Brahms Hungarian Dances

DE 3558 Sabrina-Vivian Höpcker Fabio Bidini

1 DELOS DE 3558 SABRINA-VIVIAN HÖPCKER · FABIO BIDINI · BRAHMS: 21 HUNGARIAN DANCES violin violin piano ances Fabio Bidini Fabio D Sabrina-Vivian Höpcker Sabrina-Vivian

ungarian h

(1831-1907) (1833-1897)

rahms

ohannes

Total Playing Time: 60:14 Total No. 21 in E Minor: Vivace No. 20 in D Minor: Poco allegretto No. 20 in D Minor: Poco No. 19 in A Minor: Allegretto No. 19 in A Minor: Allegretto No. 18 in D Major: Molto vivace No. 18 in D Major: Molto No. 17 in F-sharp Minor: Andantino No. 17 in F-sharp Minor: No. 16 in G Minor: Con moto No. 16 in G Minor: Con No. 15 in A Major: Allegretto grazioso No. 15 in A Major: Allegretto No. 14 in D Minor: Un poco andante No. 14 in D Minor: Un poco No. 13 in D Major: Andante grazioso No. 13 in D Major: Andante No. 12 in D Minor: Presto No. 12 in D Minor: Presto No. 11 in D Minor: Poco andante No. 11 in D Minor: Poco No. 10 in G Major: Presto No. 10 in G Major: Presto No. 9 in E Minor: Allegro non troppo non troppo No. 9 in E Minor: Allegro No. 8 in A Minor: Presto No. 8 in A Minor: Presto No. 7 in A Major: Allegretto Allegretto No. 7 in A Major: No. 6 in B-flat Major: Vivace Major: No. 6 in B-flat No. 5 in G Minor: Allegro Allegro No. 5 in G Minor: No. 4 in B Minor: Poco sostenuto No. 4 in B Minor: No. 3 in F Major: Allegretto Allegretto No. 3 in F Major: assai Allegro No. 2 in D Minor: No. 1 in G Minor: Allegro molto Allegro in G Minor: No. 1 Arranged by Joseph Joachim Joseph by Arranged

DELOS DE 3558 SABRINA-VIVIAN HÖPCKER · FABIO BIDINI · BRAHMS: 21 HUNGARIAN DANCES Johannes Brahms 21 hungarian Dances

Arranged by Joseph Joachim (1831-1907) 01. No. 1 in G Minor: Allegro molto (3:34) 02. No. 2 in D Minor: Allegro assai (3:42) 03. No. 3 in F Major: Allegretto (2:55) 04. No. 4 in B Minor: Poco sostenuto (4:47) 05. No. 5 in G Minor: Allegro (2:39) 06. No. 6 in B-flat Major: Vivace (3:36) 07. No. 7 in A Major: Allegretto (2:19) 08. No. 8 in A Minor: Presto (3:13) 09. No. 9 in E Minor: Allegro non troppo (2:48) 10. No. 10 in G Major: Presto (1:51) 11. No. 11 in D Minor: Poco andante (3:03) 12. No. 12 in D Minor: Presto (2:57) 13. No. 13 in D Major: Andante grazioso (1:53) 14. No. 14 in D Minor: Un poco andante (2:31) 15. No. 15 in A Major: Allegretto grazioso (2:58) 16. No. 16 in G Minor: Con moto (3:03) 17. No. 17 in F-sharp Minor: Andantino (3:32) 18. No. 18 in D Major: Molto vivace (1:29) 19. No. 19 in A Minor: Allegretto (2:16) 20. No. 20 in D Minor: Poco allegretto (2:48) 21. No. 21 in E Minor: Vivace (1:36)

Total Playing Time: 60:14

Sabrina-Vivian Höpcker, violin — Fabio Bidini, piano 2 Brahms and Joachim

3 ho actually wrote Johannes in his opinion, numbers 11, 14, and 16 Brahms’ Hungarian Dances? were “pure Brahms.” WWhat may sound like a joke at first, is not that easy to answer. The first If most of the Hungarian Dances can only two books, each containing five dances be attributed to Brahms as arrangements (Nos. 1–5 and 6–10), were published in with the addition of harmonies and ac- 1869 and carry the title “Ungarische Tänze companying figures, then where did the für das Pianoforte zu 4 Händen gesetzt melodies come from? One might think von Johannes Brahms” (Hungarian Danc- that they must be Hungarian folk tunes es for piano four hands, set by Johannes but, at best, this answer is imprecise. Not Brahms). The same wording was used for until the twentieth century did the studies books 3 (Nos. 11–16) and 4 (Nos. 17–21), of Béla Bartók and Zoltán Kodály make it which were printed in 1880. However, the clear that anonymously transmitted Hun- German term “setzen” is ambiguous when garian folk music is very different from used in a musical context: It can mean the music of the Roma (“Gypsies”) that either “composed” or “arranged.” And, Brahms used in his arrangements. While in since people are often jealous of success, the late nineteenth century the two styles Brahms was frequently accused of inten- were almost synonymous, in reality the tionally phrasing his titles ambiguously verbunkos or csárdás repertoire of profes- to imply that the intellectual property of sional Gypsy orchestras had very different others was actually his own. sources — country folk music, urban hits, the art music of renowned composers, Brahms is somewhat to blame for the and the personal compositions of orches- misunderstanding — after all, he did fail tra instrumentalists. Musicologists now to name his sources. However, Brahms attribute the melodies used by Brahms to was always very honest about the fact musicians such as Béla Keler, József Rizner, that almost all of these dances were ar- N. Mérty, or Béla Sárközy. But whether rangements of existing melodies. Only the these musicians were the original creators eleven pieces published in 1880 included or, like Brahms, they had merely discov- some that he had composed himself. It is ered and transformed commonly known still unclear which of these pieces are in- melodies, is hard for us to discern today. deed his own compositions, but Brahms’ Brahms certainly appropriated the mu- friend Joseph Joachim wrote in 1897 that, sic of the Hungarian Gypsies. Like many

4 composers of his time, he was fascinated Brahms and Reményi by the Gypsies' virtuosic and passionate style of presentation, the unusual harmonies and extravagant embellishments, the abrupt changes between slow and fast sections — between deep sorrow and wild exuberance. Brahms had become familiar with Gypsy melodies during his youth in Hamburg. He heard the tunes played by Hungarian musicians who had fled from their country after the failed revolution of 1848, among them violinist Eduard Reményi. Brahms and Reményi toured to- gether in 1852 and 1853. Later, however, after the success of the Hungarian Dances, Reményi became one of the first to make the absurd claim that Brahms was guilty of plagiarism. But Reményi also made a pos- itive contribution: He introduced Brahms Dunkl refused, something he later deeply to the famous violinist Joseph Joachim. regretted. “I would have four palaces now This was the start of a lifelong and, artis- if I hadn’t been so foolish back then,” he tically speaking, very fruitful friendship. is supposed to have said. Brahms’ main It inspired both Brahms’ Violin Concerto publisher, Fritz Simrock, was shrewder: and his Double Concerto (written for Joa- In 1869, he paid 80 Friedrich d’or for each chim and the cellist Robert Hausmann), book as a one-off payment — and made a as well as Joachim’s violin arrangement of small fortune with the dances. In order to the Hungarian Dances. generate even more revenue, he commis- sioned arrangements that were as easy as Yet many years passed before the original possible to learn, and therefore easier to four-hand piano version of the Hungar- sell, for every conceivable combination of ian Dances would be published. In 1867 instruments — including for flute and pia- Brahms, still relatively unknown, asked the no, two violins and piano, piano six hands, Hungarian publisher J. N. Dunkl to publish and wind orchestra. Brahms wrote his a few of the dances at a very low price. own version for solo piano in 1872, and

5 arranged three dances for orchestra the re-transcription of the dances to their origi- following year. nal and most idiomatic version of an instru- mental ensemble: the violin and piano duo. Of all of these versions, however, only the — Jürgen Ostmann one arranged for violin and piano by Joseph Joachim in 1871 (books 1 and 2) and 1880 (books 3 and 4) gained importance. As a Hamburg-born Sabrina-Vivian Höpcker is close friend, Joachim was very familiar with one of today’s most renowned German vio- Brahms’ views, and, as a virtuoso violinist, he linists. Joachim Kaiser, the legendary music was just as familiar with his own instrument. critic, described her playing as “beguiling” He was also an experienced composer. in its powerful blend of reserve and bravu- Brahms valued his advice highly and regret- ra, of tender restraint and intoxicating spirit ted that Joachim’s composing later became and esteemed it as “luck” that coincidence secondary to his other activities as a violin- had allowed him to become acquainted ist, quartet player, conductor, teacher, and with Sabrina-Vivian, whose three CDs in organizer (for example, as the founder of their “vitality, intensity and quality,” moved the Berlin Music Academy, known today as his heart. Concert critics admire her innate the Universität der Künste Berlin). Joachim’s talent for musical phrasing and Maestro Violin Concerto No. 2 written “in Gypsy Abbado, former chairman of the jury of the style” is proof that Joachim was also very International Abbado Violin Competition, familiar with the Hungarian–Gypsy idiom. said of her playing: “Her musicality is en- Born in Kittsee, a town in the Austrian Bur- chanting, her tone is superb, her technique genland then belonging to the Hungarian is incredible, her virtuosity extraordinary. part of the Habsburg Empire, Joachim was Brava, Super Brava, Bravíssima!” understandably familiar with this style from early childhood. There was also, almost cer- Similarly, the world’s leading string music tainly, another reason for Brahms’ enthusi- magazine, The Strad, was not only enthu- astic reception of Joachim’s duo version of siastic about “magical” moments, “tonal the Hungarian Dances: The violin is right- elegance . . . admirable technique . . . fire fully considered to be the ultimate Gypsy and temperament” on her CDs featuring instrument, and Brahms likely heard most violin sonatas by Richard Strauss and Ser- of the themes for his arrangements of the gei Prokofiev, the Scottish Fantasy by Max Hungarian Dances initially played by vio- Bruch and Mendelssohn’s Violin Concer- linists. Joachim’s approach is thus a kind of to, but was thrilled by the “impeccable

6 intonation . . . honeyed tone . . . mercurial Opera there, the Gewandhaus in Leipzig, dexterity . . . speed and precision” of her Muziekgebouw in Amsterdam, Embas- CD Habanera, “a program of fireworks and sy Theatre in Fort Wayne, USA, Auditorio sweetmeats to showcase Sabrina-Vivian Nacionál in Madrid, Palau de la Música in Höpcker’s technical brilliance. The gifted Barcelona, Théâtre du Palais de l´Europe young German violinist’s silky virtuosity in Menton and Sala Piatti and Greppi in makes light of the hair-raising difficulties Bergamo. Sabrina-Vivian Höpcker has per- the music presents.” Sabrina-Vivian Höp- formed as a soloist at the Tuscan Sun Festi- cker was honored with the Alois-Kottman- val in Cortona, the Braunschweiger Classix Prize in Gold in collaboration with the city Festival and in concert series such as of Frankfurt am Main for this recording. “Winners and Masters” in Munich, and “Los Nuevos Solistas” in Madrid. Her live perfor- In addition Sabrina-Vivian Höpcker has mances on TV and on the radio have also won first prizes at many national and in- been exciting audiences all over the world. ternational violin competitions, most re- cently at the International Abbado Violin Sabrina-Vivian Höpcker derives particular Competition in Milan. She also holds the artistic satisfaction from chamber music Hofheim am Taunus Bach Award and the and devotes herself to it with a special Paolo Borciani Prize for chamber music. fervor. In addition to giving concerts with partners such as Fabio Bidini, Johannes Her collaborations with Max Rostal, Isaac Moser and Wolfgang Emanuel Schmidt, Stern, Yehudi Menuhin, Giuliano Carmi- she has made several successful chamber gnola, Zubin Mehta, and Placido Domin- music recordings. As a founding member go have given her valuable inspiration and of the Trio Mozart piano trio, Sabrina-Viv- artistic stimulation. ian Höpcker has recorded with SONY Es- paña and Anfión — productions that were As a soloist Sabrina-Vivian Höpcker has enthusiastically received. She and Fabio worked with ensembles such as the Bavari- Bidini are enjoying an extensive collabo- an State Orchestra and with conductors like ration following the release of several in- Zubin Mehta, who characterized her as an ternationally acclaimed recordings. “excellent violinist with a huge musicality.” Along with appearances at major concert For more information please see: venues such as the Philharmonic Hall at www.sabrinavivianhoepcker.com Munich’s Gasteig and the Bavarian State

7 his artistic development. After winning top prizes in the Busoni and Van Cliburn International Piano Competitions, doors opened to an international career.

Fabio Bidini’s performances combine technical wizardry with poetic lyricism. He made his London debut at the Bar- bican Center with the London Sym- phony Orchestra under the baton of Michael Tilson Thomas. Shortly after, he performed at the United Nations as a soloist with the BBC Orchestra Wales and had his highly acclaimed North American debut with the Atlanta Sym- phony under Yoel Levi.

Since then Fabio Bidini has been a frequent guest of the most prominent or- Fabio Bidini is recognized today as one chestras worldwide, including the San of the most important pianists and peda- Francisco Symphony, Budapest Festival gogues. Bernard Holland of The New York Orchestra, and the Philharmonia Orches- Times stated: “He is capable of an admira- tra of London. He has performed in the ble simplicity . . . truly touching.” world’s most famous concert halls including Carnegie Hall, the Kennedy Center, At age five he received his first piano les- the Royal Festival Hall, Davies Symphony sons and, a half year later, he gave his first Hall, and the Gewandhaus in Leipzig. He public performance. In the following years has also collaborated with such leading he won eleven of the most important conductors as Ivan Fischer, Andrey Boreyko, Italian piano competitions. He graduated Zoltan Kocsis, Eri Klas, JoAnn Falletta, Bar- magna cum laude from the Conservatorio ry Wordsworth, Jesus Lopez Cobos, Louis Santa Cecilia in Rome and was one of the Lane, and Tadaaki Otaka. youngest graduates ever from that insti- tution. Pianists Orazio Frugoni and Maria Fabio Bidini has repeatedly performed at Tipo made significant contributions to the most prestigious festivals worldwide,

8 including the Tuscan Sun Festival Corto- Sabrina-Vivian Höpcker and Fabio na/Napa, Stern Grove Festival, Arturo Ben- Bidini on their Interpretation of the edetti Michelangeli International Piano Hungarian Dances Festival, and the Grant Park Festival. Intoxicating Joie de Vivre, Also in great demand as a chamber-mu- Deep Melancholy. sic partner, Fabio Bidini is the pianist of the highly acclaimed ensemble Trio Solis- In Joseph Joachim’s version for violin and ti, and has enjoyed artistic collaboration piano, Johannes Brahms’ Hungarian Danc- with many other ensembles and artists, es are true “food for virtuosi.” Nonetheless, including the American String Quartet, how do you explain the fact that these the Janacek Quartet, the Brodsky Quartet, twenty-one pieces are so seldom played in Zoltan Kocsis, Clive Greensmith, Paul Co- their entirety? letti, Nikolaj Znaider, and Martin Beaver. He is enjoying a continuing partnership with Sabrina-Vivian Höpcker. Mr. Bidini’s SVH: When he was transcribing the danc- discography includes fifteen CDs on the es, Joachim stayed as faithful as possible Warner, BMG, and Naxos labels, among to his friend Brahms’ original four-hand others. This is his first recording for Delos. piano version. That led to a very dense composition and many passages which In 2015 Fabio Bidini became the first re- are rather atypical, hence uncomfortable, cipient of the Carol Grigor Piano Chair — a for the violin. Not conventional food for newly endowed position at the Colburn virtuosi! From a violinistic point of view, School in Los Angeles. He has been Pro- some of the unorthodox double-stops fessor of Piano at the Universität der Kün- are extremely demanding, as are the chal- ste in Berlin, and at Berlin’s Hochschule lenging octaves and tenths in all posi- für Musik. He is also Artist-in-Residence tions, expressive passages in the highest at the Hochschule für Music und Tanz in registers of the violin, and, last but not Köln. He is an official Steinway Artist. least, the original tempos that also need to be respected in the violin version. They For more information please see are highly virtuosic compositions, but the www.colburnschool.edu/ technique should always stay in the back- faculty-listing/fabio-bidini ground for the audience. The wonderful music itself, along with its intoxicating joie de vivre and sometimes even deep melan-

9 choly must be at the forefront all the time. mental tone colors, for example the Hun- Despite the extreme technical demands garian cimbalom. So I do feel responsible required to play the Hungarian Dances, for the character of every single dance. their infinite inner musical cosmos makes them absolutely unsuitable for a mere su- What demands do Brahms’/Joachim’s perficial display of virtuosic showmanship. dances pose for the ensemble? For exam- That may be the reason why these mas- ple, is the coordination of rubato and the terful miniatures are largely ignored com- frequent change in tempo a particular pared to pieces that are common “food challenge? for virtuosi.” FB: The most important requirement for The melodic aspect is found mostly in the an ideal duo is generally that both mu- violin part in Joachim’s transcription—the sicians have a corresponding concept of piano provides accompaniment most of the the pieces. The feeling of the basic tem- time or, at most, plays a counter melody. po should match and both should sense What is the appeal for pianists? the same rubato. The two musicians must express the character of the music in the FB: I think it’s in the music itself. Since I same way. If a detail is missing, the en- was a small child, I loved the original ver- semble suffers. The music is relatively free, sion of the Hungarian Dances for piano despite its strictly defined style. Sabrina four-hands and played them often. The and I feel the Hungarian Dances as if we transcription for violin and piano was a are a single person—our musical collab- real surprise for me. I think the dances oration in this great repertoire was very sound ideal in this version because like easy and a pure delight! this they are much closer to the tradition- al Hungarian folk music. From a technical Are there any dances that you would like perspective, Joachim’s piano arrangement to highlight, which are either exceptions or may not be particularly demanding, but it particularly typical? establishes the harmonic foundation. The piano is also decisively important for the SVH: I believe the dances that we hear dance character and the rhythmic aspect. most often, like Numbers one and five, are Details such as the length of certain notes particularly typical. But maybe the danc- and the phrasing or articulation requested es that are played less often could be the by Joachim correspond to special instru- more fascinating ones? You cannot stay in

10 your seat while listening to any of these of its splendid facets would shine brightly! dances! They stir you to move with the Should you be asked which of the dances music! But each of the twenty-one dances you like best, it would be impossible to has its very own individual character— give an answer. Each one holds its own they are all diamonds in the rough, you special magic. You would just want to could say. It was a matter very dear to our listen to them from the beginning to the hearts to discover each single dance in its end—again and again! own uniqueness and to polish it until all

Particular thanks to Gabriele and Heinz Holert, who have closely accompanied the development of this recording. Without their generous help this project could not have been realized.

Recorded December 10–14, 2017 at a private venue in Hamburg Producer/engineer: Valter Neri Program notes: Jürgen Ostmann English translation of notes: tolingo Violin: Carlo Landolfi, 1742 Violin bow: C. Hans-Karl Schmidt Piano: Hamburg Steinway Model D Booklet editing and proofing: Lindsay Koob, Anne Maley, and David Brin Graphic design and layout: Lonnie Kunkel

Historic photographs of Johannes Brahms used with permission of the Brahms-Institute at the Musikhochschule Lübeck ©Brahms-Institute an der Musikhochschule Lübeck

11 DE 3558 12