Johannes brahms j. brahms - isaac albéniz i. albeniz classique metropolitain


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By the 1870s Brahms was writing significant chamber works and was moving with great deliberation along the path to purely orchestral composition . In 1873 he offered the masterly orchestral version of his Variations on a Theme by Haydn . After this experiment, which even the self-critical Brahms had to consider completely successful, he felt ready to embark on the completion of his Symphony No. 1 in C Minor . This magnificent work was completed in 1876 and first heard in the same year. Now that the composer had proved to himself his full command of the symphonic idiom , within the next year he produced his Symphony No. 2 in D Major (1877). This is a serene and idyllic work, avoiding the heroic pathos of Symphony No. 1 . He let six years elapse before his Symphony No. 3 in F Major (1883). In its first three movements this work too appears to be a comparatively calm and serene composition—until the finale, which presents a gigantic conflict of elemental forces. Again after only one year, Brahms’s last symphony, No. 4 in E Minor (1884–85), was begun. This work may well have been inspired by the ancient Greek tragedies of Sophocles that Brahms had been reading at the time. The symphony’s most important movement is once more the finale. Brahms took a simple theme he found in . Bach’s Cantata No. 150 and developed it in a set of 30 highly intricate variations, but the technical skill displayed here is as nothing compared with the clarity of thought and the intensity of feeling.

In the early 1860s Brahms made his first visit to Vienna, and in 1863 he was named director of the Singakademie, a choral group, where he concentrated on historical and modern a cappella works.

His lasting influence has been as a symphonist and chamber-music master. He remained controversial for a time even after his death, especially the works from the 1870s on. George Bernard Shaw, one of the greatest musical critics of all, came around to Brahms ("my only mistake," he claimed) as late as the Twenties. Schoenberg considered himself a descendant of Brahms and his twelve-tone method of composition a simple extension of Brahmsian procedures. He even wrote an influential essay, "Brahms the Progressive," in the 1940s. Since Brahms himself anticipated them, it's surprising that many neo-classical composers seemed "allergic" to his music. However, Brahms now sits safely ensconced in the pantheon of western music, beyond the cavil of turf wars. It's still possible to dislike his music but not to discount its importance. ~ Steve Schwartz

In 1853 Brahms went on a concert tour with Reményi. In late May the two visited the violinist and composer Joseph Joachim at Hanover . Brahms had earlier heard Joachim playing the solo part in Beethoven's violin concerto and been deeply impressed. [15] Brahms played some of his own solo piano pieces for Joachim, who remembered fifty years later: "Never in the course of my artist's life have I been more completely overwhelmed". [16] This was the beginning of a friendship which was lifelong, albeit temporarily derailed when Brahms took the side of Joachim's wife in their divorce proceedings of 1883. [17] Brahms also admired Joachim as a composer, and in 1856 they were to embark on a mutual training exercise to improve their skills in (in Brahms's words) "double counterpoint , canons , fugues , preludes or whatever". [18] Bozarth notes that "products of Brahms's study of counterpoint and early music over the next few years included "dance pieces, preludes and fugues for organ, and neo- Renaissance and neo- Baroque choral works." [19]


Johannes Brahms J. Brahms - Isaac Albéniz I. Albeniz Classique MetropolitainJohannes Brahms J. Brahms - Isaac Albéniz I. Albeniz Classique MetropolitainJohannes Brahms J. Brahms - Isaac Albéniz I. Albeniz Classique MetropolitainJohannes Brahms J. Brahms - Isaac Albéniz I. Albeniz Classique Metropolitain

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