Johannes Brahms’s piano sonatas were among the 20-year-old composer’s first publications. They were written in 1852–53, with the slow movement of this C major Sonata, which uses the song “Verstohlen geht der Mond auf”, bearing the earliest date, April 1852. With this passionate and highly virtuosic Sonata, Brahms introduced himself to the great of the musical world of his day, including the Schumanns in Düsseldorf. Clara Schumann wrote afterwards that “... the whole is full of exuberant fantasy, intimacy of expression and mastery of form”. Brahms’s op. 1 now appears in a separate Henle Urtext edition, revised using the musical text of the Brahms Complete Edition. The sonatas op. 2 and op. 5 will follow.
목차/세부정보
- 난이도 (설명)
- 이 난이도의 다른 곡
Youtube
서문
In the early compositional development of Johannes Brahms (1833 – 97), piano music played the most important role alongside songs and chamber music. Hardly any of his earliest compositional efforts survive, however. Nonetheless, Luise Japha, a friend from his youth, remembered a piano sonata, probably in g minor, that Brahms must have played to her as early as the … 계속
리뷰
작곡가 소개
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. |