Brahms: Piano Concerto No. 3 After Violin Concerto

Album cover art for upc 723385294108
Label: Channel Classics
Catalog: CCSSA29410
Format: SACD HYBRID

Dejan Lazic with Atlanta Symphony Orchestra; Robert Spano, conductor

Johannes Brahms: 2 Rhapsodies, op. 79 / Scherzo in E-flat minor, op. 4
Johannes Brahms / arr. Dejan Lazic: Piano Concerto no. 3 in D major - after Violin Concerto, op. 77 / live recording / world premiere
- Allegro non troppo (cadenza: Dejan Lazic) - Adagio (oboe solo: Elizabeth Koch) - Allegro giocoso, ma non troppo vivace

In his extended liner notes Dejan Lazic explains against the historical background why and how he worked on this major project: ‘composing’ Brahms’s third Piano Concerto! (...) I started working on this project in early 2003 and completed it in 2008. The violin was always a favourite love, and I continue to hold violinists in high esteem, realising just how wonderful their literature is. Thus far, I have been tremendously lucky to have had many an opportunity to perform with some wonderful colleagues. And it is with a degree of pride that I present – after Bach and Beethoven – the third “great B” in the present arrangement.
(... ) is one actually "allowed" to make such an arrangement? With the benefit of hindsight, we know that Brahms made countless arrangements and transcriptions of his and other composers' works. I am convinced these were more than justified; hence, I hope that Brahms himself would not have anything against my idea.
(...) What lingers is the rhetorical question of what is a transcription, what makes an arrangement, what may be defined as a new version. The key to this conundrum is that I sought to construct anew the violin part, recomposing the voice in a thorough-going Brahmsian style and adding my own Cadenza. Throughout the piece that was my thought: to imagine what Brahms would do. Of great import is that the orchestral score remains entirely unchanged!
(...) With this arrangement - done solely out of and admiration for the composer - my main goal was to translate Brahms's unique musical language into a new setting without losing any of its original musical value and, in addition, to give pianists an equal chance to perform and enjoy this wonderful music the same way violinists do for exactly 130 years now.

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