Brahms: Piano Concerto No. 3 in D Major after Violin Concerto, Op. 77 Dejan Lazić, Robert Spano & Atlanta Symphony Orchestra Classical Music 2010 New Songs Albums Artists Singles Videos Musicians Remixes Image

Album: Brahms: Piano Concerto No. 3 in D Major after Violin Concerto, Op. 77

Artist: Dejan Lazić, Robert Spano & Atlanta Symphony Orchestra

  • Genre: Classical
  • Release Date: 2010
  • Explicitness: notExplicit
  • Country: USA
  • Track Count: 7

  • Copyright: ℗ 2010 Channel Classics Records

Tracklist For Brahms: Piano Concerto No. 3 in D Major after Violin Concerto, Op. 77 By Artist Dejan Lazić, Robert Spano & Atlanta Symphony Orchestra

Title Artist Time
1
Piano Concerto No. 3 in D Majo Dejan Lazić, Robert Spano & Atlanta Symphony Orchestra 22:08 USD Album Only
2
Piano Concerto No. 3 in D Majo Dejan Lazić, Atlanta Symphony Orchestra & Robert Spano 9:19 USD 0.99
3
Piano Concerto No. 3 in D Majo Dejan Lazić, Atlanta Symphony Orchestra & Robert Spano 7:43 USD 0.99
4
Piano Concerto No. 3 in D Majo Dejan Lazić & Audience 0:28 USD 0.99
5
Two Rhapsodies, Op. 79 : No. 1 Dejan Lazić 9:07 USD 0.99
6
Two Rhapsodies, Op. 79 : No. 2 Dejan Lazić 6:22 USD 0.99
7
Scherzo in E-Flat Major, Op. 4 Dejan Lazić 10:58 USD Album Only

Reviews For Brahms: Piano Concerto No. 3 in D Major after Violin Concerto, Op. 77 By Artist Dejan Lazić, Robert Spano & Atlanta Symphony Orchestra

  • No, just no

    1
    By Boolez
    The trouble with transcriptions is that it's easier to make a bad one then not. Janine Jansen's splended Bach album showed how an artist can sometimes enhance a work by showing it in another light. This album shows why it should almost never be done with out the supervision of a proper composer or artistic consultant. Lazic claims to have spent over six years to complete this and one is left wondering how he could have done this considering he mostly comps with his left hand half of the time and uses double octaves the other. The overall coherehnce of the work falls apart save the few times some broken chords sound more pianistic. The orchestral part remains for the most part untouched and the solo parts remain in the register it was written in which makes for an even stranger balance, almost obscuring the melody alltogether because of it. The piano doesn't carry over as well as the violin in this piece. It would be like trying to transcribe the Rach three for Violin: it's a nice idea that will not work. For evidence why this mixing and maching mostly doesn't work one only need to hear Lara St. Johns' Totentanze as more evidence. The other works here seem tossed together in an effort to fill up the rest of the disc as this is mostly a vehicle for Lazic's foray into composing. It's a novelty disc at best. Those strapped for cash should avoid this for sure. -Bz

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