They address the same problems of musical construction: the perfectly economic use of classical forms, the absolute concision the presentation of musical material in crystal-like formations' Both works, as Pina Napolitano puts it in her artist statement in the album booklet, possess 'the same deep structures and musical logic.

24 by Webern and the expansive, delectable Piano Concerto No. Pina Napolitano is joined by the Lithuanian National Symphony Orchestra and conductor Modestas Pitr 279 nas for the sparkling, kaleidoscopic 'Concerto', Op. Whereas 'Brahms the Progressive' Volume 1 focussed on solo piano repertoire, Volume 2 expands into the realm of the concerto. And on the other hand she has always perceived Brahms's music as a magical prism, in which an entire musical past (encompassing Bach, Beethoven, Chopin, Schumann) merges together, before breaking off into rivulets that will give birth to 20th-century music. This provides the inspiration behind this album, the sequel to 'Brahms the Progressive' Volume 1: traversing time in two directions, looking at Brahms from the perspective of the modern Viennese, and looking at the Second Viennese School from the perspective of Brahmsian romanticism.įor Pina Napolitano there are romantic echoes in the works of the Second Viennese School an enormous expressive force distilled and compressed, all the way up to Webern's rarefied language where even the silences are charged with music and significance.

This is what Schoenberg invites us to do in his essay, 'Brahms the Progressive', in which Brahms, often considered a musical 'conservative', becomes instead the father of modernism. For the exceptional Italian pianist Pina Napolitano, there is no better way of looking at art and history than through the lens of inverted time, from the present to the past.

Brahms the progressive pdf