en realidad el instrumento tiene un sonido muy cálido, acentuado por la magnífica técnica de arco de la maestra Fischer

Agreed, but wouldn't say this is an "accompanist". The piano part is arguably more complex and at least equally as important the violin part. Some say it should be called Piano and Violin sonata, Brahms himself used to play the piano part.

Yes - 💕❤💕 Joanna Brahms (as I call her-him) is one of the most emotionally, psychologically and philosophically grown-up composers. She mush have been a real treat at the dinner table, sarcastic as hell, but full of brilliant remarks and insights, and such a profound and balanced sensibility cascading with both wit and the deepest romantic-sensuous-tragic-transcendental perspectives. Plus a brilliant formal quasi-classical stylist, supreme melodist, stunning harmonic and melodic analyst, with a Bach-level gift for transformation and counterpoint. The first and forth movements of her 4th symphony are page after page of jaw-dropping imagination and perfection. "Romantic wine indeed in classical bottles". Like watching Leonardo and Michelangelo and Bernini and Picasso at work! As with Bach, or Mozart, the better bits of Beethoven, Mahler, later Wagner, Debussy, Berg - there is no gap or distinction between Brahms' musical ideas and their orchestral embodiment. Though my musician string-playing friends say his writing for violins in particular often has a pianistic bias and some fiendish fingering as a result. All quite unlike that hysterical, self-indulgent proponent of "Slavic damnation and despair", the neurotic though very thrilling Tchaikovsky. Love andrea

@@andreapandypetrapan hmmm... Never thought of Tchaikovsky in those terms. But then again, I am more of a Brahms fan, recorder player though I am...

We all know that, bro!!! But everyone also knows that nobody listens to a "Sonata for Piano and Violin" for the piano part.

Most piano accompliment for other instrument's sonata are eazypeezy. Exceptions are Mozart, Beethoveen, and Brahms, and I'm sure there are others.

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@@petechandanatural Yes, Schumann!

Thank you!!!

You're welcome!

Yes William, I have checked this out, and I agree! Julia Fischer is new to me, but already one of my favourites.

Thankyou for introducing the Brahms double concerto to me!

@@richardforshaw8479 You're most kindly welcome.

Thank you! Greetings to Japan

@@Suedtirolinconcert You are welcome I am looking forward to your wonderful programs

I am glad to hear that!! 👍

@@Suedtirolinconcert Thankyou I am rooting for you

Клаудия, здравствуйте! :) Послушал сонату Брамса в исполнении моей любимицы, Юлии Фишер и решил посмотреть комментарии, где увидел ваш. У меня тоже столько чувств и эмоций от этого исполнения! Юлия очень талантливый человек, ведь она начинала как пианистка, а затем стала заниматься скрипкой, и этот музыкальный инструмент полюбился ей больше. Она ещё преподаёт и организовала свой квартет, КВАРТЕТ Юлии Фишер.

@@levpetrenkov Лев!! Привет! Я сильно скучал по тебе! Как дела? Согласен с вами, Джулия Фишер отличная скрипачка... Ваш новый плейлист очень хорош, давно не слушал эти песни! 🎶PS Посетите мой блог, когда сможете, myloveformusicschedule, погуглите.

Steel Magnolia: “A woman who exemplifies both traditional femininity and an uncommon fortitude.” An apt description of Yulianna Avdeeva. 😎🎹🌼

no, she plays with her arms

@@enochwong654 smart!

@@enochwong654: Finally, there’s a real musician in the house! 😎🎹

即使是黑格爾的精神現象學，也是有所說有所對，絕非胡說，而是以高度抽象的密碼來說，Alexandre Kojeve的黑格爾導讀是很好的指引，只要將他的人本解釋轉為聖靈顯象學即十分完美. 雨之歌小提琴奏鳴曲作品編號78,是77號小提琴協奏曲的同時期作品. 協奏曲講的是天人關係：第一樂章：生命之奮進，第二樂章：對越在天，第三樂章：奔向樂土. 78號： 第一樂章：我告訴妳，第二樂章：愛的苦澀回憶，第三樂章：

第三樂章：堅貞不移

Unfortunately I agree. These musicians have no mercy with the audience, music, least of all with themselves. Arew they engaged in a serious business ? Yes. Does that need to be displayed sonically, emotively, and affectively ? NO.

Welp, Brahms marked hairpins and that's what they are doing. And no, you can definitely get a hint of what's coming because at 5:57, the violin and piano simply switched their roles of leading and following, with the motive G-F#--G (you get what I mean). It's basically a variation of the previous 8 bars. Also, there's no diminuendo in their performance nor in the score. It's a sudden decrease in dynamics. How would I interpret this part is that the 8 bars before 5:57 should be played as mysterious as possible. After 5:57, the violinist should establish a new idea and develop it clear enough for the pianist to follow or develop even further. I would say it is more of a curious fantasy-like exploration after 5:57. Finally, it is true that a more profound understanding could be developed for this particular sonata. However, they both played extremely beautifully. I was surprised by the colour when I first listened.

07:26

01:30