Uploaded December 2020 | Updated September 2026, 2 weeks ago
A former draftsman and chessmaster in Russia, my grandfather Oleg lives in Chicago. During this trying time of the pandemic, playing music for those from whom we are separated is one of our greatest tools short of visiting them...
With pianist Constantine Finehouse
A former draftsman and chessmaster in Russia, my grandfather Oleg lives in Chicago. During this trying time of the pandemic, playing music for those from whom we are separated is one of our greatest tools short of visiting them...
With pianist Constantine Finehouse
![[Restored, 1953] Isaac Stern - Sarasate Zigeunerweisen & Wieniawski Concerto No.2](https://i.ytimg.com/vi/ZpwbsJjPimo/mqdefault.jpg "[Restored, 1953] Isaac Stern - Sarasate Zigeunerweisen & Wieniawski Concerto No.2
The great Isaac Stern performing in his prime! Here, he played Eugene Ysaye in the 1953 film Tonight We Sing. The pianist is Alexander Zakin. I restored this footage from a decent source I was able to find.
00:00 - Pablo de Sarasate - Zigeunerweisen
04:00 - Henryk Wieniawski - Violin Concerto No.2 Op. 22 in d minor, III. Allegro con fuoco – à la Zingara
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Enjoy.")
![Johannes Brahms | 3 Violin Sonatas [complete] Historical Instruments | 4K](https://i.ytimg.com/vi/c43thu5bBZY/mqdefault.jpg "Johannes Brahms | 3 Violin Sonatas [complete] Historical Instruments | 4K
The complete Violin Sonatas of Johannes Brahms, including a full documentary about unique and remarkable original instruments used.
Daniel Kurganov, violin
Constantine Finehouse, piano
Listen to the complete album on Spotify, iTunes, etc:
►https://haensslerprofil.lnk.to/HC22081
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Sonata No 1 in G Major, Op. 78 Regenlied (1878-1879)
0:00:00 - 1 Vivace ma non troppo
0:10:13 - 2 Adagio
0:18:00 - 3 Allegro molto moderato
0:26:31 - Daniel Kurganov introduction
0:27:46 - The Frederick Collection
0:31:11 - Interview with the Fredericks - The 1868 Streicher Brahms piano
Sonata No 2 in A major, Op. 100 Thun (1886)
0:46:39 - 1 Allegro amabile
0:54:27 - 2 Andante tranquillo
1:00:30 - 3 Allegretto grazioso / quasi andante
1:05:50 - About the Guarneri Violin and Raw Gut Strings
1:06:32 - Interview with Christopher Reuning
1:12:38 - Constantine Finehouse introduction
1:14:09 - The Chickering Concert Grand Piano; Interview with Christopher Greenleaf
Sonata No. 3 in d minor, Op. 108 (1886-1888)
1:22:49 - 1 Allegro
1:31:16 - 2 Adagio
1:36:36 - 3 Un poco presto e con sentimento
1:39:37 - 4 Presto agitato
Recorded in 2020
Instruments used:
1706 Joseph Guarneri filius Andrea violin
1868 J.B. Streicher & Sohn the Brahms Piano
1886 Chickering & Son Concert Grand 92
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#violin #technique #classicalmusic #violintechnique #violinlessons #johannesbrahms #practicing #film #violinist #violintechnique #concerto #virtuoso #practicing #howtoplayviolin
What began as a commitment to discover Brahms’s sound-world ended up as an exercise in developing personal freedom, and discovering collaboration on truly equal terms.
The Brahms Age really commenced as I first stepped into the hall for the initial recording first session. I was immediately captivated by the visual beauty of the 1868 Streicher “Brahms Piano”. Its deep wooden facade, tempered by the delicate fissures in its varnish, was complemented by a golden decal, gleaming yet clearly touched by time. The instruments appearance was a mirror to its sound: sumptuously velvet, yet with a defining clarity.
Historical instruments have been explored extensively within the context of Baroque and Classical music. In Romantic-era music, a combination of denser compositions and the emergence of powerful orchestras and modern concert grands has led violinists into a metaphorical “arms race”. The incentives haven’t been there to explore Brahms’s sound world with instruments of the time, as the broader cultural and sonic expectations for that style of music prioritize bigger sound, sharper articulations, and pronounced projection. Raw gut strings and old pianos aren’t playing that game. Intriguingly, the realm of art gives us a foot in the door to engage in creative interference/destruction and drive taste. This mirrors the allure of great speakers whose more subdued tones draw listeners closer.
I hope this documentary and album can inspire chamber musicians to seek out growth opportunities and seize the artistic first-mover-advantage in their respective spheres. and mIt’s worth considering several questions as you watch the film:
• How do the tonal qualities of the piano shape one’s anticipation of the violins sound?
• What is the relationship between a dynamics and color?
• In the realm of chamber music (with a piano), how does one typically contend with issues of balance? Do inherent and ineradicable disparities exist between the violin and the modern concert grand piano?
• How does the raw gut E string affect the way melodies are executed on the violin?”")
