# data[].attributes.headline
Elly Ney plays Brahms Intermezzo in E Flat Op.117 No.1

# data[].attributes.subject
Elly Ney plays Brahms Intermezzo in E Flat Op.117 No.1

# data[].attributes.body
Recorded in 19

# data[].attributes.attachment_link.title
Elly Ney plays Brahms Intermezzo in E flat Op. 117 No. 1

# data[].attributes.headline
Wilhelm Kempff - Brahms Intermezzo op.117 no.1 in E Flat

# data[].attributes.subject
Wilhelm Kempff - Brahms Intermezzo op.117 no.1 in E Flat

# data[].attributes.body
Recorded in 1950

# data[].attributes.attachment_link.title
Kempff - Brahms Intermezzo op.117 no.1 in E flat

# data[].attributes.attachment_link.description
Johannes Brahms, Intermezzo op.117 no.1 in E flat. Wilhelm Kempff, piano. Recorded in 1950.

# data[].attributes.headline
Vassily Primakov plays Brahms Intermezzo No.1 in E-Flat Major

# data[].attributes.subject
Vassily Primakov plays Brahms Intermezzo No.1 in E-Flat Major

# data[].attributes.body
Recorded in 2011

# data[].attributes.attachment_link.title
Vassily Primakov plays Brahms Intermezzo No. 1 in E-Flat Major

# data[].attributes.attachment_link.description
Vassily Primakov plays Brahms, Chopin & Scriabin Available from Bridgerecords.com BRIDGE 9315 http://www.bridgerecords.com/catpage.php?call=9315 This new DVD marks the film debut of piano virtuoso, Vassily Primakov, performing the three Intermezzos, Op. 117 by Johannes Brahms, the four Ballades by Fryderyk Chopin, and the Sonata No. 4 by Alexandr Scriabin.

# data[].attributes.body
25th September 1932 - 4th October 1982.

Canadian Pianist who became one of the best known and most-celebrated classical pianists of the 20th century.

He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach.

His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach's music.

Gould rejected most of the standard Romantic piano literature and, after his teenage years, avoided Liszt, Schumann and Chopin.

He did works by Beethoven, Mozart, Haydn, Brahms, Jan Pieterszoon Sweelinck, and Hindemith, Schoenberg and Strauss.

He won five Grammy awards:

Best Album Notes - Classical in 1973 for Hindemith: Sonatas for piano (complete)

Best Classical Album in 1982 for Bach: The Goldberg Variations

Best Instrumental Soloist Performance (without orchestra) for Bach: The Goldberg Variations in 1982

Best Classical Performance - Instrumental Soloist or Soloists in 1983 for Beethoven: Piano Sonatas Nos. 12 & 13.

Grammy Lifetime Achievement Award in 2013

# data[].attributes.headline
development of the piano as an instrument and how this affected the way composers composed

# data[].attributes.subject
development of the piano as an instrument and how this affected the way composers composed

# data[].attributes.body
take each movement and not get muddled up.

poulenc's version, roge's version, other pianist's and my version.

french vs other nationality and present vs past.

poulenc knows his stuff but maybe he was rubbish when he interpreted his OWN piece.

one movement for after half term.

# data[].attributes.body
Listened to Pascal Rogé recording of Trois Mouvements Perpétuels.

Recorded in 1989, Salle Wagram, Paris

My favorite movement that he plays is the third one, although I prefer to play the First personally.

In the third movement, Rogé performs with more tempo changes than I had considered to bring to my playing. After the initial 1st passage of 'Alerte', he slows down slightly and plays with a more rubato feel to the section before jumping back into the initial Alerte theme.

The trills in the third section are played differently to how I had considered playing it, and how Poulenc himself have played it. Poulenc and myself, elongate the trills, not making them your straight forward type trills, however Rogé appears to prefer to trill like that rather than the way I had considered. I don't like it as much.

There are vast contrasts in the dynamics, whereas in the First movement there aren't that kind of dynamic.