartet Producer: Glyn Tansley for BBC Wales Donald Macleod explores Brahms's relationship with the Schumanns. |
| 2019 | 03 | The Riddle Of Brahms | 20191218 | 20210331 (R3) | Donald Macleod explores Brahms's music for some of the women in his life. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Piano Quintet in F minor, Op 34A (1st movement) Amadeus Quartet Christoph Eschenbach, piano Rhapsody in B minor, Op 79 No 1 Jen怀 Jand , piano 6 Songs, Op 7 (Nos 2 -5) Dietrich Fischer-Dieskau, baritone Jessye Norman, soprano Daniel Barenboim, piano Variations in E flat on a Theme by Schumann (Nos 8-11) Silke-Thora Matthies, piano Christian K怀hn, piano Alto Rhapsody, Op 53 Alice Coote, soloist Bavarian Radio Chorus Bamberg Symphony Robin Ticciati, conductor Producer: Glyn Tansley for BBC Wales Donald Macleod explores Brahms's music for the female voice. Donald Macleod explores Brahms's music for some of the women in his life. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Piano Quintet in F minor, Op 34A (1st movement) Amadeus Quartet Christoph Eschenbach, piano Rhapsody in B minor, Op 79 No 1 Jen怀 Jand , piano 6 Songs, Op 7 (Nos 2 -5) Dietrich Fischer-Dieskau, baritone Jessye Norman, soprano Daniel Barenboim, piano Variations in E flat on a Theme by Schumann (Nos 8-11) Silke-Thora Matthies, piano Christian K怀hn, piano Alto Rhapsody, Op 53 Alice Coote, soloist Bavarian Radio Chorus Bamberg Symphony Robin Ticciati, conductor Producer: Glyn Tansley for BBC Wales Donald Macleod explores Brahms's music for the female voice. |
| 2019 | 04 | Insecurities | 20191219 | 20210401 (R3) | Donald Macleod explores Brahms's private life and some of his intimate relationships. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Today, Brahms finds a new summer romance, but as is so often the case, it's doomed to failure. 16 Waltzes, Op 39 (Nos 1-4) Silke-Thora Matthies, piano Christian K怀hn, piano Cello Sonata No 1 in E minor, Op 38 (3rd movement - Allegro) Steven Isserlis, cello Stephen Hough, piano Klavierstücke, Op 76 (No 7 - Intermezzo in A major; No 8 - Capriccio in C major) Nicholas Angelich, piano Violin Sonata No 2, Op 100 (1st movement: Allegro amabile) Daniel Barenboim, piano Pinchas Zukerman, violin Nanie, Op 82 Bavarian Radio Chorus Bamberg Symphony Robin Ticciati, conductor Piano Concerto No 2 in B flat major, Op 83 (3rd movement - Andante) Nelson Freire, piano Gewandhausorchester Riccardo Chailly, conductor Producer: Glyn Tansley for BBC Wales Donald Macleod explores Brahms's private life. |
| 2019 | 05 LAST | The Weight Of Expectation | 20191220 | 20210402 (R3) | Donald Macleod looks at why Brahms sought solitude and how it came to influence his music. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Throughout his life, there was a great expectation placed on Brahms's shoulders. Today we look at how that shaped his character and music. Serenade No 1 in D major, Op 11 (2nd movement) Gewandhausorchester Riccardo Chailly, conductor Piano Sonata No 2 in F sharp minor, Op 2 (4th movement) Martin Jones, piano Vier ernste Ges䀀nge, Op 121 (Nos 3 and 4) Dietrich Fischer-Dieskau, baritone Daniel Barenboim, Piano Ein Deutsches Requiem [A German Requiem], Op 45 (2nd and 3rd movements)) Berliner Philharmoniker Sir Simon Rattle, conductor Producer: Glyn Tansley for BBC Wales Donald Macleod looks at why Brahms sought solitude. Donald Macleod looks at why Brahms sought solitude and how it came to influence his music. Brahms was a deeply private man and very guarded about his life, his friends and his feelings. Across this week, Donald goes `Behind Closed Doors` with Brahms to discover what really made him tick. He finds friends, mentors and lovers along the way who together help solve the enigma of the composer. Throughout his life, there was a great expectation placed on Brahms's shoulders. Today we look at how that shaped his character and music. Serenade No 1 in D major, Op 11 (2nd movement) Gewandhausorchester Riccardo Chailly, conductor Piano Sonata No 2 in F sharp minor, Op 2 (4th movement) Martin Jones, piano Vier ernste Ges䀀nge, Op 121 (Nos 3 and 4) Dietrich Fischer-Dieskau, baritone Daniel Barenboim, Piano Ein Deutsches Requiem [A German Requiem], Op 45 (2nd and 3rd movements)) Berliner Philharmoniker Sir Simon Rattle, conductor Producer: Glyn Tansley for BBC Wales Donald Macleod looks at why Brahms sought solitude. |
| 2024 | 01 | Flying The Nest | 20240408 | Kate Molleson looks at Brahms' love-hate relationship with his home city of Hamburg. Johannes Brahms, the bearded and magisterial Romantic composer, could certainly do grandeur when required. But really, he was more interested in what music meant in ordinary life - how it can whisper, joke and console. He was a man who tried to find a place to belong all his life, wrote for the people closest to him, and that fondness is writ large in his music. All this week, Kate Molleson focuses on Brahms at home, revealing the subtle sides of this sometimes brawny composer – the tender heart behind the famous beard - through the music he wrote for himself and his friends to play. Today, we begin in Brahms' birthplace, Hamburg, where he had a cramped and chaotic upbringing. Despite not being able to afford an instrument at home, he was sent out as a child to play piano in bars and brothels. But just beyond the confines of the city centre, headspace and opportunities await. Liebeslieder Waltzes, Op 52a No 1 Wyneke Jordans, piano Leo van Doeselaar, piano Ballade in G minor, Op 118 No 2 Paul Lewis, piano Sandmännchen WoO 31, No 4 (Children's Folk Songs) Anna Lucia Richter, mezzo Ammiel Bushakevitz, piano Scherzo in E flat minor, Op 4 Gerhard Oppitz, piano An die Nachtigall, Op 46 No 4 Simon Keenlyside, tenor Malcolm Martineau, piano Vier Gesänge für Frauenchor, Op 17 RIAS Kammerchor Stefan Jezierski, Manfred Klier, horns Marie-Pierre Langlamet, harp Marcus Creed, conductor Piano Quartet No 1 in G minor Op 25 (3rd mvt – Andante] Martha Argerich, piano Gidon Kremer, violin Yuri Bashmet, viola Mischa Maisky, cello Kate Molleson looks at Brahms's love-hate relationship with his home city of Hamburg. Kate Molleson explores the life and relationships of Johannes Brahms through the keyhole of the places he called home. Today, his love-hate feeling towards his home city of Hamburg. | |
| 2024 | 02 | More Than Friends | 20240409 | Kate Molleson tells the story of Brahms‘s all-consuming friendship with the Schumanns. Johannes Brahms, the bearded and magisterial Romantic composer, could certainly do grandeur when required. But really, he was more interested in what music meant in ordinary life - how it can whisper, joke and console. He was a man who tried to find a place to belong all his life, wrote for the people closest to him, and that fondness is writ large in his music. All this week, Kate Molleson focuses on Brahms at home, revealing the subtle sides of this sometimes brawny composer – the tender heart behind the famous beard - through the music he wrote for himself and his friends to play. Today, we follow Brahms on an autumnal pilgrimage that sets his life spinning. Aimless and restless, he finds anchoring and inspiration in his new best friends, the Schumanns. Little does he know that his next few years will be overturned by tragedy, dramas and a heart-wrenching dilemma - Einförmig ist der Liebe Gram, Op 113 No 13 Women of Leipzig Radio Choir Wolf-Dieter Hauschild, conductor Sonata in C major (4th movement) Lars Vogt, piano FAE Sonata (3rd movement – Scherzo) Isabelle Faust, violin Alexander Melnikov, piano Piano Trio, Op 8 (3rd movement – Adagio) Christian Tetzlaff, violin Tanja Teztlaff, cello Geistliches Lied, Op 30 Tenebrae Nigel Short, conductor Intermezzo, Op 117 No 2 Benjamin Grosvenor, piano Sextet No 2 (1st mvt – Allegro non troppo) Nash Ensemble Kate Molleson tells the story of Brahms's all-consuming friendship with the Schumanns. Kate Molleson explores the life and relationships of Johannes Brahms through the keyhole of the places he called home. Today, Brahms's all-consuming friendship with the Schumanns. | |
| 2024 | 03 | Bachelor Pad | 20240410 | Kate Molleson follows Brahms as he puts down roots in Vienna. Johannes Brahms, the bearded and magisterial Romantic composer, could certainly do grandeur when required. But really, he was more interested in what music meant in ordinary life - how it can whisper, joke and console. He was a man who tried to find a place to belong all his life, wrote for the people closest to him, and that fondness is writ large in his music. All this week, Kate Molleson focuses on Brahms at home, revealing the subtle sides of this sometimes brawny composer – the tender heart behind the famous beard - through the music he wrote for himself and his friends to play. Today, we join Brahms in Vienna, the city that he would call home for most of his adult life. Arriving with a suitcase full of impostor syndrome, he has to make a name for himself in the musical soirees of Viennese culture vultures. Brahms quickly finds a place to hang his hat and sets about creating one of his most heartfelt and ambitious works to date . Waltz in A flat Fabian Muller, piano Six Quartets, Op 112 (1. Sehnsucht) Danish National Radio Choir Stefan Parkman, conductor Bengt Forsberg, piano Piano Quartet No 2 in A major (3rd movement – Scherzo) Renaud Capuçon, violin Gérard Caussé, viola Gautier Capuçon, cello Nicholas Angelich, piano Ein Deutsches Requiem: Wie lieblich sind deine Wohnungen; Ihr habt nun Traurigkeit Dorothea Röschmann, soprano Rundfunkchor Berlin Berlin Philharmonic Simon Rattle, conductor Geistliches Wiegenlied Anne Sofie von Otter, mezzo soprano Nils-Erik Sparf, viola Piano Concerto No 2 (3rd movement - Andante) Steven Hough, piano Mozarteumorchester Salzburg Mark Wigglesworth, conductor Kate Molleson explores the life and relationships of Johannes Brahms through the keyhole of the places he called home. Today, Brahms puts down roots in Vienna. | |
| 2024 | 04 | Homes From Home | 20240411 | Kate Molleson joins Brahms at some of his most beloved and inspiring holidays spots. Johannes Brahms, the bearded and magisterial Romantic composer, could certainly do grandeur when required. But really, he was more interested in what music meant in ordinary life - how it can whisper, joke and console. He was a man who tried to find a place to belong all his life, wrote for the people closest to him, and that fondness is writ large in his music. All this week, Kate Molleson focuses on Brahms at home, revealing the subtle sides of this sometimes brawny composer – the tender heart behind the famous beard - through the music he wrote for himself and his friends to play. Today, we join Brahms on holiday. Though he loved Vienna, he also loved getting away from the city, ideally where he could see woods and climb mountains. At Ischl in Austria, and Thun in Switzerland, we hear about his vacation routines, and how he injected this fresh air into his music, composing much of his best chamber music there. Wiegenlied, Op 49 No 4 Mischa Maisky, cello Pavel Gililov, piano Romance in F major, Op 118 No 5 Murray Perahia, piano String Quintet in F (1st movement) Gérard Caussé, viola Hagen Quartet Wie Melodien zieht es mir; Immer leiser wird mein Schlummer Jessye Norman, soprano Daniel Barenboim, piano Violin Sonata in A major (1st movement) Alina Ibragimova, violin Cedric Tiberghien, piano Clarinet Quintet (1st movement) Jerusalem Quartet Sharon Hagen, clarinet Liebeslieder Waltzes, Op 52: Ein kleiner hübscher Vogel Edith Mathis, soprano Brigitte Fassbaender, mezzo Peter Schreier, tenor Dieter Fischer-Dieskau, baritone Karl Engel, piano Kate Molleson explores the life and relationships of Johannes Brahms through the keyhole of the places he called home. Today, we follow Brahms on his most inspiring holidays. | |
| 2024 | 05 LAST | Creature Comforts | 20240412 | Kate Molleson explores Brahms's final decade, when he most valued his friends. Johannes Brahms, the bearded and magisterial Romantic composer, could certainly do grandeur when required. But really, he was more interested in what music meant in ordinary life - how it can whisper, joke and console. He was a man who tried to find a place to belong all his life, wrote for the people closest to him, and that fondness is writ large in his music. All this week, Kate Molleson focuses on Brahms at home, revealing the subtle sides of this sometimes brawny composer – the tender heart behind the famous beard - through the music he wrote for himself and his friends to play. Today, in the final years of Brahms life, he values his creature comforts more than ever. He also recognises the value of those closest to him, from his housekeeper Frau Truxa, to Clara Schumann and the Fellingers. He begins to repair old relationships with musical olive branches, and writes some of his most interior music for and about his friends. It's they who rally round him in the coda of his life. Hungarian Dance in D major, WoO1 No 18 Katia and Marielle LaBecque, piano Wo ist ein so herrlich Volk, Op 109 No 3 Tenebrae Nigel Short, conductor Denn es gehet dem Mennschen (Serious Songs, Op 121 No 1) Dietrich Fischer-Dieskau, baritone Jörg Demus, piano Intermezzo in E flat major, Op 117 No 1 Intermezzo in B minor, Op 119 No 1 Paul Lewis, piano Piano Trio No 1 (1st movement – Allegro con brio) Leonidas Kavakos, violin Yo-Yo Ma, cello Emanuel Ax, piano Double Concerto for violin and cello (2nd movement – Adagio) Joshua Bell, violin Steven Isserlis, cello Academy of Ancient Music Jeremy Denk, conductor Intermezzo in A major, Op 118 No 2 Murray Perahia, piano Kate Molleson explores the life and relationships of Johannes Brahms through the keyhole of the places he called home. Today, his final decade and the value of his close friends. |