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Brahms Piano Concerto arr. piano quintet


Details

Taide Ding full profile / Piano Quintet / 5 musicians

Other players: Iris Otani (violin), Vita Yee (violin), Tessera Chin (viola), Sung Choi (cello), Taide Ding (piano)


Full program notes

Enrique Granados: Piano Quintet in G minor, Op. 49 (1894-1895)
I. Allegro
II. Allegretto quasi andantino
III. Largo - Molto presto

Johannes Brahms: Piano Concerto in D minor, Op. 15 (1854-1858)*
I. Maestoso
II. Adagio
III. Rondo: Allegro non troppo

*arranged for piano quintet by Taide Ding (2024)

Prior to the advent of recording technologies, arranging orchestral music for chamber ensembles was a common method for increasing the accessibility of music, as it enabled audiences in smaller and/or domestic settings to experience works which otherwise could have only been heard in large, urban concert halls. In particular, the arranging and performing of keyboard concertos as chamber works was common practice; a wide array of keyboard concertos by composers such as Bach, Mozart, Beethoven, and Chopin were either designed from the beginning as chamber-compatible works, or were quickly arranged for chamber ensembles by their pupils and colleagues such as Czerny, Hummel, and Lachner. I was inspired by this tradition in transcribing Brahms’s D minor piano concerto for piano quintet, and I am very excited to have the opportunity to present this work in a novel format and for audiences to experience this work in a new light. — Taide Ding


Historical context

Prior to the advent of recording technologies, arranging orchestral music for chamber ensembles was a common method for increasing the accessibility of music, as it enabled audiences in smaller and/or domestic settings to experience works which otherwise could have only been heard in large, urban concert halls. In particular, the arranging and performing of keyboard concertos as chamber works was common practice; a wide array of keyboard concertos by composers such as Bach, Mozart, Beethoven, and Chopin were either designed from the beginning as chamber-compatible works, or were quickly arranged for chamber ensembles by their pupils and colleagues such as Czerny, Hummel, and Lachner. I was inspired by this tradition in transcribing Brahms’s D minor piano concerto for piano quintet, and I am very excited to have the opportunity to present this work in a novel format and for audiences to experience this work in a new light.


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