Dvorak, Grieg & Brahms: Music for Piano Four Hands / Chevallier, Immerseel

$15.99
Label
Alpha
Release Date
May 19, 2017
Format
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    Featuring ⌄
    • COMPOSER
      BRAHMS DVORAK GRIEG
    • PERFORMER
      Chevallier, Immerseel
    Product Details ⌄
    • RELEASE DATE
      May 19, 2017
    • UPC
      3760014192821
    • CATALOG NUMBER
      ALPHA282
    • LABEL
      Alpha
    • NUMBER OF DISCS
      1
    • GENRE
      Classical
    Works ⌄

    1. No. 11 in D Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    2. No. 12 in D Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    3. No. 13 in D Major

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    4. No. 14 in D Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    5. No. 15 in B-Flat Major

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    6. No. 16 in F Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    7. No. 17 in F-Sharp Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    8. No. 18 in D Major

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    9. No. 19 in B Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    10. No. 20 in E Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    11. No. 21 in E Minor

      Composer: Johannes Brahms

      Performer: Claire Chevallier, Jos van Immerseel

    12. No. 1. Allegro marcato

      Composer: Edvard Grieg

      Performer: Claire Chevallier, Jos van Immerseel

    13. No. 2. Allegretto tranquillo e grazioso

      Composer: Edvard Grieg

      Performer: Claire Chevallier, Jos van Immerseel

    14. No. 3. Allegro moderato alla marcia

      Composer: Edvard Grieg

      Performer: Claire Chevallier, Jos van Immerseel

    15. No. 1 in C Major

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    16. No. 2 in E Minor

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    17. No. 6 in A-Flat Major

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    18. No. 4 in F Major

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    19. No. 5 in A Major

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    20. No. 3 in D Major

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    21. No. 7 in C Minor

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel

    22. No. 8 in G Minor

      Composer: Antonín Dvořák

      Performer: Claire Chevallier, Jos van Immerseel


The repertory for piano four hands is very large and was very popular, especially in the period between 1780 and 1950, with both professional pianists and amateur players in the home. Jos van Immerseel and Claire Chevallier chose for this recording a selection of ‘dances’ by three masters of the genre, who show a certain affinity with one another and composed the works in question within a short period of time (1878-81). Brahms wrote twenty-one dances, from which the artists have chosen the less well-known books, nos. 11 to 21. He wrote these works while living in Vienna where he got to know Hungarian folk music through the street musicians, which inspired these works. Grieg loved his country, its atmosphere and culture, and this drove his composition. He wrote: “To turn Norwegian nature, Norwegian folk life and Norwegian poetry into music. This goal appeals to me, and I feel strongly that through it I will achieve something.” Dvorak’s Slavonic Dances for piano four hands are largely inspired by the aforementioned dances by Brahms. The three composers were also pianists and knew the keyboard instruments of their time. The benchmark for them was the German style of piano construction. They knew all the possibilities but also the limitations of their instruments. For this recording, the duo chose a Bechstein grand piano of 1870, believing that a masterly restoration of a masterly instrument of the composers’ time offers a better chance of listening to the music as the composers conceived and heard it.