Brahms‘ first piano works deal with the classical form of the sonata. The Scherzo op. 4 belongs to this context inasmuch as it can be considered as an independent sonata movement. However, with the melody of the Old German Minnelied “Verstohlen geht der Mond auf” used for the slow movement of the first sonata, and the lines from a poem by Sternau that preface the second movement of the Sonata op. 5, Brahms also proclaims his allegiance to Romanticism. The push-and-pull between Classicism and Romanticism then becomes clearly audible in the opp. 1, 2, 4 and 5. – In contrast, the Ballades op. 10, written just barely a year after the Sonata op.5, are thorougly romantic piano pieces. The best known is certainly no. 1, based on the Scottish ballad Edward from Herder’s “Stimmen der Völker.”
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The new reprint of this volume embodies a number of amendments which were made in the course of a further thorough re-examination of the complete musical text. The autograph for the Scherzo op. 4 has now also been employed as source material. Further sources which were available comprise, for opera 1 and 5, the autographs; for all works the “Handexemplare” (first editions, … 続き
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Johannes Brahms
His significant output comprises chamber music, piano works, numerous choral compositions and songs (including settings of folk-song lyrics), as well as large-scale orchestral works in the 1870s and 1880s. His compositions are characterized by the process of developing variation. He is considered an antithesis to the New German School around Liszt, and an advocate of “absolute” music.
1833 | Born in Hamburg on May 7, the son of a musician. His first piano instruction with Willibald Cossel at age seven, then with Eduard Marxen; first public performances from 1843. |
1853 | Concert tour through German cities; he meets Schumann, who announces him as the next great composer in his essay “Neue Bahnen” (“New Paths”). A lifelong, intimate friendship develops with Clara Schumann. |
1854–57 | Piano Concerto No. 1 in D minor, Op. 15. |
1857–59 | Choir director, pianist, and teacher at the royal court in Detmold. |
1859–61 | Director of the Hamburg Women’s Choir. |
1860 | Manifesto against the New Germans around Liszt. |
1863 | Cantata “Rinaldo,” Op. 50. |
1863–64 | Director of the Wiener Singakademie. |
1868 | Partial performance in Vienna of “A German Requiem,” Op. 45 (the complete work premiered in Leipzig in 1869) |
1871–74 | Artistic director of the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna. |
1873 | Haydn Variations, Op. 56a, for orchestra. |
from 1877 | His symphonic output begins with the Symphony No. 1 in C minor, Op. 68 (begun 1862); composition of the Symphony No. 2 in D major, Op. 73; the Symphony No. 3 in F major, Op. 90 (1883); and Symphony No. 4 in E minor, Op. 98 (1884–85): cantabile themes, chamber-music-like style. |
from 1878 | Travels in Italy. |
1878 | Violin Concerto in D major, Op. 77, for Joseph Joachim. |
1881 | Piano Concerto No. 2 in B-flat major, Op. 83, with a scherzo movement. |
1886 | Honorary president of Vienna’s Tonkünstlerverein (Association of Musicians). |
1897 | Four Serious Songs, Op. 121. Dies in Vienna on April 3. |