Johannes Brahms

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Contents
Articles
Overview
Johannes Brahms List of compositions by Johannes Brahms List of solo piano compositions by Johannes Brahms 1 1 11 11 23 23 24 26 29 31 32 33 35 37 37 39 41 44 47 47 52 52 55 55 57 58 58 59 60 61

Orchestral
Serenades No. 1 & 2 Variations on a Theme by Haydn Symphony No. 1 Symphony No. 2 Academic Festival Overture Tragic Overture Symphony No. 3 Symphony No. 4

Concertante
Piano Concerto No. 1 Violin Concerto Piano Concerto No. 2 Double Concerto

Vocal orchestral
A German Requiem Rinaldo Alto Rhapsody Schicksalslied Nnie Gesang der Parzen

Chamber
Piano Trio No. 1 String Sextet No. 1 Piano Quartet No. 1 Piano Quintet

String Sextet No. 2 Cello Sonata No. 1 Trio for Horn, Violin and Piano Piano Quartet No. 3 String Quartet No. 3 Violin Sonata No. 1 Piano Trio No. 2 String Quintet No. 1 Cello Sonata No. 2 Piano Trio No. 3 Violin Sonata No. 3 String Quintet No. 2 Clarinet Quintet Two Clarinet Sonatas Piano Sonata No. 1 Piano Sonata No. 2 Piano Sonata No. 3 Four Ballades Variations and Fugue on a Theme by Handel Variations on a Theme of Paganini Sixteen Waltzes for piano, four hands Rhapsodies Six Pieces for Piano Four Pieces for Piano

63 64 66 67 68 68 69 70 71 72 73 75 76 78 81 82 83 84 85 102 103 104 105 106 109 109 110 110 111 113 113 114 116 118 118

Organ
Eleven Chorale Preludes

Vocal
Neue Liebeslieder Fnf Gesnge

Other
Brahms's Lullaby F-A-E Sonata Hungarian Dances

Ballets to the music of Brahms

BrahmsSchoenberg Quartet

Liebeslieder Walzer Brahms/Handel

119 121 123 123 136 157 158 169 176 200 200 205 208

Related people
Joseph Joachim Franz Liszt Eduard Marxsen Robert Schumann Clara Schumann Richard Wagner

Related articles
Romantic music War of the Romantics Three Bs

References
Article Sources and Contributors Image Sources, Licenses and Contributors 210 215

Article Licenses
License 218

Overview
Johannes Brahms
Johannes Brahms (pronounced [johans bams]; 7 May 1833 3 April 1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Blow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs. Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he also worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished.

Johannes Brahms

Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined method of composition for which Johann Sebastian Bach is famous, and also of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Brahms aimed to honor the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony, melody and, especially, rhythm. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as the progressive Arnold Schoenberg and the conservative Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.

Life
Early years
Brahms's father, Johann Jakob Brahms (180672), came to Hamburg from Dithmarschen, seeking a career as a town musician. He was proficient in several instruments, but found employment mostly playing the horn and double bass. In 1830, he married Johanna Henrika Christiane Nissen (17891865), a seamstress never previously married, who was seventeen years older than he was. Johannes Brahms had an older sister and a younger brother. Initially, they lived near the city docks, in the Gngeviertel quarter of Hamburg, for six months, before moving to a small house on the Dammtorwall, a small city in the Inner Alster.

Johannes Brahms

2 Johann Jakob gave his son his first musical training. He studied piano from the age of seven with Otto Friedrich Willibald Cossel. Owing to the family's poverty, as a boy Brahms played in dance halls and brothels some of the seediest places in Hamburg surrounded by drunken sailors and prostitutes that often fondled the boy as he played. Early biographers found this shocking and played down this portion of his life. Modern writers have pointed to this as a reason for Brahms's later inability to have a successful relationship for marriage, etc., his view of women being warped by his experiences.[1] Recently, Brahms scholars Styra Avins[2] and Kurt Hoffman have suggested that this legend is false. Since Brahms himself clearly originated the story, however, some have questioned Hoffman's theory.[3] [4] For a time, Brahms also learned the cello.[5] After his early piano lessons with Otto Cossel, Brahms studied piano with Eduard Marxsen, who had studied in Vienna with Ignaz von Seyfried (a pupil of Mozart) and Carl Maria von Bocklet (a close friend of Schubert). The young Brahms gave a few public concerts in Hamburg, but did not become well known as a pianist until he made a concert tour at the age of nineteen. (In later life, he frequently took part in the performance of his own works, whether as soloist, accompanist, or participant in chamber music.) He conducted choirs from his early teens, and became a proficient choral and orchestral conductor.

Photograph from 1891 of the building in Hamburg where Brahms was born. Brahms's family occupied part of the first floor, behind the two double windows on the left hand side. The building was destroyed by bombing in 1943.

Meeting Joachim and Liszt

He began to compose quite early in life, but later destroyed most copies of his first works; for instance, Louise Japha, a fellow-pupil of Marxsen, reported a piano sonata, that Brahms had played or improvised at the age of 11, had been destroyed. His compositions did not receive public acclaim until he went on a concert tour as accompanist to the Hungarian violinist Eduard Remnyi in April and May 1853. On this tour he met Joseph Joachim at Hanover, and went on to the Court of Weimar where he met Franz Liszt, Peter Cornelius, and Joachim Raff. According to several witnesses of Brahms's meeting with Liszt (at which Liszt performed Brahms's Scherzo, Op.4, at sight), Remnyi was offended by Brahms's failure to praise Liszt's Sonata in B minor wholeheartedly (Brahms supposedly fell asleep during a performance of the recently composed work), and they parted company shortly afterwards. Brahms later excused himself, saying that he could not help it, having been exhausted by his travels.

Brahms in 1853

Brahms and Schumann

Joachim had given Brahms a letter of introduction to Robert Schumann, and after a walking tour in the Rhineland, Brahms took the train to Dsseldorf, and was welcomed into the Schumann family on arrival there. Schumann, amazed by the 20-year-old's talent, published an article entitled "Neue Bahnen" (New Paths) in the 28 October 1853 issue of the journal Neue Zeitschrift fr Musik alerting the public to the young man, who, he claimed, was "destined to give ideal expression to the times."[6] This pronouncement was received with some skepticism outside of Schumann's immediate circle, and may have increased Brahms's naturally self-critical need to perfect his works and technique. While he was in Dsseldorf, Brahms participated with Schumann and Albert Dietrich in writing a sonata

Johannes Brahms for Joachim; this is known as the "FAE Sonata" (German: Frei aber einsam). He became very attached to Schumann's wife, the composer and pianist Clara, fourteen years his senior, with whom he would carry on a lifelong, emotionally passionate relationship. Brahms never married, despite strong feelings for several women and despite entering into an engagement, soon broken off, with Agathe von Siebold in Gttingen in 1859. After Schumann's attempted suicide and subsequent confinement in a mental sanatorium near Bonn in February 1854, Brahms was the main intercessor between Clara and her husband, and found himself virtually head of the household. After Schumann's death, Brahms hurried to Dsseldorf and for the next two years lived in an apartment above the Schumann's house, and sacrificed his career and his art for Clara's sake. The question of Brahms and Clara Schumann is perhaps the most mysterious in music history, alongside that of Beethoven's "Immortal Beloved." Whether they were actually lovers is unknown, but their destruction of their letters to each other may point to something beyond mere privacy.[7]

Detmold and Hamburg

After Schumann's death at the sanatorium in 1856, Brahms divided his time between Hamburg, where he formed and conducted a ladies' choir, and Detmold in the Principality of Lippe, where he was court music-teacher and conductor. He was the soloist at the premiere of his Piano Concerto No. 1 in 1859. He first visited Vienna in 1862, staying there over the winter, and, in 1863, was appointed conductor of the Vienna Singakademie. Though he resigned the position the following year, and entertained the idea of taking up conducting posts elsewhere, he based himself increasingly in Vienna and soon made his home there. From 1872 to 1875, he was director of the concerts of the Vienna Gesellschaft der Musikfreunde; afterwards, he accepted no formal position. He declined an honorary doctorate of music from University of Cambridge in 1877, but accepted one from the University of Breslau in 1879, and composed the Academic Festival Overture as a gesture of appreciation. He had been composing steadily throughout the 1850s and 60s, but his music had evoked divided critical responses, and the Piano Concerto No. 1 had been badly received in some of its early performances. His works were labelled old-fashioned by the 'New German School' whose principal figures included Liszt and Richard Wagner. Brahms admired some of Wagner's music and admired Liszt as a great pianist, but the conflict between the two schools, known as the War of the Romantics, soon embroiled all of musical Europe. In the Brahms camp were his close friends: Clara Schumann, the influential music critic Eduard Hanslick, and the leading Viennese surgeon Theodor Billroth. In 1860, Brahms attempted to organize a public protest against some of the wilder excesses of the Wagnerians' music. This took the form of a manifesto, written by Brahms and Joachim jointly. The manifesto, which was published prematurely with only three supporting signatures, was a failure, and he never engaged in public polemics again.[8]

Years of popularity
It was the premiere of A German Requiem, his largest choral work, in Bremen, in 1868, that confirmed Brahms's European reputation and led many to accept that he had conquered Beethoven and the symphony. This may have given him the confidence finally to complete a number of works that he had wrestled with over many years, such as the cantata Rinaldo, his first string quartet, third piano quartet, and most notably his first symphony. This appeared in 1876, though it had been begun (and a version of the first movement seen by some of his friends) in the early 1860s. The other three symphonies then followed in 1877, 1883, and 1885. From 1881, he was able to try out his new orchestral works with the court orchestra of the Duke of Meiningen, whose conductor was Hans von Blow. He was the soloist at the premiere of his Piano Concerto No. 2 in 1881, in Pest. Brahms frequently travelled, both for business (concert tours) and pleasure. From 1878 onwards, he often visited Italy in the springtime, and he usually sought out a pleasant rural location in which to compose during the summer. He was a great walker and especially enjoyed spending time in the open air, where he felt that he could think more clearly.

Johannes Brahms

In 1889, one Theo Wangemann, a representative of American inventor Thomas Edison, visited the composer in Vienna and invited him to make an experimental recording. Brahms played an abbreviated version of his first Hungarian dance on the piano. The recording was later issued on an LP of early piano performances (compiled by Gregor Benko). Although the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise. Nevertheless, this remains the earliest recording made by a major composer. Analysts and scholars remain divided, however, as to whether the voice that introduces the piece is that of Wangemann or of Brahms.[9] Several attempts have been made to improve the quality of this historic recording; a "denoised" version was produced at Stanford University which claims to solve the mystery.[10] In 1889, Brahms was named an honorary citizen of Hamburg, until 1948 the only one born in Hamburg.[11]

Brahms's grave in the Zentralfriedhof (Central Cemetery), Vienna.

Later years
In 1890, the 57-year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces. His admiration for Richard Mhlfeld, clarinetist with the Meiningen orchestra, moved him to compose the Clarinet Trio, Op.114, Clarinet Quintet, Op.115 (1891), and the two Clarinet Sonatas, Op.120 (1894). He also wrote several cycles of piano pieces, Opp.116119, the Four Serious Songs (Vier ernste Gesnge), Op.121 (1896), and the Eleven Chorale Preludes for organ, Op.122 (1896). While completing the Op.121 songs, Brahms developed cancer (sources differ on whether this was of the liver or pancreas). His condition gradually worsened and he died on April3, 1897, aged 63. Brahms is buried in the Zentralfriedhof in Vienna.

Tributes
Later that year, the British composer Hubert Parry, who considered Brahms the greatest artist of the time, wrote an orchestral Elegy for Brahms. This was never played in Parry's lifetime, receiving its first performance at a memorial concert for Parry himself in 1918.

Music of Brahms
Works
See also: Lists of compositions by Brahms by genreand and by opus number Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos (No. 1 in D minor; No. 2 in B flat major), a Violin Concerto, a Double Concerto for violin and cello, and two companion orchestral overtures, the Academic Festival Overture and the Tragic Overture. His large choral work A German Requiem is not a setting of the liturgical Missa pro defunctis but a setting of texts which Brahms selected from the Lutheran Bible. The work was composed in three major periods of his life. An early version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and this was later used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was added after the official premiere in 1868, and the work was published in 1869.

Johannes Brahms Brahms's works in variation form include, among others, the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Haydn in versions for two pianos and for orchestra. The final movement of the Fourth Symphony, Op.98, is formally a passacaglia. His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the fourth being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms was a significant lieder composer, who wrote over 200 songs. His chorale preludes for organ, Op.122, which he wrote shortly before his death, have become an important part of the organist's repertoire. Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem. Despite his reputation as a serious composer of large, complex musical structures, some of Brahms's most widely known and most commercially successful compositions during his life were small-scale works of popular intent aimed at the thriving contemporary market for domestic music-making; indeed, during the 20th century, the influential American critic B. H. Haggin, rejecting more mainstream views, argued in his various guides to recorded music that Brahms was at his best in such works and much less successful in larger forms. Among the most cherished of these lighter works by Brahms are his sets of popular dancesthe Hungarian Dances, the Waltzes, Op.39, for piano duet, and the Liebeslieder Waltzes for vocal quartet and pianoand some of his many songs, notably the Wiegenlied, Op.49, No.4 (published in 1868). This last was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber and is universally known as Brahms's Lullaby.

Style and influences

Brahms maintained a Classical sense of form and order in his works in contrast to the opulence of the music of many of his contemporaries. Thus many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music", as opposed to the "New German" embrace of programme music. Brahms venerated Beethoven: in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. Brahms's First Symphony bears strongly the influence of Beethoven's Fifth Symphony, as the two works are both in a formidable C Minor, and end in the struggle towards a C Major triumph. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms, he replied that any ass jeder Esel could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth".

Brahms in mid-career.

A German Requiem was partially inspired by his mother's death in 1865 (at which time he composed a funeral march that was to become the basis of Part Two, Denn alles Fleisch), but it also incorporates material from a Symphony which he started in 1854 but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned Symphony was re-worked as the first movement of the First Piano Concerto. Brahms also loved the Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. He studied the music of pre-classical composers, including Giovanni

Johannes Brahms Gabrieli, Johann Adolph Hasse, Heinrich Schtz, Domenico Scarlatti, George Frideric Handel, and, especially, Johann Sebastian Bach. His friends included leading musicologists, and, with Friedrich Chrysander, he edited an edition of the works of Franois Couperin. Brahms also edited works by C. P. E. and W. F. Bach. He looked to older music for inspiration in the art of counterpoint; the themes of some of his works are modelled on Baroque sources such as Bach's The Art of Fugue in the fugal finale of Cello Sonata No. 1 or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale. The early Romantic composers also had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer. During his stay in Vienna in 186263, Brahms became particularly interested in the music of Franz Schubert.[12] The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op.25 and Op.26, and the Piano Quintet which alludes to Schubert's String Quintet and Grand Duo for piano four hands.[12] [13] The influence of Chopin and Mendelssohn on Brahms is less obvious, although occasionally one can find in his works what seems to be an allusion to one of theirs (for example, Brahms's Scherzo, Op.4, alludes to Chopin's Scherzo in B-flat minor;[14] the scherzo movement in Brahms's Piano Sonata in F minor, Op.5, alludes to the finale of Mendelssohn's Piano Trio in C minor).[15] Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality would result in the rule of tonality being broken altogether. Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early Variations and Fugue on a Theme by Handel; Brahms himself, according to many sources (Swafford, 1999), deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory. Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life. His Hungarian Dances were among his most profitable compositions.

Brahms and religion

Despite Brahms's humanist and sceptical tendencies, it is certain one of his musical influences was the Bible. He was reared to appreciate Luther's translation. His "Requiem" employs biblical texts to convey a humanist message, omitting words about salvation or immortality, and focuses on the living rather than the dead. Author Walter Niemann declared, "The fact that Brahms began his creative activity with the German folk song and closed with the Bible reveals... the true religious creed of this great man of the people." Some biographers and critics, however, see Brahms as more of a cultural Lutheran who embraced the cultural aspects of his upbringing but may or may not have adopted the religious beliefs.[16] When asked by conductor Karl Reinthaler to add additional sectarian text to his "requiem", Brahms responded, "As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human; also with my best knowledge and will I would dispense with passages like John 3:16. On the other hand, I have chosen one thing or another because I am a musician, because I needed it, and because with my venerable authors I can't delete or dispute anything. But I had better stop before I say too much." There is reason to believe that Brahms was a religious freethinker. Being a star of his age, he would frequently say deceptive things to the public. This means that the most reliable accounts on Brahms's innermost feelings may come from the people in the close circle around him. Among these was the pious Antonn Dvok, the closest Brahms ever would come to having a protg. In a letter, Dvok disclosed his concerns regarding Brahms's religious views: "Such a man, such a fine souland he believes in nothing! He believes in nothing!"[17] The question of Brahms and religiosity has been controversial and elicited accusations of fraud. One example is the book Talks With Great Composers by Arthur Abell which contains an unconfirmed interview with Brahms and Joseph Joachim replete with biblical references. The book was released in the 1950s and Brahms biographer Jan Swafford declared the interview fraudulent.[4]

Johannes Brahms

Influence
Brahms's point of view looked both backward and forward; his output was often bold in its exploration of harmony and rhythm. As a result, he was an influence on composers of both conservative and modernist tendencies. Within his lifetime, his idiom left an imprint on several composers within his personal circle, who were strong admirers of his music, such as Heinrich von Herzogenberg, Robert Fuchs, and Julius Rntgen, as well as on Gustav Jenner, who was Brahms's only formal composition pupil. Antonn Dvok, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works such as the Symphony No 7 in D minor and the F minor Piano Trio. Features of the 'Brahms style' were absorbed in a more complex synthesis with other contemporary (chiefly Wagnerian) trends by Hans Rott, Wilhelm Berger, Max Reger and Franz Schmidt, whereas the British composers Hubert Parry and Edward Elgar and the Swede Wilhelm Stenhammar all testified to learning much from Brahms's example. It was Elgar who said, "I look at the Third Symphony of Brahms, and I feel like a pygmy."[18] Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to Ern Dohnnyi and also to Alexander von Zemlinsky. Their early chamber works (and those of Bla Bartk, who was friendly with Dohnnyi) show a thoroughgoing absorption of the Brahmsian idiom. Zemlinsky, moreover, was in turn the teacher of Arnold Schoenberg, and Brahms was apparently impressed by two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him. In 1933, Schoenberg wrote an essay "Brahms the Progressive" (re-written 1947), which drew attention to Brahms's fondness for motivic saturation and irregularities of rhythm and phrase; in his last book (Structural Functions of Harmony, 1948), he analysed Brahms's "enriched harmony" and exploration of remote tonal regions. These efforts paved the way for a re-evaluation of Brahms's reputation in the 20th century. Schoenberg went so far as to orchestrate one of Brahms's piano quartets. Schoenberg's pupil Anton Webern, in his 1933 lectures, posthumously published under the title The Path to the New Music, claimed Brahms as one who had anticipated the developments of the Second Viennese School, and Webern's own Op.1, an orchestral passacaglia, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony. Brahms was honoured by the German Hall of Fame, the Walhalla temple. On 14 September 2000, he was introduced there as the 126th "rhmlich ausgezeichneter Teutscher" and 13th composer among them, with a bust by sculptor Milan Knobloch.[19]

Personality
Like Beethoven, Brahms was fond of nature and often went walking in the woods around Vienna. He often brought penny candy with him to hand out to children. To adults, Brahms was often brusque and sarcastic, and he sometimes alienated other people. His pupil Gustav Jenner wrote, "Brahms has acquired, not without reason, the reputation for being a grump, even though few could also be as lovable as he."[20] He also had predictable habits, which were noted by the Viennese press, such as his daily visit to his favourite "Red Hedgehog" tavern in Vienna, and the press also particularly took into account his style of walking with his hands firmly behind his back complete with a caricature of him in this pose walking alongside a red hedgehog. Those who remained his friends were very loyal to him, however, and he reciprocated with equal loyalty and generosity. Brahms had amassed a small fortune in the second half of his career, around 1860, when his works sold widely. But despite his wealth, he lived very simply, with a modest apartment a mess of music papers and books and a single housekeeper who cleaned and cooked for him. He was often the butt of jokes for his long beard, his cheap clothes and often not wearing socks, etc. Brahms gave away large sums of money to friends and to aid various musical students, often with the term of strict secrecy. Brahms' domicile was hit during World War II, destroying his piano and other possessions that were still kept there for posterity by the Viennese.[1]

Johannes Brahms

Brahms was a lifelong friend of Johann Strauss II, though they were very different as composers. Brahms even struggled to get to the Theater an der Wien in Vienna for the premiere of Strauss's operetta Die Gttin der Vernunft in 1897 before his death. Perhaps the greatest tribute that Brahms could pay to Strauss was his remark that he would have given anything to have written The Blue Danube waltz. An anecdote dating around the time Brahms became acquainted with Strauss is that when Strauss's wife Adele asked Brahms to autograph her fan, he wrote a few notes from the "Blue Danube" waltz, and then cheekily inscribed the words "Alas, not by Brahms!" Brahms was an extreme perfectionist. He destroyed many early works including a Violin Sonata he had performed with Remnyi and violinist Ferdinand David and once claimed to have destroyed 20 string quartets before he issued his official First in 1873. Over the course of several years, he changed an original project for a symphony in D minor into his first piano concerto. In Johann Strauss II (left) and Johannes another instance of devotion to detail, he laboured over the official First Brahms (right) photographed in Symphony for almost fifteen years, from about 1861 to 1876. Even after its first Vienna few performances, Brahms destroyed the original slow movement and substituted another before the score was published. (A conjectural restoration of the original slow movement has been published by Robert Pascall.) Another factor that contributed to Brahms's perfectionism was that Schumann had announced early on that Brahms was to become the next great composer like Beethoven, a prediction that Brahms was determined to live up to. This prediction hardly added to the composer's self-confidence, and may have contributed to the delay in producing the First Symphony. However, Clara Schumann noted before that Brahms's First Symphony was a product that was not reflective of Brahms's real nature. She felt that the final exuberant movement was "too brilliant", as she was encouraged by the dark and tempestuous opening movement she had seen in an early draft. However, she recanted in accepting the Second Symphony, which has often been seen in modern times as one of his sunniest works. Other contemporaries, however, found the first movement especially dark, and Reinhold Brinkmann, in a study of Symphony No. 2 in relation to 19th century ideas of melancholy, has published a revealing letter from Brahms to the composer and conductor Vinzenz Lachner in which Brahms confesses to the melancholic side of his nature and comments on specific features of the movement that reflect this.

Further reading
Deiters/Newmarch. (1888). Johannes Brahms: A Biographical Sketch. Fisher Unwin (reissued by Cambridge University Press, 2009; ISBN 9781108004794) Johannes Brahms: Life and Letters, ISBN 0-19-816234-0 by Brahms himself, edited by Styra Avins, translated by Josef Eisinger (1998). A biography by way of comprehensive footnotes to a comprehensive collection of Brahms's letters (some translated into English for the first time). Elucidates some previously contentious matters, such as Brahms's reasons for declining the Cambridge invitation. Brahms, His Life and Work, by Karl Geiringer, photographs by Irene Geiringer (1987, ISBN 0-306-80223-6). A biog and discussion of his musical output, supplemented by, and cross-referenced with, the body of correspondence sent to Brahms. Charles Rosen discusses a number of Brahms's imitations of Beethoven in Chapter 9 of his Critical Entertainments: Music Old and New (2000; Cambridge, MA: Harvard University Press, ISBN 0-674-17730-4). Brahms by Malcolm MacDonald is a biography and also discussion of virtually everything Brahms composed, along with chapters examining his position in Romantic music, his devotion to Early Music, and his influence on later composers. (Dent 'Master Musicians' series, 1990; 2nd edition Oxford, 2001, ISBN 0-19-816484-X

Johannes Brahms Johannes Brahms: A Biography, by Jan Swafford. A comprehensive (752 pages) look at the life and works of Brahms. (1999; Vintage, ISBN 0-679-74582-3) Late Idyll: The Second Symphony of Johannes Brahms, by Reinhold Brinkmann, translated by Peter Palmer. An analysis of Symphony No.2 and meditation of its position in Brahms's career and in relation to 19th century ideas of melancholy. (1995, Harvard, ISBN 0-674-51175-1) Johannes Brahms, His Work & Personality, by Hans Gal (Translated by Joseph Stein). Wiedenfeld & Nicolson, 1963. The Music of Brahms, by Michael Musgrave. Oxford, 1985 ISBN 0-19-816401-7

References
[1] Richard A. Leonard, abridged from The Stream of Music; Doubleday & Co., 1943 [2] Avins, Styra (2001). "The Young Brahms: Biographical Data Reexamined". 19th-century Music 24 (3): 276289. doi:10.1525/ncm.2001.24.3.276. JSTOR746931?. [3] Kurt Hoffman, Johannes Brahms und Hamburg (Reinbek, 1986) (in German: includes detailed refutation of the traditional story of Brahms playing piano in brothels, using the writings of those who knew the young Brahms, as well as evidence of the Hamburg's close regulation of those places, preventing the employment of children) [4] Swafford, Jan (2001). "Did the Young Brahms Play Piano in Waterfront Bars?" (http:/ / links. jstor. org/ sici?sici=0148-2076(200121)24:3<268:DTYBPP>2. 0. CO;2-H). 19th-century Music 24 (3): 268275. doi:10.1525/ncm.2001.24.3.268. ISSN0148-2076. . Retrieved 30 October 2007. [5] Hoffmann (1999) Kurt. "Brahms the Hamburg musician 18331863" Cambridge. Musgrave (editor) Michael The Cambridge Companion to Brahms Cambridge University Press, p.9 [6] "Robert Schumann's Artikel Neue Bahnen" (http:/ / w3. rz-berlin. mpg. de/ cmp/ brahms_bahnen. html). . Retrieved 30 October 2007. [7] Leonard, 1943 [8] Swafford, Johannes Brahms, pp.206211 [9] J. Brahms plays excerpt of Hungarian Dance No. 1 (2:10) (https:/ / www. youtube. com/ watch?v=BZXL3I7GPCY) on YouTube [10] (https:/ / ccrma. stanford. edu/ ~brg/ brahms2. html) [11] Stadt Hamburg Ehrenbrger (http:/ / fhh. hamburg. de/ stadt/ Aktuell/ senat/ service/ ehrenbuerger/ start. html) (German) Retrieved on 17 June 2008 [12] James Webster, "Schubert's sonata form and Brahms's first maturity (II)", 19th-century Music 3(1) (1979), pp.5271. [13] Donald Francis Tovey, "Franz Schubert" (1927), rpt. in Essays and Lectures on Music (London, 1949), p.123. Cf. his similar remarks in "Tonality in Schubert" (1928), rpt. ibid., p.151. [14] Charles Rosen, "Influence: plagiarism and inspiration", 19th-century Music 4(2) (1980), pp.87100. [15] H. V. Spanner, "What is originality?", The Musical Times 93(1313) (1952), pp.310311. [16] Beller-McKenna, Daniel. Brahms and the German Spirit. Harvard University Press, Cambridge, Mass. 2004, ISBN 0-674-01318-2 [17] Swafford, Jan. "Johannes Brahms: A Biography." Alfred A. Knopf, Inc., 1997 [18] MacDonald, Brahms (1990), p.406. [19] "Johannes Brahms hlt Einzug in die Walhalla" (http:/ / www. stmwfk. bayern. de/ pressearchiv/ 2000/ 09/ sept124. html). Bayerisches Staatsministerium fr Wissenschaft, Forschung und Kunst. 14 September 2000. . Retrieved 23 April 2008. [20] Posted on 6 Nov 2008 1:30pm by Kelly Wilson (6 November 2008). "Brahms as Man, Teacher, and Artist" (http:/ / members. aol. com/ abelard2/ jenner. htm). Members.aol.com. . Retrieved 12 February 2010.

External links
Brahms Institut (http://www.brahms-institut.de/web/index.html), Lbeck Academy of Music The Lied and Art Song Texts Page created and maintained by Emily Ezust (http://www.recmusic.org/lieder/b/ brahms.html) Texts of the Lieder of Brahms with translations in various languages. "What's late about late Brahms?" (http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/the_tls/ article2824268.ece): an article in the TLS (http://www.the-tls.co.uk) by Peter Williams, 7 November 2007 Brahms at the Piano (http://www-ccrma.stanford.edu/~brg/brahms2.html). Information about the recording made by Thomas Edison in 1889 of Brahms playing part of his Hungarian Dance No. 1 in G minor. Johannes Brahms: list of works (http://www.johannesbrahms.org/JBlist.htm) from http://www. johannesbrahms.org Photo of Brahms as a young man in 1853 (http://www.flickr.com/photos/abneypark/376844864/)

Johannes Brahms Brahms Listening Guides. (http://www.kellydeanhansen.com) A collection in progress of detailed guides to the composer's works, linked to specific recordings but also including measure numbers Listings of live performances at Bachtrack (http://www.bachtrack.com/find-a-concert/What/ composer=22-Brahms) johannes brahms biography (http://www.books-summary.com/biographies/johannes-brahms-biography.html) Works by or about Johannes Brahms (http://worldcat.org/identities/lccn-n79-77221) in libraries (WorldCat catalog) Johannes Brahms (http://d-nb.info/gnd/118514253) in the German National Library catalogue (German)

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Sheet music
Complete collection of scores (http://www.brahms-institut.de/web/bihl_notenschrank/ausgaben/noten_start. html) at the Brahms Institut in Breitkopf & Hrtel or Simrock editions; work details Brahms scores (http://www.load.cd/sheetmusic/262_johannes_brahms/) selection of printable works. www.kreusch-sheet-music.net (http://kreusch-sheet-music.net/eng/index.php?action=search&page=show& order=op&query=johannes+brahms) Brahms's piano works Free scores of Brahms Lieder (http://purl.dlib.indiana.edu/iudl/variations/score/BGN9130) and orchestral works (http://www.dlib.indiana.edu/variations/scores/symphonic.html) in GIF format from the Variations Project (http://www.dlib.indiana.edu/variations/scores/) at Indiana University. Last accessed 14 August 2008. Free scores by Brahms at the International Music Score Library Project Free scores by Johannes Brahms in the Choral Public Domain Library (ChoralWiki) Works by Johannes Brahms (http://www.gutenberg.org/author/Johannes_Brahms) at Project Gutenberg Free scores (http://icking-music-archive.org/ByComposer/Brahms.php) by Johannes Brahms in the Werner Icking Music Archive (WIMA) Free scores (http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=BrahmsJ) Mutopia Project

Recordings
Free audio MP3 of some Brahms's works (http://www.onclassical.com/composers/) OnClassical Creative Commons BY-NC-SA, 1.0 licensed Johannes Brahms Violin Sonatas (http://magnatune.com/collections/brahms) MP3 Creative Commons Recording Fnf Gesnge, Op. 104 (Brahms) (http://www.kaiser-ulrich.de/Kaiser/Brahms.aspx): Free MP3s (Op.42, Op.93a, Op.104 and Op.52) Kunst der Fuge: Johannes Brahms MIDI files (http://www.kunstderfuge.com/brahms.htm) Daily limit of 5 files. Works by Brahms performed on virtual organs (http://www.phantorg.net/brahms.htm) Classic Cat Brahms (http://www.classiccat.net/brahms_j/index.htm) mp3s Performances of works by Johannes Brahms (http://www.logoslibrary.org/classical/brahms/index.html) in MIDI and MP3 formats at Logos Virtual Library

List of compositions by Johannes Brahms

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List of compositions by Johannes Brahms

The following is a list of compositions by the composer Johannes Brahms.

External links
Sortable list of works by Johannes Brahms with links to the: Free scores at the International Music Score Library Project. Songs listed by title [1] at the Lied and Art Songs Text page. Works [2] sorted by six criteria

References
[1] http:/ / www. recmusic. org/ lieder/ b/ brahms. html [2] http:/ / www. klassika. info/ Komponisten/ Brahms/ index. html

List of solo piano compositions by Johannes Brahms

The following is a list of compositions by the composer Johannes Brahms classified by genre.

Orchestral
Op. 11, Serenade No. 1 in D major (1857) Op. 16, Serenade No. 2 in A major (1859) Op. 56a, Variations on a Theme by Haydn (1873) Op. 68, Symphony No. 1 in C minor (1876 premire) Op. 73, Symphony No. 2 in D major (1877) Op. 80, Academic Festival Overture, for orchestra (1880) Op. 81, Tragic Overture, for orchestra (1880) Op. 90, Symphony No. 3 in F major (1883) Op. 98, Symphony No. 4 in E minor (1885)

Concertante
Op. 15, Piano Concerto No. 1 in D minor (1859) Op. 77, Violin Concerto in D major (1878) Op. 83, Piano Concerto No. 2 in B-flat major (1881) Op. 102, Double Concerto in A minor, for violin and cello solos and orchestra (1887)

Vocal orchestral
Op. 45, Ein deutsches Requiem A German Requiem, for soprano and baritone solos, mixed chorus and orchestra (1868) Op. 50, Rinaldo, cantata for tenor solo, men's chorus and orchestra (1869) Op. 53, Rhapsody, for contralto solo, men's chorus and orchestra ("Alto Rhapsody") (1870) Op. 54, Schicksalslied, for mixed chorus and orchestra (1871) Op. 55, Triumphlied, for baritone solo, double mixed chorus and orchestra (1871)

List of solo piano compositions by Johannes Brahms Op. 82, Nnie, for mixed chorus and orchestra (1881) Op. 89, Gesang der Parzen, for mixed chorus and orchestra (1882)

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Chamber
Sonatas
Op. 78, Violin Sonata No. 1 in G major (187879) Op. 100, Violin Sonata No. 2 in A major (1886) Op. 108, Violin Sonata No. 3 in D minor (1887) Op. 38, Cello Sonata No. 1 in E minor (186265) Op. 99, Cello Sonata No. 2 in F major (1886) Op. 120, Two Clarinet Sonatas (1894) No. 1 Clarinet Sonata No. 1 in F minor No. 2 Clarinet Sonata No. 2 in E-flat major

Trios
Op. 8, Piano Trio No. 1 in B major/minor (two versions, 1854 and 1891-edited) Op. 87, Piano Trio No. 2 in C major (1882) Op. 101, Piano Trio No. 3 in C minor (1886) Op. 114, Trio for Piano, Clarinet, and Cello, in A minor (1891) Op. 40, Trio for Horn, Violin and Piano in E-flat major (1865)

Quartets
Op. 51, Two String Quartets String Quartet No. 1 in C minor (1873) String Quartet No. 2 in A minor (1873) Op. 67, String Quartet No. 3 in B-flat major (1876) Op. 25, Piano Quartet No. 1 in G minor (1861) Op. 26, Piano Quartet No. 2 in A major (1861) Op. 60, Piano Quartet No. 3 in C minor (1875)

Quintets and Sextets

Op. 88, String Quintet No. 1 in F major (1882) Op. 111, String Quintet No. 2 in G major ("Prater") (1890) Op. 34, Piano Quintet in F minor (1864) Op. 115, Clarinet Quintet in B minor (1891) Op. 18, String Sextet No. 1 in B-flat major (1860) Op. 36, String Sextet No. 2 in G major (1865)

List of solo piano compositions by Johannes Brahms

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Piano
Op. 1, Piano Sonata No. 1 in C major (1853) Op. 2, Piano Sonata No. 2 in F-sharp minor (1853) Op. 4, Scherzo in E-flat minor (1851) Op. 5, Piano Sonata No. 3 in F minor (1853) Op. 9, Variations on a Theme by Robert Schumann in F-sharp minor (1854) Op. 10, Four Ballades (1854) Op. 21, Two Sets of Variations No. 1 Eleven Variations on an Original Theme, in D major (1857) No. 2 Fourteen Variations on a Hungarian Melody, in D major (1854) Op. 23, Variations on a Theme by Robert Schumann, for piano four-hands (1861) Op. 24, Variations and Fugue on a Theme by Handel (1861) Op. 34b, Sonata for Two Pianos, in F minor, earlier version of the Piano Quintet, Op. 34 (1863) Op. 35, Variations on a Theme by Paganini (1863) Op. 39, Sixteen Waltzes for piano, four hands (1865). Also arranged in two versions for solo pianist and, in some cases, for two pianos. Op. 52a, Liebeslieder-Walzer, arrangement of Op. 52 for piano four-hands Op. 56b, Variations on a Theme by Haydn, version for two pianos (1873) Op. 65a, Neue Liebeslieder, arrangement of Op. 65 for piano four-hands Op. 76, Eight Pieces (1878) Op. 79, Two Rhapsodies (1879) Op. 116, Seven Fantasias (1892) Op. 117, Three Intermezzi (1892) Op. 118, Six Pieces (1893) Op. 119, Four Pieces (1893)

Organ
Op. 122, Eleven Chorale Preludes (1896)

Vocal
Op. 3, Six Songs (1853) 1. Liebestreu 2. Liebe und Frhling 3. Liebe und Frhling 4. Lied aus dem Geditch "Ivan" 5. In der Fremde 6. Lied Op. 6, Six Songs 1. Spanisches Lied 2. Der Frhling 3. Nachwirkung 4. Juchhe! 5. Wie die Wolke nach der Sonne

6. Nachtingallen schwingen lustig Op. 7, Six Songs

List of solo piano compositions by Johannes Brahms 1. Treue Liebe 2. Parole 3. Anklnge 4. Volkslied 5. Die Trauernde 6. Heimkehr Op. 12, Ave Maria, for mixed chorus (1858) Op. 13, Begrbnisgesang Funeral Song Op. 14, Eight Songs and Romances 1. Vor dem Fenster 2. Vom verwundeten Knaben 3. Murrays Ermordung 4. Ein Sonett 5. Trennung 6. Gang zur Liebsten 7. Stndchen 8. Sehnsucht

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Op. 17, Vier Gesnge Four Songs for women's chorus, two horns and harp (1860) 1. Es tnt ein voller Harfenklang 2. Lied von Shakespeare 3. Der Grtner 4. Gesang aus Fingal Op. 19, Five Poems 1. Der Kuss 2. Scheiden und Meiden 3. In der Ferne 4. Der Schmied 5. An eine olsharfe Op. 20, Three Duets for soprano and alto with piano accompaniment 1. Weg der Liebe 2. Weg der Liebe 3. Die Meere Op. 22, Marienlieder Songs For Mary , for mixed chorus (1860) 1. Der englische Gruss 2. Marias Kirchgang 3. Marias Wallfahrt 4. Der Jger 5. Ruf zur Maria 6. Magdalena 7. Marias Lob Op. 27, Psalm 13 (1859) Op. 28, Four Duets for alto and baritone with piano accompaniment 1. Die Nonne und der Ritter 2. Vor der Tr 3. Es rauschet das Wasser 4. Der Jger und sein Liebchen

List of solo piano compositions by Johannes Brahms Op. 29, Two Motets, for mixed chorus (1860) 1. Es ist das Heil uns kommen her 2. Schaffe in mir, Gott Op. 30, Geistliches Lied Spiritual Song Op. 31, Three Quartets, for mixed voices (1864) 1. Wechsellied zum Tanze 2. Neckereien 3. Der Gang zum Liebchen Op. 32, Nine Songs 1. Wie rafft ich mich auf in der Nacht 2. Nicht mehr zu dir zu gehen 3. Ich schleich umher 4. Der Strom, der neben mir verrauschte 5. Wehe, so willst du mich wieder 6. Du sprichst, dass ich mich tuschte 7. Bitteres zu sagen denkst du 8. So stehn wir, ich und meine Weide

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9. Wie bist du, meine Knigin Op. 33, Fifteen Romances from Tieck's Liebesgeschichte der schnen Magelone ("Magelone-Lieder") (18611869) 1. Keinen hat es noch gereut 2. Traun! Bogen und Pfeil sind gut fr den Feind 3. Sind es Schmerzen, sind es Freuden 4. Liebe kam aus fernen Landen 5. So willst du des Armen 6. Wie soll ich die Freude 7. War es dir 8. Wir mssen uns trennen 9. Ruhe, Sssliebchen 10. Verzweiflung 11. Wie schnell verschwindet 12. Muss es eine Trennung geben 13. Sulima 14. Wie froh und frisch 15. Treue Liebe dauert lange Op. 37, Three Sacred Choruses 1. O bone Jesu 2. Adoramus te, Christe 3. Regina coeli laetare Op. 41, Five Songs, for male voices 1. Ich schwing mein Horn ins Jammertal 2. Freiwillige her! 3. Geleit 4. Marschieren

5. Gebt acht! Op. 42, Drei Gesnge Three Songs for mixed chorus (1860)

List of solo piano compositions by Johannes Brahms 1. Abendstndchen 2. Vineta 3. Darthulas Grabesgesange Op. 43, Four Songs 1. Von ewiger Liebe 2. Die Mainacht 3. Ich schell mein Horn ins Jammerthal 4. Das Lied vom Herrn von Falkenstein Op. 44, Twelve Songs and Romances 1. Minnelied 2. Der Brutigam 3. Barcarole 4. Fragen 5. Die Mllerin 6. Die Nonne 7. Nun stehn die Rosen in Blte 8. Die Berge sind spitz

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9. Am Wildbach die Weiden 10. Und gehst du ber den Kirchof 11. Die Braut 12. Mrznacht Op. 46, Four Songs 1. Die Krnze 2. Magyarisch 3. Die Schale der Vergessenheit 4. An die Nachtigall Op. 47, Five Songs 1. Botschaft 2. Liebesgluth 3. Sonntag 4. O liebliche Wangen, ihr macht mir Verlangen 5. Die Liebende schreibt Op. 48, Seven Songs 1. Der Gang zum Liebchen 2. Der berlufer 3. Liebesklage des Mdchens 4. Gold berweigt die Liebe 5. Trost in Thrnen 6. Vergangen ist mir Glck und Heil 7. Herbstgefhl Op. 49, Five Songs 1. Am Sonntag Morgen 2. An ein Veilchen 3. Sehnsucht 4. Wiegenlied 5. Abenddmmerung

List of solo piano compositions by Johannes Brahms Op. 52, Liebeslieder-Walzer, for vocal quartet and piano four-hands (1870) 1. Rede, Mdchen, allzu liebes 2. Am Gesteine rauscht die Flut 3. O die Frauen 4. Wie des Abends schne Rthe 5. Die grne Hopfenranke 6. Ein kleiner, hbscher Vogel nahm 7. Wohl schn bewandt 8. Wenn so lind dein Augen mir 9. Am Donaustrande 10. O wie sanft die Quelle 11. Nein, est ist nicht auszukommen 12. Schlosser auf, und mache Schlsser 13. Vgelein durchrauscht die Luft 14. Sieh, wie ist die Welle klar 15. Nachtigall, sie singt so schn 16. Ein dunkeler Schacht ist Liebe

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17. Nicht wandle, mein Licht 18. Es bebet das Gestruche Op. 57, Eight Songs 1. Von waldbekrnzter Hhe 2. Wenn du nur zuweilen lchelst 3. Es trumte mir 4. Ach, wende diesen Blick 5. In meiner Nchte Sehnen 6. Strahlt zuweilen auch ein mildes Licht 7. Die Schnur, die Perl an Perle 8. Unbewegte laue Luft Op. 58, Eight Songs 1. Blinde Kuh 2. Whrend des Regens 3. Die Sprde 4. O komme, holde Sommernacht verschwiegen 5. Schwermut 6. In der Gasse 7. Vorber 8. Serenade Op. 59, Eight Songs 1. Dmmrung senkte sich von oben 2. Auf dem See 3. Regenlied 4. Nachklang 5. Agnes 6. Eine gute, gute Nacht

7. Mein wundes Herz verlangt nach milder Ruh 8. Dein blaues Auge hlt so still

List of solo piano compositions by Johannes Brahms Op. 61, Four Duets for soprano and alto with piano accompaniment 1. Die Schwestern 2. Klosterfrulein 3. Phnomen 4. Die Boten der Liebe Op. 62, Sieben Lieder (Seven Songs), for mixed chorus (1874) 1. Rosmarin 2. Von alten Liebesliedern 3. Waldesnacht 4. Dein Herzlein mild 5. All meine Herzgedanken 6. Es geht ein Wehen durch den Wald 7. Vergangen ist mir Glck und Heil Op. 63, Nine Songs 1. Frhlingstrost 2. Erinnerung 3. An ein Bild 4. An die Tauben 5. Junge Liebe I 6. Junge Liebe II 7. Heimweh I 8. Heimweh II 9. Heimweh III Op. 64, Three Quartets, for mixed voices (1874) 1. An die Heimat 2. Der Abend 3. Fragen Op. 65, Neue Liebeslieder, for vocal quartet and piano four-hands (1875) 1. Verzicht, o Herz, auf Rettung 2. Finstere Schatten der Nacht 3. An jeder Hand die Finger 4. Ihr schwarzen Augen 5. Wahre, wahre deinen Sohn 6. Rosen steckt mir an die Mutter 7. Vom Gebirge Well auf Well 8. Weiche Grser im Revier 9. Nagen am Herzen fhl ich 10. Ich kose s mit der und der 11. Alles, alles in den Wind 12. Schwarzer Wald, dein Schatten 13. Nein, Geliebter, setze dich 14. Flammenauge, dunkles Haar 15. Zum Schluss Op. 66, Five Duets for soprano and alto with piano accompaniment 1. Klnge 2. Klnge

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List of solo piano compositions by Johannes Brahms 3. Am Strande 4. Jgerlied 5. Ht du dich! Op. 69, Nine Songs 1. Klage 2. Klage 3. Abschied 4. Der Liebsten Schwur 5. Tambourliechen 6. Vom Strande 7. ber die See 8. Salome 9. Mdchenfluch Op. 70, Four Songs 1. Im Garten am Seegestade 2. Lerchengesang 3. Serenade 4. Abendregen Op. 71, Five Songs 1. Es liebt sich so lieblich im Lenze! 2. An den Mond 3. Geheimnis 4. Willst du, dass ich geh'? 5. Minnelied Op. 72, Five Songs 1. Alte Liebe 2. Sommerfden 3. O Khler Wald 4. Verzagen 5. Unberwinlich Op. 74, Two Motets, for mixed chorus 1. Warum ist das Licht gegeben den Mhseligen 2. O Heiland, rei die Himmel auf Op. 75, Four Ballads and Romances 1. Edward 2. Guter Rat 3. So lass uns wandern! 4. Walpurgisnacht Op. 84, Five Romances and Songs 1. Sommerabend 2. Der Kranz 3. In den Beeren 4. Vergebliches Stndchen

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5. Spannung Op. 85, Six Songs 1. Sommerabend

List of solo piano compositions by Johannes Brahms 2. Mondenschein 3. Mdchenlied 4. Ade! 5. Frhlingslied 6. In Waldeinsamkeit Op. 86, Six Songs 1. Therese 2. Feldeinsamkeit 3. Nachtwandler 4. ber die Heide 5. Versunken 6. Todessehnen Op. 91, Two Songs, for voice, viola and piano 1. Gestillte Sehnsucht 2. Geistliches Wiegenlied Op. 92, Four Quartets, for mixed voices (1889) 1. O schne Nacht! 2. Sptherbst 3. Abenlied 4. Warum? Op. 93a, Six Songs and Romances for choir 1. Der bucklichte Fiedler 2. Das Mdchen 3. O ssser Mai 4. Fahr wohl! 5. Der Falke 6. Beherzigung Op. 93b, Tafellied, for chorus and piano Op. 94, Five Songs 1. Mit vierzig Jahren ist der Berg erstiegen 2. Steig auf, geliebter Schatten 3. Mein Herz ist schwer, mein Auge wacht 4. Sapphische Ode 5. Kein Haus, keine Heimat Op. 95, Seven Songs 1. Das Mdchen 2. Bei dir sind meine Gedanken 3. Beim Abschied 4. Der Jger 5. Vorscheneller Schwur 6. Mdchenlied 7. Schn war, das ich dir weihte Op. 96, Four Songs 1. Der Tod, das ist die khle Nacht 2. Wir wandelten, wir zwei zusammen 3. Es schauen die blumen

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List of solo piano compositions by Johannes Brahms 4. Meerfahrt Op. 97, Six Songs 1. Nachtingall 2. Auf dem Schiffe 3. Entfhrung 4. Dort in den Weiden steht ein Haus 5. Komm bald 6. Trennung Op. 103, Zigeunerlieder, for vocal quartet and piano (1887) 1. He, Zigeuner, greife in die Saiten ein! 2. Hochgetrmte Rimaflut, wie bist du trb 3. Wit ihr, wann mein Kindchen am allerschnsten ist? 4. Lieber Gott, du weit, wie oft bereut ich hab' 5. Brauner Bursche fhrt zum Tanze 6. Rslein dreie in der Reihe blhn so rot 7. Kommt dir manchmal in den Sinn 8. Horch, der Wind klagt in den Zweigen traurig sacht

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9. Weit und breit schaut niemand mich an 10. Mond verhllt sein Angesicht 11. Rote Abendwolken ziehn am Firmament Op. 104, Fnf Gesnge (Five Songs), for mixed chorus (1888) 1. Nachtwache 2. Nachtwache 3. Letztes Glck 4. Verlorene Jugend 5. Im Herbst Op. 105, Five Songs (1886) 1. Wie Melodien zeiht es mir leise durch den Sinn 2. Immer leiser wird mein Schlummer 3. Klage 4. Auf dem Kirchhofe 5. Verrat Op. 106, Five Songs (1886) 1. Stndchen 2. Auf dem See 3. Es hing der Reif im Lindenbaum 4. Meine Lieder 5. Ein Wanderer Op. 107, Five Songs 1. An die Stolze 2. Salamander 3. Das Mdchen spricht 4. Maienktzchen 5. Mdchenlied

Op. 109, Fest- und Gedenksprche, for mixed chorus (1888) 1. Unsere Vter hofften auf dich

List of solo piano compositions by Johannes Brahms 2. Wenn ein starker Gewappneter 3. Wo ist ein so herrlich Volk Op. 110, Three Motets, for mixed chorus (1889) 1. Ich aber bin elend 2. Ach, arme Welt, du trgest mich 3. Wenn wir in hchsten Nten sein Op. 112, Six Quartets, for mixed voices and piano (1891) 1. Sehnsucht 2. Nchtens 3. Himmel strahlt so helle 4. Rote Rosenknospen 5. Brennessel steht an Weges Rand 6. Liebe Schwalbe, kleine Schwalbe Op. 113, Thirteen Canons for female choir 1. Gttlicher Morpheus 2. Grausam erweiset sich Amor am mir 3. Sitzt a schns Vgerl aufm Dannabaum 4. Schlaf, Kindlein, schlaf! 5. Wille, wille, will 6. So lange Schnheit wird bestehn 7. Wenn die Klnge nahn und fliehen 8. Ein Gems auf dem Stein 9. Ans Auge des Liebsten 10. Leise Tne der Brust 11. Ich weiss nicht was im Hain die Taube girret 12. Wenn Kummer htte zu tten Macht 13. Einfrmig ist der Liebe Gram Op. 121, Vier ernste Gesnge (Four Serious Songs) (1896) 1. Denn es gehet dem Menschen 2. Ich wandte mich und sahe an alle 3. O Tod, wie bitter bist du Bass 4. Wenn ich mit Menschen- und mit Engelszungen redete

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External links
Sortable list of works by Johannes Brahms with links to the: Free scores at the International Music Score Library Project. Songs listed by title [1] at the Lied and Art Songs Text page. Works [2] sorted by six criteria

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Orchestral
Serenades No. 1 & 2
The two Serenades, Op. 11 and 16, represented two of the earliest efforts by Johannes Brahms to write orchestral music. They both date from the 1850s when Brahms was residing in Detmold.[1]

Serenade No. 1 in D, Op. 11

The first serenade was completed in 1857. At that time, Brahms was also working on his First Piano Concerto. Originally scored for wind and string octet and then expanded into a longer work for chamber nonet, the serenade was later adapted for orchestra.[2] [3] It consists of six movements and lasts slightly less than forty minutes. Allegro molto (D major) Scherzo. Allegro non troppo (D minor) Trio. Poco pi moto (B flat major) Adagio non troppo (B flat major) Menuetto I (G major) Menuetto II (G minor) Scherzo. Allegro (D major) Trio Rondo. Allegro (D major)

Serenade No. 2 in A, Op. 16

The second serenade was written in 1859 and dedicated to Clara Schumann. It was revised in 1875.[4] It is scored for a standard orchestra, but without violins.[5] The five movements take approximately thirty minutes to perform.[6] Allegro moderato (A major) Scherzo. Vivace (C major) Trio (F major) Adagio non troppo (A minor) Quasi menuetto (D major) Trio (F sharp minor) Rondo. Allegro (A major)

Notes
[1] Geiringer, p. 55 [2] Geiringer, pp. 249-250 [3] "Program Notes - Last Night of the Brahms" (http:/ / www. riverdaleensemble. com/ Conc0202. html). Riverdale Ensemble performance, 2002-11-16. . [4] Geiringer, p. 250 [5] Geiringer, p. 250 [6] "Brahms: Symphony No. 3; Serenade No. 2" (http:/ / www. amazon. com/ Brahms-Symphony-No-Serenade-2/ dp/ B00069I804). Amazon.com. . Retrieved 2009-06-29.. The Haitink LSO recording

Serenades No. 1 & 2

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References
Geiringer, Karl (1984). Brahms: His Life and Work - Third Enlarged Edition. New York: Da Capo Press. ISBN9780306802232.

External links
Serenade No. 1 in D, Op. 11: Free scores at the International Music Score Library Project. Serenade No. 2 in A, Op. 16: Free scores at the International Music Score Library Project.

Variations on a Theme by Haydn

The Variations on a Theme by Joseph Haydn, (German: Variationen ber ein Thema von Jos. Haydn), is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873. It consists of a theme in B-flat major, eight variations and a finale. It was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a. The orchestral version is better known and much more often heard than the two-piano version. It is often said to be the first independent set of variations for orchestra in the history of music[1] , although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. Brahms' orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E flat, 2 in B flat), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The first performance of the orchestral version was given on 2 November 1873 by the Vienna Philharmonic Orchestra under Brahms's baton. The piece usually takes about 18 minutes to perform.

Origin of the theme

Despite the title of the work, there has been much debate since about 1950 over whether the theme is actually by Haydn.[2] In 1870, Brahms's friend Carl Ferdinand Pohl, the librarian of the Vienna Philharmonic Society, who was working on a Haydn biography at the time, showed Brahms a transcription he had made of a piece attributed to Haydn titled Divertimento No. 1. The second movement bore the heading "St. Anthony Chorale," and it is this movement which, in its entirety, forms the theme on which the variations are based. Brahms's statement of the theme varies in small but significant ways from the original, principally with regard to instrumentation. Some sources state the Divertimento was probably written by Ignaz Pleyel, but this has not been definitely established. Even so, a further question is whether the composer of the Divertimento actually wrote the "St. Anthony Chorale" or simply quoted an older theme taken from an unknown source. While current usage still prefers the original title, Variations on the St. Anthony Chorale is the name favored by those who object to possibly perpetuating a misattribution. Even that name, however, tells us very little. To date, no other mention of the so-called "St. Anthony Chorale" has been found.

Variations on a Theme by Haydn

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Form
The theme begins with a repeated ten-measure passage which itself consists of two intriguing five-measure phrases, a quirk that is likely to have caught Brahms's attention. Almost without exception, the eight variations follow the phrasal structure of the theme and, though less strictly, the harmonic structure as well. Each has a distinctive character, several calling to mind the forms and techniques of earlier eras, with some displaying a mastery of counterpoint seldom encountered in Romantic music. The finale is a magnificent theme and variations on a ground bass, five measures in length, derived from the principal theme. Its culmination, a restatement of the chorale, is a moment of such transcendence that the usually austere Brahms permits himself the use of a triangle. Just before the end of the piece, in the coda of the finale, Brahms quotes a passage that really is by Haydn. In mm. 463-464, the violas and cellos echo the cello line from m. 148 of the second movement of the latter's "Clock" Symphony, one of the finest examples of Haydn's pioneering work in the symphonic variation form. The reader may compare the two passages by following these links: Brahms [3], Haydn [4] (see below for link credits). Ironically, this fragmentary allusion may be the music's sole remaining link to Haydn.

Movements
The movements are named and tempo markings given as follows. Where the tempo markings of the two versions differ, the one for Op. 56b is shown in parentheses. 1. Thema. Chorale St. Antoni. Andante 2. Variation I. Poco pi animato (Andante con moto) 3. Variation II. Pi vivace (Vivace) 4. Variation III. Con moto 5. Variation IV. Andante con moto (Andante) 6. Variation V. Vivace (Poco presto) 7. Variation VI. Vivace 8. Variation VII. Grazioso 9. Variation VIII. Presto non troppo (Poco presto) 10. Finale. Andante

Media
This is a performance of the version for two pianos. The pianists are Neal and Nancy O'Doan.

Notes
[1] [2] [3] [4] McCorkle, Donald M., p. 5 in the Norton Scores edition of the Variations (ISBN 0-393-09206-2) A detailed survey of the controversy can be found in Douglas Yeo's 2004 edition of the "Haydn" piece (ISMN M-57015-175-1). http:/ / www. dlib. indiana. edu/ variations/ scores/ bfk3333/ sco10067. gif http:/ / www. dlib. indiana. edu/ variations/ scores/ bgn9295/ sco10040. gif

External links
Variations on a Theme by Joseph Haydn: Free scores at the International Music Score Library Project. The score (http://www.dlib.indiana.edu/variations/scores/bfk3333/index.html) of Brahms's Variations has been posted by the William and Gayle Cook Music Library (http://www.music.indiana.edu/muslib.html) at the Indiana University School of Music (http://www.music.indiana.edu/). The same library is the source of the Haydn link included in the comparison above. Program Notes (http://www.kennedy-center.org/calendar/?fuseaction=composition&composition_id=2120) by Richard E. Rodda for the Apr 9-11, 2009 Kennedy Center performances featuring Kurt Masur, conducting the

Variations on a Theme by Haydn U.S. National Symphony Orchestra.

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Symphony No. 1
The Symphony No. 1 in C minor, Op. 68, is a symphony written by Johannes Brahms. Brahms spent at least fourteen years completing this work, whose sketches date from 1854. Brahms himself declared that the symphony, from sketches to finishing touches, took 21 years, from 1855 to 1876. The premiere of this symphony, conducted by the composer's friend Felix Otto Dessoff, occurred on November 4, 1876 in Karlsruhe, Germany. A typical performance lasts between 45 and 50 minutes.

Instrumentation
The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

Form
The symphony is in four movements, marked as follows: 1. 2. 3. 4. Un poco sostenuto Allegro Meno allegro (C minor/C major) Andante sostenuto (E major) Un poco allegretto e grazioso (A-flat major) Adagio Pi andante Allegro non troppo, ma con brio Pi allegro (C major)

Third movement
The third movement is in a traditional ternary form (ABA). It is composed of the Allegretto and contrasting trio section, followed by a reprise of the Allegretto material and coda. A notable aspect of this movement is Brahmss careful attention to symmetry. The form could be described as: A B A B C D C D A--Trio--A B A Coda

Allegretto
The Allegretto is in the key of A-flat major and begins with a calm, stepwise melody in the clarinet. The four bar figure is extended to an irregular five The A theme as stated by the clarinet. bars through a small bridge between the phrases by the strings. The clarinet rounds off the A theme in the Allegretto with an inversion of the first five bars heard. The B theme enters in m. 11 and features a descending dotted-eighth pattern in the flute, clarinet, and bassoon with the strings echoing the rhythm in rising and falling figures. After eight measures, A appears with

The B theme as stated by the flutes

Symphony No. 1 the violins iterating the first theme and a longer, chromatic bridge section that extends the phrase structure to seven bars. B is presented with an extension into C. The C and D themes differ from the first two in that they are shorter and more angular rhythmically. The A and B themes feature an almost constant eighth note pizzicato in the strings, whereas C and D are more complex with an interlocking sixteenth note pattern accompanying the winds. Movement from the major mode to F minor also marks these sections as apart from preceding material. This obvious contrast in character and mood can lend one to think of the C and D sections as a sort of trio within the first Allegretto section in the larger ternary form displayed by the movement as a whole.[1] The symmetry within one section reflects the symmetry of the whole. A closes off the first major section with the clarinet stating the first theme, much as it did in the beginning, finishing with a transition to the trio.

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Trio
The Trio offers a change of key, as well as a change of time. The key moves to B major, an enharmonic minor third away from A-flat. This key The trio theme. movement balances with the C and D sections in F minor, also a minor third away from the home key but in the opposite direction. The time signature changes from a stately 2/4 to a more pastoral and dance-like 6/8. The flute, oboe, and bassoon introduce a joyful melody in stepwise motion as in the A theme. The strings add a downward three-note arpeggio. These two motives make up the bulk of the trio material. Restatement and development of those themes ensue until the brass and winds join together for a final repeat of the melody. The second ending brings the orchestra back into 2/4 time and to A.

Return of the Allegretto

A major difference between A and the earlier iterations of A is the lingering effect of the trio upon the movement. The monotone call from the opening of the trio melody appears over the clarinet melody in the flute, oboe, and bassoon. The rhythmic effect of triplets also invades the pure eighth note world of the A theme, producing polyrhythms. Instead of the inversion of the theme we expect in the second phrase of A, the strings take over and offer an entirely different melody, but with essentially the same contour as the inversion. B occupies a significantly larger space of the reprise than it does in the previous Allegretto. It leads through an extended transition to the last, quiet statement of A in unison by the strings. Strings of dotted eighth notes end the movement proper with ideas from the B theme.

Coda
The entry to the coda is marked poco a poco pi tranquillo and the movement ends with the gentle throbbing of triplets quoted from the trio section. The final few bars end somewhat abruptly with the downward arpeggio of the strings in the trio finishing on the downbeat of a new bar.

History
Brahms began composing his first symphony in 1854, but much of his work underwent radical changes.[2] The long gestation of the symphony may be attributed to two factors. First, Brahms' self-critical fastidiousness led him to destroy many of his early works. Second, there was an expectation from Brahms' friends and the public that he would continue "Beethoven's inheritance" and produce a symphony of commensurate dignity and intellectual scopean expectation that Brahms felt he could not fulfill easily in view of the monumental reputation of

Symphony No. 1 Beethoven. The value and importance of Brahms' achievements were recognized by Vienna's most powerful critic, the staunch conservative Eduard Hanslick.[2] The conductor Hans von Blow was moved in 1877 to call the symphony "Beethoven's Tenth", due to perceived similarities between the work and various compositions of Beethoven.[3] It is often remarked that there is a strong resemblance between the main theme of the finale of Brahms' First Symphony and the main theme of the finale of Beethoven's Ninth Symphony. Also, Brahms uses the rhythm of the "fate" motto from the opening of Beethoven's Fifth Symphony. This rather annoyed Brahms; he felt that this amounted to accusations of plagiarism, whereas he saw his use of Beethoven's idiom in this symphony as an act of conscious homage. Brahms himself said, when comment was made on the similarity with Beethoven, "any ass can see that."[4] Nevertheless, this work is still often referred to as "Beethoven's Tenth".[5] However, Brahms' horn theme, with the "fate" rhythm, was noted in a letter to Clara Schumann (dated 1868), overheard in an alphorn's playing.[6] Fritz Simrock, Brahms' friend and publisher, did not receive the score until after the work had been performed in three cities (with Brahms still wishing trial performances in at least three more still). The manuscript to the first movement apparently does not survive, yet the remainder has been reproduced in miniature facsimile by Dover Publications. The autograph manuscript of the 2nd, 3rd, and 4th movements is held by The Morgan Library & Museum.

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Musical elements
The symphony begins with a broad introduction wherein three key elements are heard simultaneously: the low drumming, the rising figure in the strings, and the falling figure in the winds. This introduction was constructed after the remainder of the piece had been scored. The Allegro section of the movement is a large orchestral sonata, wherein musical ideas are stated, developed, and restated with altered relationships among them. The second and third movements are lighter in tone and tension than the first and last movements. The slow movement, Andante sostenuto, exhibits gentle lyricism through three sections, the third of which is a new treatment of the themes from the first. The long violin solo is reminiscent of some of Beethoven's later works: the late quartets and Missa Solemnis. The third, scherzo-like movement, has an easy spirit yet is full of complex rhythms and interwoven textures. The fourth movement begins with a slow introduction, where a new melody competes with "gloomy dramatic rhetoric."[2] In the Piu andante section, the horns and timpani introduce a tune that Brahms heard from an Alpine shepherd with the words, "High on the hill, deep in the dale, I send you a thousand greetings!"[2] This movement contains melodies reminiscent of Beethoven symphony No. 9. The last sectionAllegro non troppo, ma con briocontains a grand melody in a major key, as the novel, Beethoven-like main subject of the grand finale.

References
[1] Frisch, Walter (2003) [1996] Brahms: The Four Symphonies Yale Music Masterworks New Haven and London: Yale University Press p.56 ISBN0-300-09965-7 OCLC2003104448 [2] Leonard Burkat; liner notes for the 1998 recording (William Steinberg, conductor; Pittsburgh Symphony Orchestra; MCA Classics) [3] Schonberg, Harold C. (1981). The Lives of the Great Composers (http:/ / books. google. com/ books?id=VawrK1CRFJgC& pg=PA298& lpg=PA298& dq=hans+ von+ bulow+ beethoven's+ tenth& source=web& ots=nFFhgxt_WZ& sig=f8rHmqCi01Qs15ANU4jbQwHv27I) (Revised ed.). W. W. Norton & Company, New York, London. p.298. ISBN0-393-01302-2. . [4] Symphony No. 1 in C minor, Op. 68 (http:/ / www. kennedy-center. org/ calendar/ ?fuseaction=composition& composition_id=2650). The Kennedy Center, 2006 [5] Back cover blurb (http:/ / www3. cambridge. org/ asia/ catalogue/ catalogue. asp?isbn=0521474329) for David Lee Brodbeck, Brahms: Symphony No. 1 Cambridge: Cambridge University Press (1997). "Brahms First Symphony has been hailed as Beethovens Tenth." [6] (http:/ / www. alphornbau. ch/ geschi_e. htm)

Brahms, Johannes. With an introduction by Margit L. McCorkle.Symphony no. 1 in C minor, op. 68 : the autograph score. New York : Pierpont Morgan Library in association with Dover Publications, c1986. ISBN

Symphony No. 1 0-486-24976-X. Frisch, Walter. Brahms: The Four Symphonies New Haven: Yale University Press (2003): 45 - 66 Notes to a concert at the Kennedy Center, with information about the first performance of the work (http://www. kennedycenter.com/calendar/index.cfm?fuseaction=composition&composition_id=2650) Simrock, Brahms and Brahms' working habits (http://www.trombone-society.org.uk/resources/articles/ shifrin/shifrin07.php)

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External links
Manuscript images (http://www.themorgan.org/music/manuscript/114285) from The Morgan Library & Museum's Music Manuscripts Online Symphony No. 1: Free scores at the International Music Score Library Project. Free recording (http://www.columbia.edu/cu/cuo/audio.html) by the Columbia University Orchestra. Free score/The Columbia University (http://www.dlib.indiana.edu/variations/scores/bhr2575/index.html) Performance of First Movement on Video--David Bernard conducting the Park Avenue Chamber Symphony (http://www.davidbernard.com/VideoGallery_Brahms1.htm) Detailed listening guide (http://www.kellydeanhansen.com/opus68.html) using a recording by the Vienna Philharmonic, conducted by Leonard Bernstein

Symphony No. 2
The Symphony No. 2 in D major, Op. 73, was composed by Johannes Brahms in the summer of 1877 during a visit to Prtschach am Wrthersee, a town in the Austrian province of Carinthia. Its composition was brief in comparison with the fifteen years it took Brahms to complete his First Symphony. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings[1] . The cheery and almost pastoral mood of the symphony often invite comparisons with Beethoven's Sixth Symphony , but Brahms mischievously wrote to his publisher on November 22, 1877, that the symphony "is so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning."[2] The premiere was given on December 30, 1877 in Vienna under the direction of Hans Richter. A typical performance lasts between 40 and 50 minutes.

Movements
In the Second Symphony, Brahms preserved the structural principles of the classical symphony, in which two lively outer movements frame a slow second movement followed by a short scherzo: I. Allegro non troppo (D major) II. Adagio non troppo (B major) III. Allegretto grazioso (quasi andantino) (G major) IV. Allegro con spirito (D major)

I. Allegro non troppo

The cellos and double-basses start the first-movement sonata form in a tranquil mood by introducing the first phrase of the principal theme, which is continued by the horns. The woodwinds develop the section and other instruments join in gradually progressing to a full-bodied forte (at bar 58). At bar 82, the cellos and violas introduce a new theme in F-sharp minor, which eventually moves to A major. After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350. Towards the

Symphony No. 2 conclusion of the movement, Brahms marked bar 497 as in tempo, sempre tranquillo, and it is this mood which pervades the remainder of the movement as it closes in the home key of D major.

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II. Adagio non troppo

A brooding theme introduced by the cellos from bars 1 to 12, with a counter-melody in the bassoons, begins the second movement (also in sonata form). A second theme, marked L'istesso tempo, ma grazioso, appears in bar 33. After a brief development section, the recapitulation is highly modified. The movement then finishes with a coda-like section in which the main theme is reintroduced in the end. An interesting use of thematic material is used in this movement. Here we see the use of the developing variation of the theme.

III. Allegretto grazioso (quasi andantino)

The third movement scherzo opens with pizzicato cellos accompanying a lilting oboe melody in G major. A contrasting section in 2/4 time marked Presto ma non assai begins in the strings, and this theme is soon taken over by the full orchestra (minus trumpets). Bar 107 returns to the main tempo and gentle mood, but the idyll setting is again disrupted in bar 126 when the earlier Presto marking makes a re-entry, this time in a 3/8 variation. Brahms yet again diverts the movement back into its principal tempo (bar 194) and thereafter to its peaceful close. The third movement contains very light articulated sections, which could be due to the influence of Mozart or Schubert. This lighter element provides a contrast to the previous two movements. This movement is the shortest in the symphony and Brahms' briefest symphonic movement.

IV. Allegro con spirito

Busy-sounding (but quiet) strings begin the final Allegro con spirito, again in sonata form. A loud section breaks in unexpectedly in bar 23 with the full orchestra. As the excitement appears to fade away, violins introduce a new subject in A major marked largamente (to be played broadly). The wind instruments repeat this until it develops into a climax. Bar 155 of the movement repeats the symphony's first subject again, but instead of the joyful outburst heard earlier, Brahms introduces the movement's development section. A mid-movement tranquillo section (bar 206, and reappearing in the coda) elaborates earlier material and slows down the movement to allow a build up of energy into the recapitulation. The first theme comes in again (bar 244) and the familiar orchestral forte is played. The second theme also reappears in the tonic key. Towards the end of the symphony, descending chords and a mazy run of notes by various instruments of the orchestra (bars 395 to 412) sound out the second theme again but this time drowned out in a blaze of brass instruments as the symphony ends in a triumphant mood.

References
[1] Brahms, Johannes (1974). Hans Gl. ed. Johannes Brahms: Complete Symphonies in Full Score (Vienna Gesellschaft der Musikfreunde Edition). New York: Dover Publications, Inc. p.87. ISBN978-0-489-23053-5. [2] "NPO Programme Notes: Johannes Brahms Symphony No. 2 in D, Op. 68" (http:/ / www. nottinghamphilharmonic. co. uk/ brahms). Nottingham Philharmonic Orchestra. .

Bibliography
Walter Frisch. Brahms: The Four Symphonies New Haven: Yale University Press (2003): 6790

External links
Symphony No. 2: Free scores at the International Music Score Library Project.

Symphony No. 2 Detailed listening guide (http://www.kellydeanhansen.com/opus73.html) using a recording by Berlin Philharmonic, conducted by Claudio Abbado Autograph manuscript of first movement (http://www.juilliardmanuscriptcollection.org/composers.php#/ works/BRAH) at The Juilliard Manuscript Collection

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Academic Festival Overture

Academic Festival Overture (German: Akademische Festouvertre)[1] , Op. 80, by Johannes Brahms, was one of a pair of contrasting concert overtures the other being the Tragic Overture, Op. 81, written to balance it as its pair. Brahms composed the Academic Festival Overture during the summer of 1880 as a musical "thank you" to the University of Breslau, which had awarded him an honorary doctorate the previous year.

Background
Initially, Brahms had contented himself with sending a simple handwritten note of acknowledgment to the University, since he loathed the public fanfare of celebrity. However, the conductor Bernard Scholz, who had nominated him for the degree, convinced him that protocol required him to make a grander gesture of gratitude. The University expected nothing less than a musical offering from the composer. "Compose a fine symphony for us!" he wrote to Brahms. "But well orchestrated, old boy, not too uniformly thick!"[2]

Instrumentation
The work is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, a contrabassoon, four horns, three trumpets, three trombones, a tuba, timpani, percussion (bass drum, cymbals, triangle), and strings.

Structure
Brahms, who was known to be a curmudgeonly joker, filled his quota by creating a "very boisterous potpourri of student drinking songs la Supp"[3] in an intricately designed structure made to appear loose and episodic, thus drawing on the "academic" for both his sources and their treatment. The work sparkles with some of the finest virtues of Brahms's orchestral technique, sometimes applied for comic effect, such as the bassoons that inflate the light subject of "Fuchslied" (Was kommt dort von der Hh?).[4] The inventive treatment includes tunes appropriated from the student ditties "Wir hatten gebauet ein stattliches Haus", "Fuchslied", and most memorably, the broad, triumphant finale on "Gaudeamus igitur", which succinctly engages Brahms's sophisticated mastery of counterpoint, further fulfilling the "Academic" aspect of his program, cheekily applied to the well-worn melody. Brahms manages to evoke ravishing euphoria without sacrificing his commitment to classical balance. The blend of orchestral colors is carefully planned and highlighted in the piece, which, in spite of Scholz's request, calls for one of the largest ensembles for any of his compositions: piccolo, two flutes, two oboes, two clarinets (both doubling on B-flat and C clarinets), two bassoons, contrabassoon, four horns (two in C and two in E), three C trumpets, three trombones, one tuba, timpani, bass drum, cymbals, triangle, and strings. The Overture consists of four continuous sections: Allegro (C minor) Maestoso (C major) Animato (G major) Maestoso (C major).

Academic Festival Overture The composer himself conducted the premiere at a special convocation held by the University on January 4, 1881, to the chagrin (and mischievous delight) of many of the academics in the audience. Due to its easily-grasped structure, its lyrical warmth, as well as its excitement and humor, the work has remained a staple of today's concert-hall repertoire. A typical performance lasts around ten minutes.

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Notes
[1] It is the overture that is festive, not an "Academic Festival" occasioning it; one occasionally sees the title written in English as "Academic Festival" Overture, but in the German title, the adjective "akademisch" modifies "Festouvertre"; the word connotes a festive or celebratory overture and figures in the titles of Glazunov's Festouvertre, and Luise Adolpha Le Beau's Festouvertre fr groes Orchester, among others. [2] Jan Swafford, Johannes Brahms: A Biography(1997:462). [3] In a letter to Max Kalbeck; Supp was the fashionable composer of light classics like Poet and Peasant Overture. [4] The comic effect is noted in Jan Swafford 1997:462.

External links
Program notes from the Los Angeles Philharmonic (http://www.laphil.org/resources/piece_detail. cfm?id=334) Academic Festival Overture: Free scores at the International Music Score Library Project.

Tragic Overture
The Tragic Overture (German: Tragische Ouvertre), Op. 81, is a concert overture for orchestra written by Johannes Brahms during the summer of 1880. It premiered on December 26, 1880 in Vienna. Most performances last between twelve and fifteen minutes. Brahms chose the title "Tragic" to emphasize the turbulent, tormented character of the piece, in essence a free-standing symphonic movement, in contrast to the mirthful ebullience of a companion piece he wrote the same year, the Academic Festival Overture. Despite its name, the Tragic Overture does not follow any specific dramatic program. Brahms was not very interested in musical storytelling and was more concerned with conveying and eliciting emotional impressions. He summed up the effective difference between the two overtures when he declared "one laughs while the other cries." Brahms quotes some material from the last movement of the Second Symphony in this overture. The Tragic Overture comprises three main sections, all in the key of D minor. Allegro ma non troppo Molto pi moderato Tempo primo ma tranquillo. Theorists have disagreed in analyzing the form of the piece: Jackson finds Webster's multifarious description rather obscurist and prefers to label the work's form as a "reversed sonata design" in which the second group is recapitulated before the first, with Beethoven's Coriolan Overture as a possible formal model.[1]

Tragic Overture

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Instrumentation
The work is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

References
[1] Timothy L. Jackson, "Bruckner and tragic reversed sonata form" Bruckner Studies 1997, Cambridge University Press, pp. 172 - 178

External links
Tragic Overture: Free scores at the International Music Score Library Project. Detailed Listening Guide (http://www.kellydeanhansen.com/opus81.html) using the recording by Claudio Abbado

Symphony No. 3
The Symphony No. 3 in F major, Op. 90, is a symphony written by Johannes Brahms. The work was written in the summer of 1883 at Wiesbaden, nearly six years after he completed his Second Symphony. In the interim Brahms had written some of his greatest masterpieces, including the Violin Concerto, two overtures (Tragic Overture and Academic Festival Overture), and the Second Piano Concerto. The premiere performance was given on 2 December 1883 by the Vienna Philharmonic Orchestra, under the direction of Hans Richter. The shortest of Brahms' four symphonies, a typical performance lasts between 30 and 40 minutes.

Instrumentation
The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, a contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

Form
The symphony is in four movements, marked as follows: 1. 2. 3. 4. Allegro con brio (F major), in sonata form. Andante (C major), in ternary form (A B A'). Poco allegretto (C minor), in ternary form (A B A'). Allegro (F minor/F major), in a modified sonata form.

History
Hans Richter, who conducted the premiere of the symphony, proclaimed it to be Brahms' Eroica. The symphony was well received, more so than his Second Symphony. Although Richard Wagner had died earlier that year, the public feud between Brahms and Wagner had not yet subsided. Fanatical members of the Wagner cult tried to interfere with the symphony's premiere, and the conflict between the two factions nearly brought about a duel.[1] After each performance, Brahms polished his score further, until it was published in May 1884. His friend and influential music critic Eduard Hanslick said, "Many music lovers will prefer the titanic force of the First Symphony; others, the untroubled charm of the Second, but the Third strikes me as being artistically the most nearly perfect."[1]

Symphony No. 3

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Musical elements
A musical motto consisting of three notes, FA-flatF, was significant to Brahms. In 1853 his friend Joseph Joachim had taken as his motto "Free, but lonely", in German, Frei aber einsam, and from the notes represented by the first letters of these words, FAE, Schumann, Brahms and Dietrich had jointly composed a violin sonata dedicated to Joachim. At the time of the Third Symphony, Brahms is a fifty-year-old bachelor who declares himself to be Frei aber froh, "Free but Happy". His FAF motto, and some altered variations of it, can be heard throughout the symphony.[1] At the beginning of the symphony the motto is the melody of the first three measures, and it is the bass line underlying the main theme in the next three. The motto persists, either boldly or disguised, as the melody or accompaniment throughout the movement. For the third movement, poco allegretto instead of using a rapid scherzo, standard in 19th century symphony, Brahms has created a unique kind of third movement that is moderate in tempo (poco allegretto) and intensely lyrical in character.[2] The finale is a lyrical, passionate movement, rich in melody that is intensely exploited, altered, and developed. The movement ends with reference to the motto heard in the first movement - one which quotes a motif heard in Schumann's Symphony No 3 ('Rhenish') - then fades away to a quiet ending.

References
[1] Leonard Burkat; liner notes for the 1998 recording (William Steinberg, conductor; Pittsburgh Symphony Orchestra; MCA Classics) [2] Kamien, R. (2006). Johannes Brahms. In Music: An appreciation (9th ed., p. 352). McGraw-Hill Humanities.

Walter Frisch. Brahms: The Four Symphonies New Haven: Yale University Press (2003): 91 - 114

External links
Symphony No. 3: Free scores at the International Music Score Library Project. European archive (http://www.europarchive.org/item.php?id=lp-00759_BeG) Copyright free LP recording of Brahms 3rd symphony by George Szell (conductor) and the Amsterdam Concertgebouw Orchestra (for non-American viewers only) at the European Archive.

Symphony No. 4

35

Symphony No. 4
The Symphony No. 4 in E minor, Op. 98 by Johannes Brahms is the last of his symphonies. Brahms began working on the piece in 1884, just a year after completing his Symphony No. 3, and completed it in 1885.

Instrumentation
The symphony is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four horns, two trumpets, three trombones, timpani, triangle (third movement only), and strings.

Movements
The symphony is divided into four movements with the following tempo markings: 1. 2. 3. 4. Allegro non troppo (E minor) Andante moderato (E minor/E major) Allegro giocoso (C major [might also be interpreted as E phrygian]) Allegro energico e passionato (E minor)

A typical performance lasts about 40 minutes.

Analysis
The first movement is dramatic and passionate, while the second movement has an archaic and restrained air. The joyful third movement, which was written last, resounds with a triangle. The last movement is notable as a rare example of a symphonic passacaglia, which is similar to a chaconne with the slight difference that the subject can appear in more voices than the bass. For the repeating theme, Brahms adapted the chaconne theme in the closing movement of Johann Sebastian Bach's cantata, Nach dir, Herr, verlanget mich, BWV 150. The symphony is rich in allusions, most notably to various Beethoven compositions. The symphony may well have been inspired by the ancient Greek tragedies of Sophocles that Brahms had been reading at the time.[1] Arnold Schoenberg, in his essay Brahms the Progressive, pointed out several thematic relationships in the score, as does Malcolm MacDonald in his biography of the composer. The first half of the chaconne theme is anticipated in the bass during the coda at an important point of the preceding movement; and the first movement's descending thirds, transposed by a fifth, appear in counterpoint during one of the final variations of the chaconne.

Reception
The work was given its premiere in Meiningen on October 25, 1885 with Brahms himself conducting. It was well received and has remained popular ever since. The piece had earlier been given to a small private audience in a version for two pianos (one of them played by Brahms). Brahms' friend and biographer Max Kalbeck, reported that the critic Eduard Hanslick, on hearing the first movement in this performance, exclaimed, "For this whole movement I had the feeling that I was being given a beating by two incredibly intelligent people." Hanslick later spoke more approvingly of it, however. Progressive rock group Yes' keyboardist Rick Wakeman used part of the symphony on the song "Cans and Brahms" from the 1971 album Fragile.

Symphony No. 4

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References
[1] "Brahms, Johannes ." Britannica Encyclopedia, from Encyclopdia Britannica Deluxe Edition 2004 CD-ROM. Copyright 1994-2003 Encyclopdia Britannica, Inc. May 30, 2003

Walter Frisch. Brahms: The Four Symphonies (New Haven: Yale University Press, 2003), pp.115140

External links
Symphony No. 4: Free scores at the International Music Score Library Project. Downloadable score of the piece in .pdf format (http://www.bh2000.net/score/orchbrah/) Allusive Irony in Brahms's Fourth Symphony. (http://www.accessmylibrary.com/coms2/ summary_0286-406288_ITM) (Analysis of Allusions in the Symphony) by Kenneth Hull Detailed Listening Guide (http://www.kellydeanhansen.com/opus98.html) using the recording by Claudio Abbado Andrew Clements, "Brahms: Symphony No. 4" (from "Building a Classical Library" series). The Guardian, 17 March 2000. (http://arts.guardian.co.uk/keynotes/story/0,,608974,00.html)

37

Concertante
Piano Concerto No. 1
The Piano Concerto No. 1 in D minor, Op. 15, is a work for piano and orchestra composed by Johannes Brahms in 1858. The composer gave the work's public debut in Hanover, Germany, the following year.[1]

Form
This concerto is written in the traditional three movements and is approximately 40 to 50 minutes long. 1. Maestoso (D minor) The first movement is in sonata form, divided into five sections: orchestral introduction, exposition, development, recapitulation, and coda. This movement is large, lasting between 20 to 25 minutes. This strict adherence to forms used in the Classical Period earned Brahms a reputation for being musically "conservative." The theme heavily makes use of arpeggiated chords and trills. Within the orchestral introduction other themes are introduced, and the thematic material is further developed by both orchestra and soloist. 2. Adagio (D major) This movement is in a ternary form, with the theme being introduced by bassoon. 3. Rondo: Allegro non troppo (D minor D major) The structure of the Rondo finale is similar to that of the rondo of Beethoven's third piano concerto. There are three themes present in this rondo; the second theme may be considered a strong variation of the first. The third theme is introduced in the episode but is never explicitly developed by the soloist, instead the soloist is "integrated into the orchestral effect." A cadenza follows the bulk of the rondo, with an extensive coda that develops the first and third themes appearing afterward. The coda is in the parallel major, D major.

Overview
Composition
Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany, when Brahms was just 25 years old. Five days later, at Leipzig, an unenthusiastic audience hissed at the concerto, while critics savaged it, labelling it "perfectly unorthodox, banal and horrid". In a letter to his close personal friend, the renowned violinist Joseph Joachim, Brahms stated, "I am only experimenting and feeling my way",[1] adding sadly, "all the same, the hissing was rather too much."[1] Brahms originally conceived the work as his first major work for orchestra, what would have been his first symphony. After that proved unsatisfactory, he began molding it into a sonata for two pianos. He sought much advice from his friend Julius Otto Grimm.[2] However, he also found that unsatisfactory. Brahms ultimately decided that he had not sufficiently mastered the nuances of orchestral colour to sustain a symphony, and instead relied on his skills as a pianist and composer for the piano to complete the work as a concerto. Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were composed, yielding a work in the more usual three-movement concerto structure.

Piano Concerto No. 1

38

Biographical points
Brahms' biographers often note that the first sketches for the dramatic opening movement followed quickly on the heels of the 1854 suicide attempt of the composer's dear friend and mentor, Robert Schumann, an event which caused great anguish for Brahms. He finally completed the concerto two years after Schumann's death in 1856, by which time his relationship (which was most likely platonic) with Schumann's widow, Clara Schumann, had grown into a lifelong friendship. The degree to which Brahms' personal experience is embedded in the concerto is hard to gauge since several other factors also influenced the musical expression of the piece. The epic mood links the work explicitly to the tradition of the Beethoven symphony that Brahms sought to emulate. The finale of the concerto, for example, is clearly modeled on the last movement of Beethoven's third piano concerto, while the concerto's key of D minor is the same as both Beethoven's Ninth Symphony and Mozart's dramatic Piano Concerto No. 20.

Symphonic and chamber techniques

The work reflects Brahms' effort to combine the piano with the orchestra as equal partners, unlike earlier classical concertos, where the orchestra effectively accompanied the pianist. Even for the young Brahms, the concerto-as-showpiece had little appeal. Instead, he enlisted both orchestra and soloist in the service of the musical ideas; technically difficult passages in the concerto are never gratuitous, but extend and develop the thematic material. Such an approach is thoroughly in keeping with Brahms' artistic temperament, but also reflects the concerto's symphonic origins and ambitions. His effort drew on both chamber music techniques and the pre-classical Baroque concerto grosso, an approach that later was fully realized in Brahms' Second Piano Concerto. This first concerto also demonstrates Brahms' particular interest in scoring for the timpani and the horn, both of whose parts are notoriously difficult, with the timpani playing repeated notes for extended periods of time and the horn part being difficult for its many prominent usages with or without the piano. Although a work of Brahms' youth, this concerto is a mature work that points forward to his later concertos and his First Symphony. Most notable are its scale and grandeur, as well as the thrilling technical difficulties it presents. As time passed, the work grew in popularity until it was recognized as a masterpiece.

Notable recordings
Artur Schnabel with George Szell and the London Philharmonic Orchestra Arthur Rubinstein with Fritz Reiner conducting the Chicago Symphony Orchestra Claudio Arrau with Bernard Haitink and the Royal Concertgebouw Orchestra. Haitink and the Concertgebouw Orchestra have also recorded the concerto two other times, one with Vladimir Ashkenazy and one with Arthur Rubinstein. Clifford Curzon with George Szell and the London Symphony Orchestra Emil Gilels[3] with Eugen Jochum and the Berlin Philharmonic Orchestra Glenn Gould with Leonard Bernstein and the New York Philharmonic, famous for Bernstein's remarks on Gould's "remarkably broad tempi and ... frequent departures from Brahms' dynamic indications." Bruno Leonardo Gelber with Franz-Paul Decker and the Munich Philharmonic Orchestra, winner of the Grand Prix Du Disque Radu Lupu with Edo de Waart and the London Symphony Orchestra Leon Fleisher with George Szell and the Cleveland Orchestra Krystian Zimerman with Simon Rattle and the Berlin Philharmonic Orchestra Stephen Kovacevich with Sir Colin Davis and the London Symphony Orchestra Ivan Drenikov with Vassil Kazandjiev and the Bulgarian Radio Symphony Orchestra

Piano Concerto No. 1

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Use in film
The concerto was used as background music to the film The L-Shaped Room, in the recording by Peter Katin.

References
[1] Ewen, David. Music for the Millions (http:/ / books. google. com/ books?id=AF0m0117DIwC& pg=PA108& dq=brahms+ piano+ concerto+ 1+ "I+ am+ only+ experimenting+ and+ feeling+ my+ way"& cd=2#v=onepage& q=& f=false). p.108. ISBN140673926X. . Retrieved 18 December 2009. [2] Brahms, Johannes; Avins, Styra (1997). Johannes Brahms: Life and Letters (http:/ / books. google. com/ books?id=07f0MCZusp8C) at Google Books. Oxford, New York: Oxford University Press. page 50. ISBN 0-19-924773-0. [3] Conrad Wilson: Notes on Brahms: 20 Crucial Works (Edinboro, Saint Andrew Press: 2005) p. 16

External links
Brahms' Orchestral Works (http://www.bh2000.net/score/orchbrah/) (free music score of this composition available. In public domain.) Piano Concerto No. 1: Free scores at the International Music Score Library Project.

Violin Concerto
Violin Concerto in D major, Op. 77 is a violin concerto in three movements composed by Johannes Brahms in 1878 and dedicated to his friend, the violinist Joseph Joachim. It is Brahms's only violin concerto, and, according to Joachim, one of the four great German violin concerti.

Instrumentation
It is scored for solo violin and an orchestra consisting of flutes, oboes, clarinets, bassoons; 4 horns, 2 trumpets, timpani, and strings.

Structure
It follows the standard concerto form, with three movements in the pattern quick-slow-quick: 1. Allegro non troppo (D major) 2. Adagio (F major) 3. Allegro giocoso, ma non troppo vivace - Poco pi presto (D major) Originally, the work was planned in four movements like the second piano concerto. The middle movements, one of which was intended to be a scherzo a mark that Brahms intended a symphonic concerto rather than a virtuoso showpiece were discarded and replaced with what Brahms called a "feeble Adagio." Some of the discarded material was reworked for the second piano concerto. Brahms, who was impatient with the minutiae of slurs marking the bowing, rather than phrasing, as his usual practice was, asked Joachim's advice on the writing of the solo violin part.[1] Joachim, who had first been alerted when Brahms informed him in August that "a few violin passages" would be coming in the mail, was eager that the concerto should be playable and idiomatic, and collaborated willingly, not that all his advice appeared in the final score.[2] The most familiar cadenza, which appears in the first movement, is by Joachim, though a number of people have provided alternatives, including Leopold Auer, Henri Marteau, Max Reger, Fritz Kreisler, Jascha Heifetz, George Enescu, Nigel Kennedy and Rachel Barton Pine. A recording of the concerto released by Ruggiero Ricci has been coupled with Ricci's recordings of sixteen different cadenzas.

Violin Concerto

40

Premiere
The work was premiered in Leipzig on January 1, 1879 by Joachim, who insisted on opening the concert with the Beethoven Violin Concerto, written in the same key, and closing with the Brahms.[3] Joachim's decision could be understandable, though Brahms complained that "it was a lot of D majorand not much else on the program."[4] Joachim was not presenting two established works, but one established one and a new, difficult one by a composer who had a reputation for being difficult.[5] The two works also share some striking similarities. For instance, Brahms has the violin enter with the timpani after the orchestral introduction: this is a clear homage to Beethoven, whose violin concerto also makes unusual use of the timpani. Brahms conducted the premiere. Various modifications were made between then and the work's publication by Fritz Simrock later in the year. Critical reaction to the work was mixed: the canard that the work was not so much for violin as "against the violin" is attributed equally to conductor Hans von Blow and to Joseph Hellmesberger, to whom Brahms entrusted the Vienna premiere,[6] which was however rapturously received by the public.[7] Henryk Wieniawski called the work "unplayable", and the violin virtuoso Pablo de Sarasate refused to play it because he didn't want to "stand on the rostrum, violin in hand and listen to the oboe playing the only tune in the adagio."[8] Against these critics, modern listeners often feel that Brahms was not really trying to produce a conventional vehicle for virtuoso display; he had higher musical aims. Similar criticisms have been voiced against the string concerti of other great composers, such as Beethoven's Violin Concerto and Hector Berlioz's Harold in Italy, for making the soloist "almost part of the orchestra."[9]

Technical demands
The technical demands on the soloist are formidable, with generous use of multiple stopping, broken chords, rapid scale passages, and rhythmic variation. The difficulty may to some extent be attributed to the composer's being chiefly a pianist. Nevertheless, Brahms chose the violin-friendly key of D major for his concerto. Since the violin is tuned G'D'A'E, the open strings, resonating sympathetically, add brilliance to the sound. For the same reason, composers of all eras (e.g. Bach, Mozart, Beethoven, Schumann, Tchaikovsky, Sibelius, Prokofiev, Korngold and Khachaturian) have written violin concertos in either D major or D minor.

Video Example
Brahms Violin Concerto played by Ida Haendel: Movement 1, Part I [10], Movement 1, Part II [11], Movement 1, Part III [12], Movement 2 [13], Movement 3 [14].

References
[1] Gal, Hans (1963). Johannes Brahms. New York: Alfred A. Knopf. p.217. [2] Jan Swafford, Johannes Brahms: a biography 1997:448ff discusses the writing of the Violin Concerto. [3] Steinberg, 121. [4] Quoted in Steinberg, 121. [5] Steinberg, 122. [6] Swafford 1997:452. [7] Brahms reported it to Julius Stockhausen as "a success as good as I've ever experienced". (quoted Swafford 1997:452. [8] Swafford 1997:452. [9] Conrad Wilson: Notes on Brahms: 20 Crucial Works (Edinboro, Saint Andrew Press: 2005) p. 62 [10] http:/ / www. youtube. com/ watch?v=3s4XHlrV7v8 [11] http:/ / www. youtube. com/ watch?v=RSEl6TA82_k [12] http:/ / www. youtube. com/ watch?v=7K9oII4AsZQ [13] http:/ / www. youtube. com/ watch?v=3eTO6APtBiQ

Violin Concerto
[14] http:/ / www. youtube. com/ watch?v=1qV4ahVJtbE

41

Bibliography
Steinberg, Michael The Concerto (Oxford and New York: Oxford University Press, 1998). ISBN 0-19-510330-0

External links
Brahms - Violin Concerto Op.77, 3rd mvt on Youtube (http://www.youtube.com/watch?v=O3Q4RMUuXaY) BBC Radio 3's Discovering Music (http://www.bbc.co.uk/radio3/classical/discover.shtml) (includes a .ram stream of a programme on the Brahms concerto) Detailed Listening Guide (http://www.kellydeanhansen.com/opus77.html) using the recording by Anne-Sophie Mutter and Herbert von Karajan Violin Concerto: Free scores at the International Music Score Library Project.

Piano Concerto No. 2

The Piano Concerto No. 2 in B-flat major, Op. 83 by Johannes Brahms is a composition for solo piano with orchestral accompaniment. It is separated by a gap of 22 years from the composer's first piano concerto. Brahms began work on the piece in 1878 and completed it in 1881 while in Pressbaum near Vienna. It is dedicated to his teacher, Eduard Marxsen. The premiere of the concerto was given in Budapest on November 9, 1881, with Brahms as soloist, and was an immediate success. He proceeded to perform the piece in many cities across Europe.[1]

Background
The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B-flat), 2 bassoons, 4 horns (initially 2 in B-flat bass, 2 in F), 2 trumpets (B-flat), timpani (B-flat and F), and strings. (The trumpets and timpani are used only in the first two movements, which is unusual.) The piece is in four movements, rather than the three typical of concertos in the Classical and Romantic periods: 1. 2. 3. 4. Allegro non troppo (B-flat major) Allegro appassionato (D minor) Andante (B-flat major/F-sharp major) Allegretto grazioso (B-flat major)

The additional movement results in a concerto considerably lengthier than most other concertos written up to that time. Upon its completion, Brahms sent its score to his friend, the surgeon and violinist Theodore Billroth to whom Brahms had dedicated his first two string quartets, describing the work as "some little piano pieces."[1] Brahms even described the stormy scherzo as a "little wisp of a scherzo."[2]

Description
Allegro non troppo
The first movement is in the concerto variant of sonata form. The main theme is introduced with a horn solo, with the piano interceding. The woodwind instruments proceed to introduce a small motif before an unusually placed cadenza appears. The full orchestra repeats the theme and introduces more motifs in the orchestral exposition. The piano and orchestra work together to develop these themes in the piano exposition before the key changes to F Minor (from F Major, the dominant) and the piano plays a powerful and difficult section before the next orchestral tutti appears. The development, like many such sections in the Classical period, works its way from the dominant key

Piano Concerto No. 2 back to the tonic while heavily developing themes. At the beginning of the recapitulation, the theme is replayed before a differing transition is heard, returning to the music heard in the piano exposition (this time in B-flat Major / B-flat Minor). A coda appears after the minor key section, finishing off this movement.

42

Allegro appassionato
This scherzo is in the key of D Minor and is in ternary form. Contrary to Brahms's "tiny wisp of a scherzo" remark, it is a tumultuous movement. The piano and orchestra introduce the theme and develop it before a quiet section intervenes. Soon afterwards the piano and orchestra launch into a stormy development of the theme before coming to the central episode (in D major). The central episode is brisk and begins with the full orchestra before yet another quiet section intervenes; then the piano is integrated into the orchestral effect to repeat the theme of the central episode. The beginning section returns but is highly varied.

Andante
The slow movement is in the tonic key of B-flat Major and is unusual in that it utilizes a cello solo. Brahms rewrote the cello's theme and changed into a song, Immer leiser wird mein Schlummer ("My Slumber grows ever more Peaceful") with lyrics by Hermann Van Lingg. (Op. 105, No. 2). The Cello plays the theme for the first three minutes, before the piano comes in. However, the gentler melodic pieces that the piano plays soon gives way to a stormy theme in B-Flat Minor, When the storm subsides, still in the minor key,the piano plays a transitional motif that leads to the key of G-Flat Major, before the Cello comes in to reprise, in the wrong key, and knowing that it has to get back to B-Flat Major, the piano and the orchestra make a transition to finish off the theme in its original home key of B-Flat Major. After the piano plays the transitional motifs, the piano quickly reprises the middle section in a major key, before playing the final chords to end this beautiful movement.

Allegretto grazioso
The last movement consists of five clearly distinguishable sections, of which the last is a 'stretto' (faster) coda. The first section (bars 1 to 64) is built on two themes: the first and main theme of classical structure (1-8) is first played by the piano and then repeated by the orchestra. The second theme (16-20) is likewise presented by the piano and repeated - and expanded - by the orchestra. A kind of development of the first theme leads to the next section. The second section (65-164) is built on three themes. Number three (65-73, a minor) is very different from the previous ones: by its minor key and its rhythm, which is Hungarian, in Number four (81-88) is still in a minor and number five (97-104) in F major. These three themes are repeated several times, which gives the section the character of a development. The third section (165-308) can be seen as a reprise of the first; it is built on the first two themes, but a striking new element is given in 201-205 and repeated in 238-241. The fourth section (309-376) gives the themes 3, 5 and 4, in that order. The coda is built on the main theme, but even here (398) Brahms presents a new element, being in a form of a little march, first played by the piano, and then, the orchestra comes in, and trades themes in the march before the final chords.

Piano Concerto No. 2

43

Notable Interpretations
Geza Anda with Herbert von Karajan and the Berliner Philharmoniker Claudio Arrau with Bernard Haitink and the Royal Concertgebouw Orchestra Wilhelm Backhaus with Karl Bohm and Wiener Philharmoniker Idil Biret with Antoni Wit and the Polish National Radio Symphony Orchestra Van Cliburn with Kiril Kondrashin and the Moscow Philharmonic Orchestra (recorded live in concert in 1972, remastered and released by the prestigious RCA Victor Red Seal Label in 1994) Van Cliburn with Fritz Reiner and the Chicago Symphony Orchestra (studio recording made in 1962 on RCA Living Stereo, LSC-2581, in 1962) Edwin Fischer with Wilhelm Furtwngler and the Berliner Philharmoniker Leon Fleisher with George Szell and the Cleveland Orchestra Emil Gilels with Eugen Jochum, and the Berliner Philharmoniker, and an earlier interpretation with Fritz Reiner and the Chicago Symphony Orchestra Vladimir Horowitz with Arturo Toscanini and the NBC Symphony Orchestra Stephen Kovacevich with Sir Colin Davis and the London Symphony Orchestra Maurizio Pollini with Claudio Abbado and the Wiener Philharmoniker

Sviatoslav Richter with Erich Leinsdorf and Chicago Symphony Orchestra (won for Best Classical Performance Instrumental Soloist or Soloists (with orchestra) at the Grammy Awards of 1961), and an earlier interpretation with Yevgeny Mravinsky Artur Rubinstein with Witold Rowicki and the Warsaw Philharmonic Orchestra Artur Schnabel with Adrian Boult and BBC Symphony Orchestra

Notes
[1] http:/ / w3. rz-berlin. mpg. de/ cmp/ brahms_piano_con2. html [2] Allsen, J. Michael (2002). "Piano Concerto No. 2, Johannes Brahms" (http:/ / www. galvestonsymphony. org/ composers/ JBrahms_PianoConc2. html). Galveston Symphony Orchestra. . Retrieved 2008-07-22.

External links
BBC Radio 3's Discovering Music (http://www.bbc.co.uk/radio3/classical/discover.shtml) (includes a link to an .ram file discussing the piece) Brahms' Orchestra Works (http://www.bh2000.net/score/orchbrah/) (free music score of this composition available. In public domain.) Piano Concerto No. 2: Free scores at the International Music Score Library Project. First edition annotated in composer's hand (http://www.juilliardmanuscriptcollection.org/composers.php#/ works/BRAH) at The Juilliard Manuscript Collection

Double Concerto

44

Double Concerto
The Double Concerto in A minor, Op. 102, by Johannes Brahms is a concerto for violin, cello and orchestra.

Origin of the work

The Double Concerto was Brahms' final work for orchestra. It was composed in the summer of 1887, and first performed on 18 October of that year in the Grzenich in Kln, Germany.[1] Brahms approached the project with anxiety over writing for instruments that were not his own.[2] He wrote it for the cellist Robert Hausmann[3] and his old but estranged friend, the violinist Joseph Joachim. The concerto was, in part, a gesture of reconciliation towards Joachim, after their long friendship had ruptured following Joachim's divorce from his wife Amalie.[4] [5] (Brahms had sided with Amalie in the dispute.) The concerto also makes use of the musical motif A-E-F, a permutation of F-A-E, which stood for a personal motto of Joachim, Frei aber einsam ("free but lonely").[6] Thirty-four years earlier, Brahms had been involved in a collaborative work using the F-A-E motif in tribute to Joachim: the F-A-E Sonata of 1853.

Structure
The composition consists of three movements in the fast-slow-fast pattern typical of classical instrumental concertos: 1. Allegro (A minor) 2. Andante (D major) 3. Vivace non troppo (A minor A major)

Performance and criticism

Joachim and Hausmann repeated the concerto, with Brahms at the podium, several times in its initial 1887-88 season, and Brahms gave the manuscript to Joachim, with the inscription "To him for whom it was written." Clara Schumann reacted unfavourably to the concerto, considering the work "not brilliant for the instruments".[7] Richard Specht also thought critically of the concerto, describing it as "one of Brahms' most inapproachable and joyless compositions". Brahms had sketched a second concerto for violin and cello but destroyed his notes in the wake of its cool reception. Later critics have warmed to it: Donald Tovey wrote of the concerto as having "vast and sweeping humour".[8] It has always been hampered by its requirement for two brilliant and equally matched soloists.

Scholarly discussion
Richard Cohn has included the first movement of this concerto in his detailed discussion of various composers' use of triadic progressions.[9] Cohn has also analysed such progressions mathematically.[10]

Discography
Jacques Thibaud and Pablo Casals, Pau Casals Orchestra Barcelona cond. Alfred Cortot (1929).[11] Jascha Heifetz and Emanuel Feuermann, Philadelphia Orchestra cond. Eugene Ormandy (1939).[12] Adolf Busch and Herman Busch, French National Radio Orchestra cond. Paul Kletzki (live Strasbourg 1949).[13] Georg Kulenkampff and Enrico Mainardi, Orchestre de la Suisse Romande cond. Carl Schuricht (1947).[14] Nathan Milstein and Gregor Piatigorsky, Philadelphia Robin Hood Dell Orchestra cond. Fritz Reiner (1951).[15] Jascha Heifetz and Gregor Piatigorsky, RCA Victor Symphony Orchestra cond. Alfred Wallenstein.[16]

Gioconda de Vito and Amadeo Baldovino,[17] Philharmonia Orchestra cond. Rudolf Schwarz (1952).[18] Jean Fournier and Antonio Janigro,[19] Vienna State Opera Orchestra cond. Hermann Scherchen.[20] Alfredo Campoli and Andr Navarra, Hall Orchestra cond. John Barbirolli.[21]

Double Concerto Josef Suk and Andr Navarra, Czech Philharmonic Orchestra cond. Karel Anerl (c.1963).[22] Willi Boskovsky and Emanuel Brabec,[23] Vienna Philharmonic Orchestra cond. Wilhelm Furtwngler (1950 live recording).[24] Wolfgang Schneiderhan and Enrico Mainardi,[25] Vienna Philharmonic Orchestra cond. Karl Bhm.[26] Wolfgang Schneiderhan and Jnos Starker, Orchestra of Radio-Symphonie Berlin cond. Ferenc Fricsay.[27] Henryk Szeryng and Jnos Starker, Royal Concertgebouw Orchestra cond. Bernard Haitink.[28] Emmy Verhey and Jnos Starker, Amsterdam Philharmonic Orchestra cond. Arpad Jo.[29] Isaac Stern and Leonard Rose, Philharmonic Symphony Orchestra of New York cond. Bruno Walter.[30] Isaac Stern and Yo-Yo Ma, Chicago Symphony Orchestra cond. Claudio Abbado.[31] Isaac Stern and Yo-Yo Ma, New York Philharmonic Orchestra cond. Zubin Mehta Gidon Kremer and Mischa Maisky, Vienna Philharmonic Orchestra cond. Leonard Bernstein.[32] David Oistrakh and Pierre Fournier, Philharmonia Orchestra cond. Alceo Galliera.[33] David Oistrakh and Mstislav Rostropovich, Cleveland Orchestra cond. George Szell.[34] David Oistrakh and Mstislav Rostropovich, Moscow Philharmonic Orchestra cond. Kirill Kondrashin (live 1963).[35] Salvatore Accardo and Siegfried Palm,[36] Orchestra Sinfonica di Roma della RTV Italiana cond Bruno Maderna (live 1961 Milan).[37] Zino Francescatti and Samuel H. Mayes,[38] Boston Symphony Orchestra cond. Charles Munch (live rec. April 1956)[39] Zino Francescatti and Pierre Fournier, Columbia Symphony Orchestra cond. Bruno Walter.[40] Zino Francescatti and Pierre Fournier, BBC Symphony Orchestra cond. Colin Davis.[41] Christian Ferras and Paul Tortelier, Philharmonia Orchestra cond. Paul Kletzki.[42] Yehudi Menuhin and Paul Tortelier, London Philharmonic Orchestra cond. Paavo Berglund (1984).[43] Yehudi Menuhin and Maurice Gendron, London Symphony Orchestra cond. Istvan Kertesz (Bath Festival 1964).[44] Yehudi Menuhin and Leslie Parnas,[45] Casals Festival Orchestra cond. Pablo Casals (1969).[46] Yan Pascal Tortelier and Paul Tortelier, BBC Symphony Orchestra cond. John Pritchard (1974).[47] Itzhak Perlman and Yo-Yo Ma, Chicago Symphony Orchestra cond. Daniel Barenboim.[48] Vadim Repin and Truls Mrk, Leipzig Gewandhaus Orchestra cond. Riccardo Chailly.[49] Gil Shaham and Jian Wang, Berliner Philharmoniker cond. Claudio Abbado.[50]

45

References
[1] Cheltenham Symphony Orchestra: program notes (http:/ / www. cheltenhamsymphonyorchestra. info/ prognotes. htm) [2] He disguised his reservations with joyless joking in his letter to Clara Schumann: "...I have had the amusing idea of writing a concerto for violin and cello. If it is at all successful it might give us some fun. You can well imagine the sort of pranks one might play in such a case," he wrote, adding "I ought to have handed on the idea to some who knows the violin better than I do." Litzmann, Schumann/Brahms Letters 8/1887, quoted by Jan Swafford, Johannes Brahms: a biography 1997:539. [3] For Hausmann he had written the Second Cello Sonata the previous summer. [4] "This concerto is a work of reconciliation Joachim and Brahms have spoken to each other again for the first time in years", Clara Schumann noted in her journal after a rehearsal in Baden-Baden in September 1887. [5] Schwartz, Boris (Autumn 1983). "Joseph Joachim and the Genesis of Brahms's Violin Concerto" (http:/ / mq. oxfordjournals. org/ cgi/ reprint/ LXIX/ 4/ 503). The Musical Quarterly LXIX (4): 503526. doi:10.1093/mq/LXIX.4.503. . Retrieved 2008-03-16. [6] Musgrave, Michael (July 1983). "Brahms's First Symphony: Thematic Coherence and Its Secret Origin". Music Analysis (Music Analysis, Vol. 2, No. 2) 2 (2): 117133. doi:10.2307/854245. ISSN0262-5245. JSTOR854245. [7] Wollenberg, Susan (February 1993). "Reviews of Books: Beitrge zur Geschichte des Konzerts: Festschrift Siegfried Kross zum 60. Geburtstag (eds. Reinmar Emans and Matthias Wendt". Music & Letters 74 (1): 7781. doi:10.1093/ml/74.1.77. ISSN0027-4224. JSTOR735204. [8] Stein, George P. (October 1971). "The Arts: Being through Meaning". Journal of Aesthetic Education (Journal of Aesthetic Education, Vol. 5, No. 4) 5 (4): 99113. doi:10.2307/3331623. ISSN0021-8510. JSTOR3331623. [9] Cohn, Richard (March 1996). "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions". Music Analysis (Music Analysis, Vol. 15, No. 1) 15 (1): 940. doi:10.2307/854168. ISSN0262-5245. JSTOR854168.

Double Concerto
[10] Cohn, Richard (Spring 1997). "Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations". Journal of Musical Theory (Journal of Music Theory, Vol. 41, No. 1) 41 (1): 166. doi:10.2307/843761. ISSN0022-2909. JSTOR843761. [11] HMV DB1311-1314/Victor V-8208-8211. [12] HMV/Victor 78rpm:Naxos CD [13] Music and Arts MACD 108 [14] Decca 78rpm AK2025-2028: Archipel CD ARPCD 0301 [15] Naxos CD 8.111051 [16] RCA LD(S)2513 [17] Student of Camillo Oblach's at the G.B. Martini School of Music, Bologna, Baldovino was cellist with the Trio Italiano d'Archi and the Trio di Trieste: see (http:/ / www. answers. com/ topic/ amadeo-baldovino) here. [18] HMV BLP 1028 [19] Fournier and Janigro played together with Paul Badura-Skoda in a trio ensemble. [20] Westminster LP WLP 5117. [21] (Pye Golden Guinea GGC 4009). [22] Supraphon LP SUA ST 50573. [23] Cellist of the Barylli Quartet, Brabec was teacher of Nikolaus Harnoncourt at Vienna. [24] Dynamic IDIS Hist. CD IDI 6554 [25] Schneiderhan succeeded Georg Kulenkampff as violin in the trio ensemble with Mainardi and Edwin Fischer after Kulenkampff died. [26] Orfeo CD C 359941B [27] CD DG 4775341 [28] Australian Eloquence CD 4643092 [29] Brilliant classics CD 93249 [30] Philips LP ABL 3139/3289. [31] CBS Masterworks Mk 42387 [32] DGG DVD 000983409 [33] HMV/EMI SXLP 30185 [34] HMV ASD 3312 [35] BBC CD L41972 [36] Palm was a pupil of Mainardi's, and a President of the European String Teachers' Association: see interview (http:/ / www. cello. org/ Newsletter/ Articles/ palm. htm) here. [37] Movimento Musica srl Milano (WEA Italiana) 01.017 33/30 DP [38] Samuel H. Mayes (http:/ / www. cello. org/ heaven/ bios/ mayes. htm) [39] Music and Arts, West Hill Radio Archive WHRA 6017 [40] CBS LP SBRG 72087 [41] BBC CD L41492 [42] Testament CD SBT 1337 [43] EMI EG 27 0268 1 [44] BBC CD L4252 2 [45] Leslie Parnas (http:/ / www. answers. com/ topic/ leslie-parnas) [46] Doremi CD DHR 7844 [47] BBC CD L42362 [48] Warner Classics CD Maestro 2564673668 [49] CD DG 4777470 [50] CD DG 4695292

46

External links
History of the Double Concerto (http://w3.rz-berlin.mpg.de/cmp/brahms_double_con.html) Adaptation of the work as a Cello Concerto (http://www.sikorski.de/3041/en/a_cello_concerto_by_brahms. html) Andrews University Symphony Orchestra, November 13, 1999 notes (http://www.andrews.edu/~mack/pnotes/ nov1399.html,) Double Concerto: Free scores at the International Music Score Library Project. Copyist's manuscript with composer's annotations (http://www.juilliardmanuscriptcollection.org/composers. php#/works/BRAH) at The Juilliard Manuscript Collection

47

Vocal orchestral
A German Requiem
A German Requiem, To Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, and a soprano and a baritone soloist, composed between 1865 and 1868. It comprises seven movements, which together last 65 to 80 minutes, making this work Brahms's longest composition. A German Requiem is sacred but non-liturgical, and unlike a long tradition of the Latin Requiem, A German Requiem, as its title states, is a Requiem in the German language.

History
Brahms's mother died in February 1865, a loss that caused him much grief and may well have inspired Ein deutsches Requiem. Brahms's lingering feelings over Robert Schumann's death in July 1856 may also have been a motivation, though his reticence about such matters makes this uncertain.[1]
Johannes Brahms around 1866

By the end of April 1865, Brahms had completed the first, second, and fourth movements. The second movement used some previously abandoned musical material written in 1854, the year of Schumann's mental collapse and attempted suicide, and of Brahms's move to Dsseldorf to assist Clara Schumann and her young children. Brahms completed all but what is now the fifth movement by August 1866. Johann Herbeck conducted the first three movements in Vienna on December 1, 1867. This partial premiere went poorly due to a misunderstanding in the timpanist's score. Sections marked as pf were played as f or ff, essentially drowning out the rest of the ensemble in the fugal section of the third movement.[2] The first performance of the six movements premiered in the Bremen Cathedral six months later on Good Friday, April 10, 1868, with Brahms conducting and Julius Stockhausen as the baritone soloist. The performance was a great success and marked a turning point in his career.[3] Brahms added the fifth movement in May 1868, scored for soprano soloist and choir. It was first sung in Zrich on September 12, 1868 by Ida Suter-Weber, with Friedrich Hegar conducting the Tonhalle Orchester Zrich. The final, seven-movement version of A German Requiem was premiered in Leipzig on February 18, 1869 with Carl Reinecke conducting the Gewandhaus Orchestra and Chorus, and soloists Emilie Bellingrath-Wagner and Franz Krkl.

Text
Brahms assembled the libretto himself. In contrast to the traditional Roman Catholic Requiem Mass, which employs a standardized text in Latin, the text is derived from the German Luther Bible. Brahms's first known use of the title Ein deutsches Requiem was in an 1865 letter to Clara Schumann in which he wrote that he intended the piece to be "eine Art deutsches Requiem" (a sort of German Requiem). Brahms was quite moved when he found out years later that Robert Schumann had planned a work of the same name.[1] German refers primarily to the language rather than the intended audience. Brahms told Carl Martin Reinthaler, director of music at the Bremen Cathedral, that he would have gladly called the work "Ein menschliches Requiem" (A human Requiem).[4]

A German Requiem Although the Requiem Mass in the Roman Catholic liturgy begins with prayers for the dead ("Grant them eternal rest, O Lord"), A German Requiem focuses on the living, beginning with the text "Blessed are they that mourn, for they shall be comforted." from the Beatitudes. This themetransition from anxiety to comfortrecurs in all the following movements except movements 4 and 7, the central one and the final one. Although the idea of the Lord is the source of the comfort, the sympathetic humanism persists through the work.[4] In fact, Brahms purposely omitted Christian dogma.[5] In his correspondence with Carl Reinthaler, when Reinthaler expressed concern over this, Brahms refused to add references to "the redeeming death of the Lord", as Reinthaler put it, such as John 3:16. In the Bremen performance of the piece, Reinthaler took the liberty of inserting the aria "I know that my Redeemer liveth" from Handel's Messiah to satisfy the clergy.[6]

48

Instrumentation
In addition to soprano and baritone soloists and mixed chorus, A German Requiem is scored for: woodwind: piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons and contrabassoon (contrabassoon ad libitum) brass: 4 horns, 2 trumpets, 3 trombones, tuba percussion: timpani strings and harp (one part, preferably doubled)

organ (ad libitum)

Structure
Since Brahms inserted movement 5, the work shows symmetry around movement 4, which describes the "lovely dwellings" of the Lord. Movement 1 and 7 begin "Selig sind" (Blessed are), taken from the Beatitudes of the Sermon on the Mount in 1, from Revelation in 7. These two slow movements also share musical elements, especially in their ending. Movements 2 and 6 are both dramatic, 2 dealing with the transient nature of life, 6 with the resurrection of the dead, told as a secret about a change. Movements 3 and 5 are begun by a solo voice. In the third movement, the baritone requests "Herr, lehre doch mich" (Lord, teach me); the choir repeats his words several times, making the personal prayer more general. In the fifth movement, the soprano and chorus sing different text, corresponding to each other. As opposed to Baroque oratorios, the soloists do not sing any arias, but are part of the structure of the movements. Almost all movements, with the exception of 4 and 7, connect different Bible verses, which lead from suffering and mourning to consolation. The very last word of the work is the same as the first: "selig" (blessed).

Table of movements
The following table is organized first by movement, then within a movement by Bible quotation (where appropriate), which generally also causes a change in mood, expressed by tempo, key and orchestration. The choir is in four parts, with the exception of a few chords. The choir is not especially mentioned in the table because it is present throughout the work. The translation is close to the original. The links to the King James version of the Bible are supplied. Brahms marked some sections in German for tempo and character, trying to be more precise than the common Italian tempo markings.

A German Requiem

49

Title Solo I Selig sind, die da Leid tragen

Key

Tempo Time

Source

Translation

Dminor

Ziemlich langsam und mit Ausdruck (Rather slow and with expression)

Matthew 5:4 Blessed are they who carry suffering

Die mit Trnen sen, werden mit Freuden ernten Selig sind, die da Leid tragen

Psalm 126:56

They that sow in tears shall reap in joy Blessed are they who carry suffering

II Denn alles Fleisch, es ist wie Gras B-flatminor Langsam, marschmig (Slow, 3/4 like a march) Etwas bewegter (A bit more moving) Tempo I Un poco sostenuto 1 Peter 1:25 1 Peter 1:24 For all flesh, it is as grass

So seid nun geduldig

G-flatmajor

James 5:7

So be patient

Denn alles Fleisch, es ist wie Gras Aber des Herrn Wort bleibet in Ewigkeit Die Erlseten des Herrn werden wiederkommen ewige Freude III Herr, lehre doch mich Ach, wie gar nichts Bar Bar

B-flatminor B-flatmajor

For all flesh, it is as grass But the Lord's word remains forever The ransomed of the Lord shall return eternal joy

Allegro non troppo

Isaiah 35:10

Tranquillo

Dminor

Andante moderato 3/2

Psalm 39:4 Psalm 39:56 Psalm 39:7 4/2 Wis 3:1

Lord, teach me Ah, how in vain

Ich hoffe auf dich Der Gerechten Seelen sind in Gottes Hand IV Wie lieblich sind deine Wohnungen V Ihr habt nun Traurigkeit Ich will euch trsten Sehet mich an Ich will euch trsten Ihr habt nun Traurigkeit Ich will euch trsten VI Denn wir haben hie keine bleibende Statt Sop Sop Sop

Dmajor

My hope is in you The souls of the righteous are in the hand of God

E-flatmajor

Mig bewegt (Moderately moving)

3/4

Psalm 84:1,2,4

How lovely are thy dwellings

Gmajor

Langsam (Slow)

John 16:22 Isaiah 66:13

You now have sadness I will comfort you

Sirach 51:27 Look at me I will comfort you You now have sadness I will comfort you

C minor

Andante

Hebrews 13:14

For here we have no lasting place

A German Requiem

50
Bar F-sharp minor C minor Vivace 3/4 1 Cor 15:5152 1 Cor 15:52 Behold, I tell you a mystery

Siehe, ich sage euch ein Geheimnis Denn es wird die Posaune schallen Dann wird erfllet werden Der Tod ist verschlungen in den Sieg Herr, du bist wrdig VII Selig sind die Toten Ja, der Geist spricht, da sie ruhen

For the trombone will sound

Bar

1 Cor 15:54 1 Cor 15:5455 C major Allegro 4/2 Rev 4:11

Then shall be fulfilled Death is swallowed up in victory

Lord, you are worthy

Fmajor Amajor

Feierlich (Solemn)

Rev 14:13

Blessed are the dead Yes, the Spirit speaks that they rest Blessed are the dead

Selig sind die Toten

Fmajor

Composition
Notable orchestration devices include the first movement's lack of violins, the use of a piccolo, clarinets, one pair of horns, trumpets, a tuba, and a timpani throughout the work, as well as the use of harps at the close of both the first and seventh movements, most striking in the latter because at that point they have not played since the middle of the second movement. A German Requiem is unified compositionally by a three-note motif of a leap of a major third, usually followed by a half-step in the same direction. The first exposed choral entry presents the motif in the soprano voice (FAB). This motif pervades every movement and much of the thematic material in the piece.[7]

Critical reception
Most critics have commented on the high level of craftsmanship displayed in the work, and have appreciated its quasi-classical structures (e.g. the third and sixth movements have fugues at their climax). But not all critics responded favourably to the work. George Bernard Shaw, an avowed Wagnerite, wrote that "it could only have come from the establishment of a first-class undertaker." Some commentators have also been puzzled by its lack of overt Christian content, though it seems clear that for Brahms this was a humanist rather than a Christian work.[2]

Versions and arrangements

An alternative version of the work was prepared by Brahms to be performed as a piano duet with four hands on one piano. This version also incorporates the vocal parts, suggesting that it was intended as a self-contained version probably for at-home use. However, the vocal parts can also be omitted, making the duet version an acceptable substitute accompaniment for choir and soloists in circumstances where a full orchestra is unavailable. The first complete (excepting the yet-unwritten fifth movement) performance of the Requiem in London, in July 1871 at the home of Sir Henry Thompson and his wife, the pianist Kate Loder (Lady Thompson), utilized this piano-duet accompaniment and was sung in English.

A German Requiem

51

Appearances in culture
A German Requiem inspired the titles of Jorge Luis Borges' 1949 short story "Deutsches Requiem" and Philip Kerr's 1991 novel A German Requiem.

Notes
[1] Steinberg, 69. GoogleBooks partial preview (http:/ / books. google. com/ books?id=Ex6JR8JBYisC& q=Brahms+ Hamburg#v=snippet& q=Brahms Hamburg& f=false) Retrieved 1 September 2011. [2] Thuleen, N. "Ein deutsches Requiem: (Mis)conceptions of the Mass." (http:/ / www. nthuleen. com/ papers/ 415brahms. html) Retrieved 1 September 2011. [3] Steinberg, 6869 [4] Steinberg, 70 [5] Zebrowski, A. "Brahms' German Requiem" (http:/ / www. theosophy-nw. org/ theosnw/ arts/ ar-azeb. htm) Sunrise magazine. Retrieved 1 September 2011. [6] McGrade, M., "'Blessed Are They That Mourn', Notes on Brahms' German Requiem", "State of the Arts" (http:/ / www. brandeis. edu/ arts/ office/ state/ archives/ spring2007. pdf) (pdf). ., p. 7. Retrieved 1 September 2011. [7] Steinberg, 7174

References
Geiringer, Karl; Irene Geiringer (1947). Brahms, his life and work. Da Capo Press. p.92. ISBN9780306802232. McGrade, Michael (2007). "'Blessed Are They That Mourn', Notes on Brahms' German Requiem", "State of the Arts" (http://www.brandeis.edu/arts/office/state/archives/spring2007.pdf) (pdf)., vol. 3, no. 2, Winter/Spring 2007, p. 7. Musgrave, Michael (1996). Brahms, A German Requiem. Cambridge University Press. ISBN9780521409957. Musgrave, Michael; Bernard D. Sherman (2003). Performing Brahms: early evidence of performance style. Cambridge University Press. p.131. ISBN9780521652735. Steinberg, Michael (2005). "Johannes Brahms: A German Requiem ..., Op. 45." Choral Masterworks: A Listener's Guide. (http://books.google.com/books?id=Ex6JR8JBYisC&q=Brahms+Hamburg#v=snippet&q=Brahms Hamburg&f=false) Oxford University Press. ISBN 9780195126440 Thuleen, Nancy (1998). "Ein deutsches Requiem: (Mis)conceptions of the Mass." (http://www.nthuleen.com/ papers/415brahms.html) Website Article. 2 April 1998. Van Camp, Leonard (2002). A Practical Guide for Performing, Teaching, and Singing the Brahms Requiem. Alfred Music Publishing. ISBN9780757998591. Zebrowski, Armin (2002). "Brahms' German Requiem" (http://www.theosophy-nw.org/theosnw/arts/ar-azeb. htm) Sunrise magazine, August/September 2002, Theosophical University Press.

External links
Ein deutsches Requiem: Free scores at the International Music Score Library Project. Free scores of this work in the Choral Public Domain Library (ChoralWiki) Detailed Listening Guide (http://www.kellydeanhansen.com/opus45.html) using the recording by Carlo Maria Giulini. The ghost of the Free Music project (http://ml.cs.colorado.edu/~ben/Brahms) has a recording available under a Creative Commons license. Brahms's German Requiem: Promise Fulfilled (http://www.brightcecilia.com/features/ brahms-german-requiem.html). Emmeline Rushton's analysis, with discussion of the Schumann connection. Brahms's German Requiem (http://www.theosophy-nw.org/theosnw/arts/ar-azeb.htm), analysis by Armin Zebrowski.

Rinaldo

52

Rinaldo
Rinaldo, a cantata for tenor solo, four-part male chorus and orchestra, was begun by Johannes Brahms in 1863 as an entry for a choral competition announced in Aachen. He chose as his text the dramatic poem of the same name by Johann Wolfgang von Goethe, which presents an episode from the epic Gerusalemme Liberata by Torquato Tasso in the form of a series of dialogues between the knight Rinaldo, who has been enchanted by the witch Armida, and his fellow knights, who are calling him back to the path of duty. The part of Armida is not sung as she makes only a silent appearance. Although the work was four-fifths completed in 1863, Brahms laid it aside and only finished it in 1868 after the success of his A German Requiem. The premiere took place in Vienna on 28 February 1869 at a concert of the Akademischer Gesangverein. The composer conducted, with the tenor Gustav Walter, a student chorus numbering 300, and the Court Opera orchestra. Rinaldo was subsequently published as Brahms Op. 50. It has never been popular, but is interesting on a number of counts, not least because it may give the closest idea of what an opera by Brahms would have sounded like.

External links
Rinaldo (cantata) [1]: Free scores at the Brahms Institut [2].

References
[1] http:/ / brahms-institut. de/ web/ bihl_notenschrank/ ausgaben/ op_050. html [2] http:/ / brahms-institut. de/

Alto Rhapsody
The Alto Rhapsody, Op 53, is a work for contralto, male chorus, and orchestra by Johannes Brahms. It was written as a wedding gift for Robert and Clara Schumann's daughter, Julie. Brahms scholars have long speculated that the composer may have had romantic feelings for Julie, which he may have integrated into the text and music of the Alto Rhapsody. The text, with its metaphysical portrayal of a misanthropic soul who is urged to find spiritual sustenance and throw off the shackles of his suffering, has powerful parallels in Brahms's life and character. The Rhapsody is a setting of verses from Goethe's Harzreise im Winter. It was written in 1869, one year after the German Requiem, with which the third part of the Rhapsody has similarities of vocal and choral style. The work is in three sections: the first two, in a chromatically dense and wandering C minor, are for the soloist and orchestra and describe the pain of the misanthropic wanderer. The second section is an aria in all but name. The third section, in a nominal C major, brings in the male chorus, which joins the soloist in a plea to a celestial spirit for an abatement of the wanderers pain. The work typically takes between twelve and fifteen minutes in performance. See recordings, below, for indicative timings. The work was first "tried out" on 6 October 1869, at the dress rehearsal for the Karlsruhe season's first orchestral subscription concert. Amalia Boni sang the solo role; the conductor Hermann Levi was on hand, but there was no male voice chorus, and it is unclear whether Boni was accompanied by orchestra or simply on piano. Brahms and Clara Schumann were present, but there was certainly no other audience.[1] It received its first public performance, and its first definitely known proper performance, on 3 March 1870, at Jena. The soloist at the first performance was Pauline Viardot and the conductor was Ernst Naumann.[2] The text Brahms set is:

Alto Rhapsody

53

German original Aber abseits wer ist's? Im Gebsch verliert sich sein Pfad; hinter ihm schlagen die Struche zusammen, das Gras steht wieder auf, die de verschlingt ihn. Ach, wer heilet die Schmerzen dess, dem Balsam zu Gift ward? Der sich Menschenha aus der Flle der Liebe trank! Erst verachtet, nun ein Verchter, zehrt er heimlich auf seinen eigenen Wert In ungenugender Selbstsucht. Ist auf deinem Psalter, Vater der Liebe, ein Ton seinem Ohre vernehmlich, so erquicke sein Herz! ffne den umwlkten Blick ber die tausend Quellen neben dem Durstenden in der Wste!

English translation But who is that apart? His path disappears in the bushes; behind him the branches spring together; the grass stands up again; the wasteland engulfs him. Ah, who heals the pains of him for whom balsam turned to poison? Who drank hatred of man from the abundance of love? First scorned, now a scorner, he secretly feeds on his own merit, in unsatisfying egotism. If there is on your psaltery Father of love, one note his ear can hear then refresh his heart! Open his clouded gaze to the thousand springs next to him who thirsts in the wilderness! [3]

Recordings
The Alto Rhapsody is not frequently performed in concert, perhaps because of the expense of hiring a soloist and chorus for a short piece, but it has been recorded many times. A selection of recordings available at June 2007 illustrates the wide range of tempi adopted by different interpreters of the Rhapsody, with playing times ranging from 11 minutes 45 seconds to 16 minutes 10 seconds.
Soloist: Dame Janet Baker John Alldis Choir London Philharmonic Orchestra Conductor: Sir Adrian Boult Duration: 11:45 Soloist: Stephanie Blythe Ensemble a sei voci Ensemble Orchestral de Paris Conductor: John Nelson Duration: 12:14 Soloist: Christa Ludwig Philharmonia Orchestra & Chorus Conductor: Otto Klemperer Duration 12:27 Soloist: Aafje Heynis Soloist: Marian Anderson Philadelphia Orchestra Conductor: Eugene Ormandy Duration: 13:10 Soloist: Dunja Vejzovic Houston Symphony Orchestra & Chorus Conductor: Christoph Eschenbach Duration: 13:55 Soloist: Marilyn Horne Atlanta Symphony Orchestra & Chorus Conductor: Robert Shaw Duration: 14:01 Soloist: Brigitte Fassbaender

Alto Rhapsody

54
Prague Philharmonic Chorus Czech Philharmonic Orchestra Conductor: Giuseppe Sinopoli Duration: 14:28 Soloist: Kathleen Ferrier London Philharmonic Orchestra & Choir Duration: 15:53 Soloist: Christa Ludwig Wiener Singverein Wiener Philharmoniker Conductor: Karl Bhm Duration 16:10

Royal Male Choir, "Apollo" Royal Concertgebouw Orchestra Conductor: Eduard Van Beinum Duration: 12:43 Soloist: Marjana Lipovek Ernst Senff Chor Berliner Philharmoniker Conductor: Claudio Abbado Duration: 13:04

Notes
[1] George S. Bozarth, Brahms Studies (http:/ / books. google. com. au/ books?id=UyH4KyuCC0oC& pg=PA310& lpg=PA310& dq=alto+ rhapsody+ levi+ karlsruhe& source=bl& ots=j0QCDB6b-V& sig=Z4dq_-tXPEXUuDVrXEvgsPD42Q8& hl=en& ei=bgydScauIcPQkAXo_f2hBQ& sa=X& oi=book_result& resnum=1& ct=result) [2] Michael Musgrave, The Cambridge Companion to Brahms (http:/ / books. google. com. au/ books?id=CzHbjLeIpfgC& pg=PA49& lpg=PA49& dq=alto+ rhapsody+ pauline+ viardot+ march+ 1870& source=bl& ots=x2fMndPtFa& sig=THc80fcN_PSpkjB3ZOVGhv_J_io& hl=en& ei=jQudSdnkE5LFkAWwlPCgBQ& sa=X& oi=book_result& resnum=3& ct=result) [3] translations differ on whether auf deinem Psalter means on your psaltery (an old instrument like a small harp) or in your psalter (in your book of psalms).

References
West, Ewan: Notes to EMI CD CDM 7 69650 2 Stone, John: Notes to HMV CD 5 68014 2

External links
Alto Rhapsody: Free scores at the International Music Score Library Project. Detailed listening guide (http://www.kellydeanhansen.com/opus53.html) using a recording conducted by Claudio Abbado

Schicksalslied

55

Schicksalslied
The Schicksalslied (English: Song of Destiny) is a short, powerful work for chorus and orchestra composed by Johannes Brahms between 1868 and 1871, his Opus 54. The text is that of Friedrich Hlderlin's poem Hyperions Schicksalslied, originally part of the novel Hyperion. Brahms discovered the text in an early volume of Hlderlin's verse belonging to his friend Albert Dietrich, and immediately began sketching a setting, although it took him a long time to resolve structural and expressive questions. The poem has only two verses, the first describing the bliss of the gods and the second the sufferings of mankind "plunging blindly into the abyss." Brahms originally wanted to create a ternary form with a reprise of the first verse but felt this would be too contrary to Hlderlin's tragic vision. As completed, the work refers to the music of the first verse in the coda, but this is purely orchestral. A draft of his earlier conception, with chorus in the coda, exists and has been recorded. The premiere took place on 13 October 1871 in Karlsruhe, conducted by Hermann Levi.

External links
Schicksalslied [1]: Free scores at the Brahms Institut [2]. Full text with English translation [2]

References
[1] http:/ / brahms-institut. de/ web/ bihl_notenschrank/ ausgaben/ op_054. html [2] http:/ / www. recmusic. org/ lieder/ get_text. html?TextId=8134

Nnie
Nnie (the German form of Latin nenia, meaning "a funeral song"[1] ) is a composition for SATB chorus and orchestra, op. 82 by Johannes Brahms, which sets to music the poem Nnie by Friedrich Schiller. Brahms composed the piece in 1881, in memory of his deceased friend Anselm Feuerbach. Nnie is a lamentation on the inevitability of death; the first sentence, Auch das Schne mu sterben, translates to "Even the beautiful must die." An average performance has a duration of approximately 15 minutes. It is one of the most rarely performed pieces by Brahms mostly due to its difficulty, leaving only more experienced choirs able to perform it. The text follows: Auch das Schne mu sterben! Das Menschen und Gtter bezwinget, Nicht die eherne Brust rhrt es dem stygischen Zeus. Einmal nur erweichte die Liebe den Schattenbeherrscher, Und an der Schwelle noch, streng, rief er zurck sein Geschenk. Nicht stillt Aphrodite dem schnen Knaben die Wunde, Die in den zierlichen Leib grausam der Eber geritzt. Nicht errettet den gttlichen Held die unsterbliche Mutter, Wann er am skischen Tor fallend sein Schicksal erfllt. Aber sie steigt aus dem Meer mit allen Tchtern des Nereus, Und die Klage hebt an um den verherrlichten Sohn. Siehe! Da weinen die Gtter, es weinen die Gttinnen alle, Da das Schne vergeht, da das Vollkommene stirbt.

Nnie Auch ein Klagelied zu sein im Mund der Geliebten ist herrlich; Denn das Gemeine geht klanglos zum Orkus hinab. English translation: Also Beauty must perish! What gods and humanity conquers, Moves not the armored breast of the Stygian Zeus. Only once did love come to soften the Lord of the Shadows, And at the threshold at last, sternly he took back his gift. Nor can Aphrodite assuage the wounds of the youngster, That in his delicate form the boar had savagely torn. Nor can rescue the hero divine his undying mother, When, at the Scaean gate now falling, his fate he fulfills. But she ascends from the sea with all the daughters of Nereus, And she raises a plaint here for her glorified son. See now, the gods, they are weeping, the goddesses all weeping also, That the beauteous must fade, that the most perfect one dies. But to be a lament on the lips of the loved one is glorious, For the prosaic goes toneless to Orcus below.

56

References
[1] "nenia", Charlton T. Lewis, Charles Short, A Latin Dictionary, online (http:/ / www. perseus. tufts. edu/ cgi-bin/ ptext?layout. reflang=la;layout. reflookup=nenia;doc=Perseus:text:1999. 04. 0059:entry=#30726)

External links
Nnie (http://brahms-institut.de/web/bihl_notenschrank/ausgaben/op_082.html): Free scores at the Brahms Institut (http://brahms-institut.de/).

Gesang der Parzen

57

Gesang der Parzen

Gesang der Parzen (Song of the Fates), Op. 89, is a piece for mixed choir and orchestra by Johannes Brahms. The work uses a text from Goethe's Iphigenie auf Tauris (which had earlier been set for four voices by Johann Friedrich Reichardt).[1] Written in one movement, the piece was composed in 1882, premiered in Basel on 10 December of the same year, and published in 1883.[2] It is written for six-part choir (altos and basses divided into two) and an orchestra comprising two flutes (one doubling piccolo), two oboes, two B-flat clarinets, two bassoons, double bassoon, two French horns in D, two French horns in F, two trumpets, alto, tenor and bass trombones, tuba, timpani and strings. The piece is not often performed but has been recorded several times, and has had its fans: Anton Webern admired a passage in the coda built on a cycle of major thirds.[2]

References
[1] "Song of the Fates" (http:/ / www. recmusic. org/ lieder/ get_text. html?TextId=6549), The Lied and Art Song Texts Page. Retrieved 7 March 2010 [2] George S. Bozarth and Walter Frisch. "Brahms, Johannes." In Grove Music Online. Oxford Music Online, http:/ / www. oxfordmusiconline. com/ subscriber/ article/ grove/ music/ 51879pg11 (accessed March 7, 2010)

External links
Full score (http://imslp.org/wiki/Gesang_der_Parzen,_Op.89_(Brahms,_Johannes)) from the International Music Score Library Project German text and English translation (http://www.recmusic.org/lieder/get_text.html?TextId=6549) from the Lied and Art Song Texts Page Listening Guide (http://www.kellydeanhansen.com/opus89.html) by Kelly Dean Hansen

58

Chamber
Piano Trio No. 1
The Piano Trio in B, opus 8, by Johannes Brahms was composed during 1854. The composer produced a revised version of the work in 1891.[1] It is scored for piano, violin and cello, and it is the only work of Brahms to exist today in two published versions, although it is almost always the revised version that we hear performed today. It is also among the first large multi-movement works to begin in a major key and end in the tonic minor; another being Mendelssohn's Italian Symphony. The trio is in four movements: 1. 2. 3. 4. Allegro con brio Scherzo Adagio Allegro

First Movement
This movement is a sonata form movement in B major, with a broad theme that begins in the cello and piano and builds in intensity. It is counterpoised by a more delicate anacrustic second theme in G sharp minor. This theme appeared only in the second version of the trio, replacing a more complex group of themes and a fugal section in the first version.

Second Movement
The B minor scherzo combines delicate filigree passages with fortissimo outbursts. The exuberant mood of the first movement returns in the trio section. A tierce de picardie sets the scene for the Adagio. The only alterations Brahms applied to this movement in his revision of the work were a doubling of the climactic trio melody in the cello, and a reworking of the coda.

Third Movement
This movement, returning to B major, opens with a spacious chordal theme in the piano, counterpoised by a middle section in which the cello plays a poignant G sharp minor melody making use of chromaticism. In the first version, a different second theme was used, and an Allegro section was included near the end of the movement.

Fourth Movement
Back in B minor, the first theme of this movement is highly chromatic and slightly ambiguous tonally, with a very agitated dotted rhythm. This is perhaps the movement Brahms altered the most between the two versions, with the cello's original smooth second theme in F sharp major being replaced by a more vigorous arpeggiated piano theme in D major. After a B major episode recalling the mood of the first movement, the music returns to minor and ends very turbulently.

Piano Trio No. 1

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References
[1] Conrad Wilson: Notes on Brahms: 20 Crucial Works (Edinboro, Saint Andrew Press: 2005) p. 8

External links
Piano Trio No. 1: Free scores at the International Music Score Library Project. Performance of Piano Trio No. 1 (http://cdn1.libsyn.com/gardnermuseum/brahms_op8.mp3) by the Claremont Trio from the Isabella Stewart Gardner Museum in MP3 format

String Sextet No. 1

The String Sextet No. 1 in B-flat major, Op. 18, was composed in 1860 by Johannes Brahms. It was published in 1862 by the firm of Fritz Simrock. The sextet is scored for two violins, two violas, and two cellos. The sextet has four movements:[1] I. Allegro ma non troppo, in 3/4 time II. Andante, ma moderato, in D minor and 2/4 time (and in variation form) III. Scherzo: Allegro molto (3/4, in F major, with a central, Animato trio section) IV. Rondo: Poco Allegretto e grazioso, in 2/4 The outlines of the main themes of the first movement and finale are similar (the first four notes of the cello theme of the first movement are almost identical with those of notes two to five of the finale, and there are other similarities more easily heard.)

Sextet chronology
There are earlier examples by Luigi Boccherini (two sets of six each). However, between the Boccherini and the Brahms, very few for stringed instruments without piano seem to have been written or published, whereas within the decades following Brahms' two examples, a number of composers, including Antonn Dvok, Peter Ilyich Tchaikovsky, Joachim Raff, Max Reger, Arnold Schoenberg, and Erich Wolfgang Korngold, all wrote string sextets. Exceptions, composers whose sextets appeared between the Boccherini and the Brahms, include a sextuor a deux violins, deux violes, violoncelle & basse from the 1780s (still later than the 1776 or so of Boccherini's opus 23) by Ignaz Pleyel[2] , Ignacy Feliks Dobrzyski's opus 39 in E-flat (from 1849)[3] , Louis Spohr's in C opus 140 of 1850, but they do not seem to have been many.

Popular culture
This sextet was used as soundtrack by French director Louis Malle in the movie "The Lovers" ("Les Amants", 1958). The second movement of the Sextet was featured in Star Trek: The Next Generation episode "Sarek".

References
[1] For instance, see pages 1-44 of the 1968-published Dover Publications reprint of the Vienna Gesellschaft der Musikfreunde Edition: Complete chamber music for strings and clarinet quintet (originally edited by Hans Gl). ISBN 0486219143. [2] OCLC78958908 [3] "Announcement of Recording with Dobrzynski's String Sextet and Elsner's Septet" (http:/ / www. recordsinternational. com/ archive/ RICatalogOct02. html). October 2002. . Retrieved 3 March 2009.

String Sextet No. 1

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External links
Brahms String Sextet No. 1: Free scores at the International Music Score Library Project. Performance of String Sextet No. 1 (http://cdn4.libsyn.com/gardnermuseum/brahms_op18.mp3) by the Musicians from Marlboro from the Isabella Stewart Gardner Museum in MP3 format Detailed Listening Guide (http://www.kellydeanhansen.com/opus18.html) using the recording by the Amadeus Quartet with Aronowitz and Pleeth

Piano Quartet No. 1

The Piano Quartet in G minor, Op. 25, was composed by Johannes Brahms between 1856 and 1861. It was Clara Schumann who owned this masterpiece, as she was the pianist for the first performance in 1861 in Hamburg. It was also played in Vienna on November 16, 1862 with Brahms himself at the piano supported by members of the Hellmesberger Quartet.[1] Like most piano quartets, it is scored for piano, violin, viola and cello. The quartet is in four movements: 1. Allegro 2. Intermezzo: Allegro 3. Andante con moto 4. Rondo alla Zingarese: Presto

First Movement
G minor, sonata form (with second subject in D major)

Second Movement
C minor, ternary form, with a trio in A flat major. Ends in C major

Third Movement
E flat major

Fourth Movement
G minor. The famous "Gypsy rondo".

Arrangements
The quartet was orchestrated by Arnold Schoenberg; this orchestrated version was made into the ballet BrahmsSchoenberg Quartet by George Balanchine.

Piano Quartet No. 1

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References
[1] Melvin Berger, Guide to Chamber Music, 2001, Dover. p. 90-91, ISBN 0 486 41879 0

External links
Piano Quartet No. 1: Free scores at the International Music Score Library Project. Detailed listening guide (http://www.kellydeanhansen.com/opus25.html) using recording by Emanuel Ax, piano; Isaac Stern, violin; Jaime Laredo, viola; Yo-Yo Ma, cello http://web.mit.edu/ckcheung/www/MusicalWritings_files/BrahmsPfQt_Context_20050423.pdf

Piano Quintet
The Piano Quintet in F minor, opus 34, by Johannes Brahms was completed during the summer of 1864.[1] It was dedicated to Her Royal Highness the Princess Anne of Hesse. Like most piano quintets, it is written for piano and string quartet (two violins, viola and cello). The piece is in four movements: 1. 2. 3. 4. Allegro non troppo (F Minor) Andante, un poco adagio (A Major) Scherzo: Allegro (C Minor - C Major) Finale: Poco sostenuto - Allegro non troppo - Presto, non troppo (F Minor)

The work began life as a string quintet (completed in 1862 and scored for two violins, viola and two cellos). Brahms transcribed the quintet into a sonata for two pianos (in which form Brahms and Carl Tausig performed it) before taking its final form. Brahms destroyed the original version for string quintet, but published the Sonata as opus 34 bis. The outer movements are more adventurous than usual in terms of harmony and are unsettling in effect. The introduction to the finale, with its rising figure in semitones, is especially remarkable. Both piano and strings play an equally important role throughout this work.

First movement
This movement begins with a unison theme in all instruments. It is in sonata form with the exposition repeated, and the second subject is a major third down (F minor moving to C sharp minor).

Second movement
This calm movement is in A flat major, with a second theme in E majorenharmonically a major third lower, as in the first movement.

Third movement
This movement is in ternary form (A-B-A) with A being a scherzo and B being a trio.

Piano Quintet

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Scherzo
The scherzo has 3 main themes: Theme A (bars 1-12) is a pp (pianissimo) rising melody in C minor and in compound (6/8) time; it is mainly characterised by its syncopated rhythms. At bar 9 the theme is played in octaves by violin and viola, and imitated by piano. Theme B (bars 13-21) is a quick, jerky theme in C minor in simple time which revolves around the dominant key (G). Theme C (bars 22-37) is a loud march-like theme with accented second beats, this time in C major. A particularly striking motif within this theme is the imitation of the string melody in the piano left hand. The scherzo also contains a fugue starting at bar 67 and revolving around the first 4 bars of theme B as a subject. This is then answered by the piano in bar 71, before more entries of the subject by the violin (bar 76) and viola (bar 84), which are combined with countersubjects in the left hand piano part (bar 67, and another at bar 71). After this the melodies and motifs are truncated into tiny melodic cells in a complex 5-part texture. The original motif is stated in a shorter version at bar 91 and is shortened again at bar 96; these fragments are then heard in close imitation in a texture known as stretto. The structure of the scherzo is A - B - C - A - B - Fugue - B - C - A - B. A - b1-12 - C minor. B - b13-21 - C minor. C - b22-37 - C major. A1 - b38-56 - C minor. An A arpeggio, returning to the dominant, modulates to the dominant of G minor. B1 - b57-67 - G minor, B minor. The B theme modulates through B minor. Fugue - b67-100 - Modulates through a variety of keys ending on the dominant of E minor. B2 - b100-109 - E minor. C1 - b110-124 - E major. A1 - b125-157 - E minor. An arpeggio returns to the dominant (B) and modulates to C minor. B3 - b158-193 - C minor. A varied A motif seen in the piano part. The final B section is extended into a coda and ends on a C major chord (a tierce de Picardie).

Trio
The trio section begins at bar 193 and is in ternary (A-B-A) form. Section A is a 16-bar melody in C major, modulating to B major in the last 5 bars. It contrasts with the contrapuntal nature of the scherzo. Section B begins at bar 225 and consists of a legato melody over a staccato bass. Chromatic harmony is used but tonality is retained by the use of a dominant (G) pedal note. After this, section A is repeated; this is a repeat of the first 11 bars of melody (before the modulation to B) in a dark texture where all the instruments play in a low tessitura (lower notes). This leads to a plagal (IV-I) cadence in C major and a tonic pedal in bars 254 to 261. This is followed by a repeat of the Scherzo up to bar 193.

Piano Quintet

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Fourth movement
The last movement "begins slowly and gropingly," with "the most melancholy moments in the entire work."[2] An introduction begins this movement, which is harmonically reminiscent of Beethoven's late string quartets. After a cadence on the dominant C, the cello introduces the first theme of the sonata-allegro, which owes its simplicity to Brahms's interest in Hungarian folk music. A vociferous, stormy bridge connects the first theme to the second theme, which is in C minor. Although the form of this movement is sonata form, the development section (in C minor) is strikingly short. The end of the recapitulation leads into a grave, quiet section in the initial tempo of the introduction, but it is arguably a simple reworking of the development section (albeit in F minor). This short section modulates to C sharp minor, which, if it pertains to D flat major of the first movement (as it is the parallel minor), may symbolize the musical odyssey of the entire piece. The tempo is presto for this greatly extended coda, which develops a new theme as well as the second theme of the sonata-allegro section, and ultimately culminates in an unrelenting outburst of fiery passion, providing an intense conclusion for the entire piece.

References
[1] Rodda, Richard (2004-11-01). "Piano Quintet in F minor, Op. 34" (http:/ / www. kennedy-center. org/ calendar/ ?fuseaction=composition& composition_id=2431). The Kennedy Center. . Retrieved 2009-04-21. [2] Conrad Wilson: Notes on Brahms: 20 Crucial Works (Edinburgh, Saint Andrew Press: 2005) p. 32

External links
Piano Quintet: Free scores at the International Music Score Library Project. Performance of Piano Quintet (http://traffic.libsyn.com/gardnermuseum/brahms_op34.mp3) by The Chamber Music Society of Lincoln Center from the Isabella Stewart Gardner Museum in MP3 format

String Sextet No. 2

Johannes Brahms' String Sextet No. 2 in G major, Opus 36 was composed during the years of 1864-1865 and published by the firm of Fritz Simrock. It was first performed in Boston, Massachusetts on October 11, 1866.[1] The work is scored for two violins, two violas, and two celli, and has four movements: 1. 2. 3. 4. Allegro non troppo Scherzo - Allegro non troppo - Presto giocoso Adagio Poco allegro

Brahms did most of the composition in the comfortable country surroundings of Lichtental, near Baden-Baden. According to Brahms' biographer Karl Geiringer, it conceals a reference to the first name of Agathe von Siebold (with whom he was infatuated at the time) in the first movement, bars 162-168, with the notes a-g-a-d-h-e.[2] Swedish composer Kurt Atterberg arranged the sextet for String orchestra in 1939[3] .

String Sextet No. 2

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References
[1] http:/ / www. klassika. info/ Komponisten/ Brahms/ Streichsextett/ 036/ index. html ; Keller, James M. (2011). Chamber Music: A Listener's Guide (http:/ / books. google. com/ books?id=6OCOvvu0O1wC& pg=PA102). New York: Oxford University Press US. p.102. ISBN9780195382532. . Retrieved July 29 2011. [2] Geiringer, Karl. Brahms: His Life and Work New York: Da Capo Press, ISBN 0-306-80223-6, pp 60, 91, 230-231 [3] List of compositions by Kurt Atterberg

External links
String Sextet No. 2, Op. 36: Free scores at the International Music Score Library Project. Recording by the [[Borromeo String Quartet (http://cdn2.libsyn.com/gardnermuseum/brahms_o36.mp3)] with violist Liz Freivogel and cellist Daniel McDonough] from the Isabella Stewart Gardner Museum in MP3 format

Cello Sonata No. 1

The Cello Sonata No. 1 in E minor, Op. 38, actually entitled "Sonate fr Klavier und Violoncello", was written by Johannes Brahms in 18625.

Background
Brahms composed the first two movements during the summer of 1862, as well as an Adagio which was later deleted. The final movement was composed in 1865. The sonata is actually entitled "Sonate fr Klavier und Violoncello" (for Piano and Cello) and the piano "should be a partner - often a leading, often a watchful and considerate partner - but it should under no circumstances assume a purely accompanying role"[1] It is dedicated to Josef Gnsbacher, a singing professor and amateur cellist. In the course of a private performance for an audience of friends Brahms played so loudly that the worthy Gnsbacher complained that he could not hear his cello at all "Lucky for you, too", growled Brahms, and let the piano rage on.[2] It is "a homage to J. S. Bach" and the principal theme of the first movement and of the fugue are based on Contrapunctus 4 and 13 of The Art of Fugue. Brahms performed the sonata in Mannheim in July 1865 and then offered it to Breitkopf & Hrtel, who turned it down. He had however also sent the sonata to Simrock describing it, in one of the most mendacious statements made by a major composer about his own work, as "a violoncello sonata which, as far as both instruments are concerned, is certainly not difficult to play", and they published it in 1866.[3]

Musical description
There are three movements: 1. Allegro non troppo, in E minor, in common (4/4) time. 2. Allegretto quasi Menuetto, in A minor, in 3/4, with a trio in F-sharp minor. 3. Allegro, in E minor, in common time.

First movement
This movement is in a long-lined sonata form, opening with solo cello over chords in the keyboard, a melody that gains and loses in intensity and dynamics, and then passes to the keyboard, where the same general curve is followed without the same notes; the breadth and lyrical quality of this passage are characteristic of much of the movement. We pass from E minor through C major to a substantial second group of themes in first B minor, then B major.

Cello Sonata No. 1 This exposition repeats, followed by a development mostly of the second half of the opening theme's first phrase, together with a version of the insistent descending fifth (F#-B F#-B F#-B) that had accompanied the last part of the exposition, building to a peak of energy, in which the cello makes two-octave leaps bridged by acciaccaturas against fortissimo variants of the opening theme, after which another theme (the B minor theme, the first theme of the second group) is heard and varied at some length, and the music, after another surge, dies away into the quiet return of the opening theme. (In performances, like the recording made by Jacqueline du Pr and Daniel Barenboim, in which the opening songful quality is taken to mean that Brahms meant the movement for an Andante or even slower tempo.) The recapitulation is fairly regular, and the coda expands on the B major theme.

65

Second movement
Brahms' antiquarian interests, his studies of music from the Renaissance to the Classical periods, show in his work he edited and helped publish a two-chorus motet by Mozart Venite Populi, he had a collection of sonatas by Scarlatti and in his composition, his motets op. 74, his interest in the fugue and the passacaglia (outside of organ music such as Josef Rheinberger's 8th sonata, fairly rare in the Romantic era), or in such pieces as the second string quartet's minuet, and this one. It is generally quiet and often staccato. Characteristic of this section is the use of ornamentation that has a French baroque sound. The trio, of sinuous melody, features a characteristic figuration in the piano right hand whose top notes are constantly in unison with either the piano left hand or with the cello.

Third movement
This movement is often referred to as a fugue. It is more of a sonata movement with very substantial fugal sections, however. The opening theme, which is based on Contrapunctus 13 from the Kunst der Fuge, does develop fugally until into the G major second subject group, a section which is much more conventionally, if wonderfully, treated. The development opens with descending octaves the first half of the fugato theme under statements of the triplet theme which is its second half, in imitation between piano and cello. This leads to C minor, to an inverted statement of the fugue, to another episode-like section (bar 95, based on a part of the fugal opening first heard in bar 16; if this is not a fugue it is indeed very like) and after a brief section again in fugal imitation to a tense and tension-gaining section in true sonata style (bars 105114, returning us to E minor, again based on the bar 16 figure) and a return to the main key, the second theme instead of the first, in triplets. After a repeat of the second theme, the opening fugato (what one calls a fugal section that's part of a larger movement rather than itself a fugue) returns, quoted in its entirety but staying in E minor rather than modulating to G, leading to the Pi Presto coda. It has been suggested[4] that a sonata by Bernhard Romberg also helped inspire the form of the finale of this work.

Notes and references

[1] Weiner Urtext Edition p VII by Wolfgang Boettcher. Boettcher's teacher Richard Klemm obtained many performing directions from Hugo Becker who had played with Brahms [2] Drinker, Henry S. The Chamber Music of Johannes Brahms. Philadelphia: Elkan-Vogel Co., 1932 p 81 [3] Weiner Urtext Edition, 1973, Preface by Hans-Christian Mller [4] By William Newman, Karl Geiringer among others; see Hsu.

Hsu, Oliver. "Brahms' First Cello Sonata, Bach and Romberg" (http://www.sccs.swarthmore.edu/users/03/ hhsu1/music_articles/brahms_op38.html). Retrieved 21 March 2009.

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External links
Cello Sonata No. 1 (Brahms): Free scores at the International Music Score Library Project. Performance (http://traffic.libsyn.com/gardnermuseum/brahms_op38.mp3) by Wendy Warner, cello and Eileen Buck, piano from the Isabella Stewart Gardner Museum

Trio for Horn, Violin and Piano

The Horn Trio in E flat major, Op. 40, by Johannes Brahms is a chamber piece in four movements written for natural horn,[1] violin, and piano. Composed in 1865, the work commemorates the death of Brahms mother, Christiane, earlier that year. The work was first performed in Zurich on November 28, 1865, and was published a year later in November 1866. The Horn Trio was the last chamber piece Brahms wrote for the next eight years.[2] Brahms chose to write the work for natural horn rather than valve horn despite the fact that the valve horn was becoming more common. The timbre of the natural horn is more somber and melancholic than the valve horn and creates a much different mood. Nineteenth century listeners associated the sound of the natural horn with nature and the calls of the hunt. Fittingly, Brahms once said that the opening theme of the first movement came to him while he was walking through the woods. Brahms also learned natural horn (as well as piano and cello) as a child, which may be another reason why he chose to write for these instruments following the death of his mother.[3]

Movements
The work is divided into four movements: I. Andante II. Scherzo (Allegro) III. Adagio mesto IV. Allegro con brio

In the first movement, Brahms emphasizes the simplicity of the opening theme by abandoning the structure of sonata form.[4] Instead, he introduces three slow sections offset by two shorter, more rhapsodic segments. Brahms deviates from the classical style of opening a work with a fast movement and continuing with a slow movement, a scherzo, and closing with a lively finale; instead, he uses the church sonata form from the early Baroque and orders the movements slow-fast-slow-fast. The Scherzo represents a lighter side of grief. Since the work as a whole simulates the stages of mourning, the Scherzo serves as the reminder of happy memories. As in the first movement, Brahms uses the pitches of the E-flat overtone series to establish the theme. (This theme is found in some variation in every movement, most directly in the Finale.) The playfulness that the tempo suggests offers a break from the slow and somber surrounding movements. The Adagio mesto opens with four measures of solo piano in the low register of the instrument; this sets up the solemn, contemplative mood of the movement that is emphasized by the entrance of the violin and horn. The Adagio from the Horn Trio is said to be one of Brahms most impassioned and heartfelt slow movements.[5] The Finale contains the main theme that is present in the previous three movements, but it is prominently displayed in E-flat major in a lively tempo. The joy felt in the Finale symbolizes the recovery at the end of mourning.[5]

Trio for Horn, Violin and Piano

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References
[1] Conrad Wilson, Notes on Brahms: 20 Crucial Works (Edinburgh: Saint Andrews Press, 2005): 36. [2] Joshua Garrett, " Brahms Horn Trio: Background and Analysis for Performers (http:/ / www. hornmatters. com/ wp-content/ uploads/ BrahmsTrioDissertation. pdf), DMA paper (The Juilliard School, 1998): . [3] Karl Geiringer, Brahms: His Life and Work, third edition (New York: Da Capo Press, 1982): . [4] Walter Frisch, " Johannes Brahms (http:/ / www. grovemusic. com)", Grove Music Online (Subscription access, accessed 12 February 2008) [5] Daniel Gregory Mason, The Chamber Music of Brahms (New York: The Macmillan Company, 1933): .

External links
Brahms Horn Trio, Op.40: Free scores at the International Music Score Library Project.

Piano Quartet No. 3

The Piano Quartet in C minor, opus 60, by Johannes Brahms is scored for piano, violin, viola and cello. The quartet is in four movements: 1. Allegro non troppo 2. Scherzo: Allegro 3. Andante 4. Finale: Allegro Comodo

First Movement
C minor, sonata form

Second Movement
C minor (with tierce de picardie), ternary form

Third Movement
E major

Fourth Movement
C minor (with Tierce de Picardie).

References External links

Piano Quartet No. 3: Free scores at the International Music Score Library Project.

String Quartet No. 3

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String Quartet No. 3

The String Quartet No. 3 in B flat major, Op. 67, was composed by Johannes Brahms in the summer of 1875 and published by the firm of Fritz Simrock.[1] It received its premiere performance on October 30, 1876 in Berlin.[2] The work is scored for two violins, viola, and cello, and has four movements: I. Vivace II. Andante III. Agitato (Allegretto non troppo) - Trio - Coda IV. Poco Allegretto con Variazioni

Brahms composed the work in Ziegelhausen, near Heidelberg, and dedicated it to Professor Theodor Wilhelm Engelmann, an amateur cellist who had hosted Brahms on a visit to Utrecht. Brahms was at the time the artistic director of the Vienna Gesellschaft der Musikfreunde.[1] [2] The work is light-hearted and cheerful, "a useless trifle," as he put it, "to avoid facing the serious countenance of a symphony".[1]

References
[1] Geiringer, Karl (1984). Brahms: His Life and Work. New York: Da Capo Press. pp.119, 2345. ISBN0306802236. [2] "Klassika: Johannes Brahms (1833-1897): Streichquartett Nr. 3" (http:/ / www. klassika. info/ Komponisten/ Brahms/ Streichquartett/ 067/ index. html) (in German). Klassika, die deutschsprachigen Klassikseiten. . Retrieved 2009-07-18.

External links
String Quartet No. 3 (Brahms): Free scores at the International Music Score Library Project.

Violin Sonata No. 1

The Violin Sonata No. 1 in G major, Op. 78, for violin and piano was composed by Johannes Brahms during the summers of 1878 and 1879 in Prtschach am Wrthersee. It was first performed on 8 November 1879 in Bonn. Each of three movements of this sonata shares common motivic ideas or thematic materials from the head-motif of Brahmss two songs "Regenlied" and "Nachklang", Op. 59, and this is why this sonata is also called Rain Sonata (Regen-Sonate). This sonata consists of three movements. The first movement, Vivace ma non troppo is written in sonata form in G major; the second movement, Adagio Pi andante Adagio, is an expanded ternary form in E major, and the third movement, Allegro molto moderato is a rondo in G minor with coda in G major. The dotted rhythm motif from the two songs is not only directly quoted as a leading theme in the third movement of this sonata but also constantly appearing as fragmented rhythmic motif throughout the all three movements of the sonata so that the entire sonata has a certain coherency. The rhythm of the rain motif appearing in the middle section of the second movement is adapted to a funeral march. The two disruptive appearances of the main theme of the Adagio in the third movement also represent cyclic form used in this sonata.

Violin Sonata No. 1

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References
Botstein, Leon (1999). The Compleat Brahms:A Guide to the Musical Works of Johannes Brahms. New York: W. W. Norton & Company. p.448. ISBN9780393047080.

External links
Violin Sonata No. 1 (Brahms): Free scores at the International Music Score Library Project.

Piano Trio No. 2

The Piano Trio in C, opus 87, by Johannes Brahms was composed during 1880-2. It is scored for piano, violin and cello. It was first performed at a chamber music evening in Frankfurt-on-Main on 29 December 1882. The trio is in four movements: 1. Allegro moderato 2. Andante con moto 3. Scherzo: Presto 4. Finale: Allegro giocoso

First Movement
C major, sonata form

Second Movement
A minor, theme and variations

Third Movement
C minor (with tierce de picardie), scherzo and trio

Fourth Movement
C major, sonata form

References External links

Piano Trio No. 2: Free scores at the International Music Score Library Project.

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String Quintet No. 1

Johannes Brahms' String Quintet No. 1 in F major, Opus 88 was composed in 1882 in the spa town of Bad Ischl, Upper Austria, and published by the firm of Fritz Simrock.[1] It was first performed at a chamber music evening in Frankfurt-on-Main on 29 December 1882. It is a "Viola Quintet" in that it is scored for string quartet with an extra viola. It has three movements: 1. Allegro non troppo ma con brio: in sonata form. The first subject group is in F major, while the second is in A major, the first of the "pervasive mediant relationships" in this work.[1] 2. Grave ed appassionato - Allegretto vivace - Tempo I - Presto - Tempo I: in double variation form. The first theme is based on a sarabande Brahms wrote in 1854, while the second theme is based on a gavotte that he wrote in the same year. The movement starts in C-sharp major, and ends in A major, another mediant relationship.[1] 3. Allegro energico - Presto: in a fusion of sonata and contrapuntal forms. The final key of the previous movement, A major, and the key of this movement, F major, represents another median relationship.[1] Despite the fact that this was one of Brahms' least popular chamber works, he described it to his friend Clara Schumann as "one of my finest works", and told his publisher that "You have never before had such a beautiful work from me."[1]

References
[1] Wyld, Joanna (2009). "Sleeve Notes: Nash Ensemble - Brahms String Quintets" (http:/ / www. onyxclassics. com/ sleevenotes. php?ID=97). . Retrieved 13 April 2010.

External links
String Quintet No. 1, Op. 88: Free scores at the International Music Score Library Project. Detailed listening Guide (http://www.kellydeanhansen.com/opus88.html) using the recording by the Amadeus Quartet with Aronowitz

Cello Sonata No. 2

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Cello Sonata No. 2

The Cello Sonata No. 2 in F Major, Op. 99 was written by Johannes Brahms in 1886[1] , more than twenty years after completing his first cello sonata. It was first published in 1887[2] .

Musical description
There are four movements: 1. 2. 3. 4. Allegro vivace Adagio affettuoso in F-sharp major[2] Allegro passionato in F minor[2] Allegro molto

First movement
The Allegro vivace is a sonata form opening with a fragmented cello theme over a tremolo piano part.[3]

Second movement
Adagio affettuoso, with the cello part opening in a slightly dissonant pizzicato exposition of the main theme over piano chords.[4] The central section is in F minor.[5]

Third movement
Allegro passionato in F minor, with an F major, more songful, trio section.

Fourth movement
Allegro molto - a rondo.

Notes
[1] All music guide [2] IMSLP2 score. [3] Woodstra, Chris; Brennan, Gerald; Schrott, Allen (2005). All music guide to classical music: the definitive guide to classical music (http:/ / books. google. com/ books?id=n29DHVKhZggC) at Google Books, page 191. Hal Leonard Corporation. ISBN 0879308656. [4] Page 13 of 32 of IMSLP2 first score - first two bars of Adagio affettuoso. [5] All music guide; IMSLP2 score.

External links
Brahms Cello Sonata No. 2: Free scores at the International Music Score Library Project.

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Piano Trio No. 3

The Piano Trio in C minor, opus 101, by Johannes Brahms is scored for piano, violin and cello, and was written in the summer of 1886 while Brahms was on vacation in Hofstetten, Switzerland. It was premiered on 20 December of that year by Brahms, violinist Jen Hubay, and cellist David Popper.[1] The trio is in four movements: 1. 2. 3. 4. Allegro energico Presto non assai Andante grazioso Allegro molto

First Movement
C minor, sonata form

Second Movement
C minor, ternary form. This movement takes the form of an intermezzo, in place of the traditional scherzo and trio.

Third Movement
C major, ternary form. This movement involves the use of alternating time signatures - 3/4 and 2/4, as well as 9/8 and 6/8.

Fourth Movement
C minor, sonata form. Ends in C major.

References
[1] Clive, Brahms and His World:A Biographical Dictionary, p. xxvii, xxviii,xxix

External links
Piano Trio No. 3: Free scores at the International Music Score Library Project. Performance of Piano Trio No. 3 (http://cdn1.libsyn.com/gardnermuseum/brahms_op101.mp3) by the Claremont Trio from the Isabella Stewart Gardner Museum in MP3 format Detailed Listening Guide (http://www.kellydeanhansen.com/opus101.html) using the recording by Trio Opus 8

Violin Sonata No. 3

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Violin Sonata No. 3

Johannes Brahms' Violin Sonata No. 3 in D minor, op. 108 is the last of his violin sonatas composed between 1878 and 1887. Unlike the two previous violin sonatas it is in four movements (the others are in three movements). The sonata is dedicated to Brahms' friend and colleague Hans von Blow, and was premiered in Budapest in 1888 with Jen Hubay on violin and the composer at the piano.

First movement: Allegro

The first movement is in traditional sonata-allegro form. The first subject, a long, lyrical cantabile line in D minor, is stated sotto voce by the violin with the piano providing a simple accompaniment; off-beats in the right hand provide a quietly agitated character. Immediately after the violin's closing cadence ends the first statement of the first subject, the subject is taken up by the piano, subito forte and with a virtuosic, heroic character; now it is the violin's turn to provide an accompaniment, again in syncopated rhythm. The second subject, a romantic, expressive melody in F major, is then stated by the piano alone, and repeated by the violin with a simple arpeggiated piano accompaniment. Next comes the development section: the violin plays a variant of the first subject elaborated with bariolage bowing, while the piano again provides the accompaniment in the right hand. Of particular interest in this section is the pedal point on the dominant (A) which the pianist sustains in the left hand for the entire duration of the development section. The recapitulation begins with the violin restating the first subject as in the beginning but an octave lower, the piano plays an elaborated version of the original accompanying figure. After the final cadence of the subject, three sudden unison chords announce, subito forte, an unexpected direct modulation into F-sharp minor. In the ensuing section, of virtuosic and symphonic character, violin and piano toss back and forth fragments of the original theme. After a direct modulation back to D minor, the recapitulation resumes its course, and then the second subject is restated in D major. Once more back into D minor and the first subject makes one more appearance in the violin, in the original octave, accompanied by the original figure in the piano. There is a brief sotto voce return to the elaborated material of the development section which then passes through a series of modulations. One final sostenuto statement of the first subject across three octaves leads to a cadence in D major, which leads directly into the second movement.

Second movement: Adagio

The second movement, in D major, is a gentle and lyrical cavatina for the violin, with the piano reduced to the role of accompanist throughout. The character is romantic and nostalgic, with the 3/8 meter creating a slow waltz-like rhythm. The melody is stated espressivo by the violin in the mid-lower register and proceeds in a calm, introspective character until a sudden two-measure modulation and crescendo lead to an impassioned climax in the G Lydian Dominant mode, played in double stop thirds by the violin. Following a brief interlude the melody is stated again an octave higher and with a somewhat less restrained characterit bears the characteristic Brahmsian marking "poco forte" (literally "a bit strong.") This time the modulation takes a different turn and the climactic theme is stated a fourth higher than before, in C Lydian Dominant. As the melodic line descends and arrives back in D major, rather than playing a simple cadence the violin suddenly takes off on a rhapsodic, improvisatory arpeggiation through D major and finally reaches the triumphant third statement of the climactic theme, a third above its previous appearance and this time still in the home key of D major. A brief echo of the opening theme then leads to a final, subdued cadence.

Violin Sonata No. 3

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Third movement: Un poco presto e con sentimento

In contrast to the second movement, in the third movement it is the piano that takes center stage. The piano states the main theme, a stammering, uneasy scherzando in F-sharp minor, with the violin providing a simple accompaniment on off-beats, interspersed with brief melodic fragments. The second statement of the theme is taken by the violin, with the melodic fragments from the violin's previous accompanying figures becoming part of the melody itself. The violin then interrupts the proceedings and comes fully into the spotlight with an impassioned, rhapsodic outburst elaborated by virtuosic arpeggios, which ends with a forceful series of chords. The same material is presented again in D minor immediately thereafter. A modulation back to F-sharp minor leads into a recapitulation of the original material. The piano again states the main theme, sotto voce, while the violin accompanies with pizzicato thirds. A brief coda leads to an understated ending.

Fourth movement: Presto agitato

The fourth and final movement returns to the sonata's home key of D minor. It is the most virtuosic of all four movements, and the frenzied, passionate character, along with the meter of 6/8, are suggestive of a tarantella. The structure is similar to the first movement, with two contrasting subjects linked together by interludes of melodic fragments and modulations. After a four-measure introduction in which the piano states the beginning of the first subject accompanied by the violin with a virtuosic series of broken chords, the two instruments switch roles and the violin states the first subject in its entirety, a lyrical but stormy, impassioned melody, accompanied in the piano by the same broken-chord figure originally seen in the violin. The second part of the first subject is a nervous, stammering series of melodic fragments, full of sharp dynamic contrasts. The piano then states, unaccompanied, the second subject. This is an elegant, stately and calm melody, played simply and straightforwardly. The violin then plays the melody and the piano adds some syncopated rhythms to the accompaniment, bringing back an echo of the movement's overall agitated character. Soon enough, right as the violin finishes playing the melody, the development section begins with tarantella material in the piano, played pianissimo and una corda. The violin echoes the piano, and the piece moves through several modulations. A brief restatement of the first subject then ensues, followed by a remarkable interlude: the piano plays a stripped-bare, simplified version of the first subject pianissimo in the slower tempo of the second subjet, accompanied by a chromatic, understated syncopated figure in the violin. It builds to a climactic restatement of the beginning of the first subject in F minor, which then leads into a virtuosic development of the tarantella-like material of the first subject. After a return to the second part of the first subject, the second subject is restated in F major, again unaccompanied in the piano, and then again taken up by the violin. As in the exposition, it leads directly into a recapitulation of the first subject material. A full-blown return to the first subject leads to a thundering conclusion.

External links
Violin Sonata No.3, Op.108: Free scores at the International Music Score Library Project. Detailed Listening Guide [1] using the recording by Itzhak Perlman and Daniel Barenboim Performance [2] by Mayuko Kamio (violin) and Pei-Yao Wang (piano) from the Isabella Stewart Gardner Museum in MP3 format

References
[1] http:/ / www. kellydeanhansen. com/ opus108. html [2] http:/ / traffic. libsyn. com/ gardnermuseum/ brahms_Op108. mp3

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String Quintet No. 2

Johannes Brahms' String Quintet No. 2 in G major, Opus 111 was published in 1890. It is known as the Prater Quintet. Like Brahms' earlier string quintet, Opus 88, it is a viola quintet, scored for two violins, two violas and cello. The work has four movements. The first movement is marked Allegro non troppo, ma con brio, and is in 9/8. Its opening is dominated by a cello solo in G major. The middle section is in G minor, though it passes through numerous keys before returning to G major by the end. The second movement is marked Adagio, and is in 2/4. It starts with a viola solo. The entire movement has a key signature of D minor, but it ends on a D major chord. The third movement, marked Un poco Allegretto, is in 3/4 time and is loosely based on a minuet and trio form, finishing with a short coda. The "minuet" section, in 2 flats, is followed by a "trio" section in 1 sharp, followed by another "minuet" section (written out) and finally the coda section in 1 sharp. The fourth movement, marked Vivace, ma non troppo presto, is in 2/4 and has a key signature of 1 sharp throughout. The opening theme in viola 1 is copied by the first violin nine bars later. The movement (and the piece) end in G major.

References
BRAHMS STREICH-QUINTETT G-dur / G major Opus 111 EDITION PETERS Nr 3905b

External links
String Quintet No. 2, Op. 111: Free scores at the International Music Score Library Project.

Clarinet Quintet

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Clarinet Quintet
Johannes Brahms's Clarinet Quintet in B minor, Op. 115 was written in 1891 for the clarinettist Richard Mhlfeld. It is widely regarded as Brahms's supreme achievement in chamber music.[1] The piece is known for its autumnal mood. It consists of a clarinet in A with a string quartet and has a duration of approximately thirty-five minutes.

Background
Clarinet Quintets
At the time Brahms started composing his Clarinet Quintet, only a few works had been composed for this type of ensemble. Examples include those by Wolfgang Amadeus Mozart, Anton Reicha, Carl Maria von Weber, Franz Krommer, Alexander Glazunov, Heinrich Brmann, and Thomas Tglichsbeck. Brahms modeled his composition after Mozart's.

Brahms and Mhlfeld

Brahms had retired from composing prior to listening to Richard Mhlfeld play. Brahms may have met Mhlfeld already when Hans von Blow was directing the Meiningen orchestra. But it was Fritz Steinbach, von Blow's successor, who brought Mhlfeld's playing to the attention of Brahms in March 1891. Brahms was very enthusiastic about Mhlfeld.[2] That summer at Bad Ischl, he composed the Clarinet Quintet and his Clarinet Trio Op. 114, both of them for Mhlfeld. He later also composed two Clarinet Sonatas.

Performances
The quintet received its first private performance on 24 November 1891 in Meiningen,[3] [4] with Richard Mhlfeld and the Joachim Quartet, led by Joseph Joachim who often collaborated with Brahms. The public premiere was on 12 December 1891 in Berlin.[3] [5] [6] It soon received performances across Europe, including London and Vienna both with the original and other ensembles.

Structure
The piece consists of four movements. 1. 2. 3. 4. Allegro in B minor, in 6:8 time Adagio in B major, in 3:4 time modulating into B minor and then B-flat minor and back to B major Andantino in D major, in common time evolving into Presto non assai, ma con sentimento in B minor in 2:4 time Con moto in B minor, in 2:4 with a key transition to B major returning to B minor into a meter of 3:8 and then transforming into 6:8 time

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First Movement
Like the quintet by Mozart, the strings begin the piece. This movement sets an autumnal mood for the rest of the composition. One phrase, towards the middle played by the clarinet, sounds closely related to one in the first movement of Carl Maria von Weber's Clarinet Concerto No. 1 in F minor. This was possibly inserted because when Brahms listened to Richard Mhlfeld at his recital, he was playing this concerto.

Second Movement
The reflective melody is first introduced by the clarinet. Later, the mood changes back to the gloomy atmosphere of the first movement. The clarinet performs technical runs playing from all ranges. It returns back to the beginning theme and then subsides.

Third Movement
The shortest of all four, the movement begins sweetly being one of the composition's few uplifting passages. In measure twenty-three, the clarinet and violin play as if they were talking in a conversation. It modulates back from its heart-warming D major into the darker B minor. This section is highly influenced by the first part and even ends the same except being in a 2/4 meter.

Fourth Movement
This movement is titled "With Motion" and contains a theme and five variations as do the final movements of Mozart's Clarinet Quintet and Brahms's Clarinet Sonata No. 2. Tempo varies according to the musician. Another sweet melody which resembles the second movement is in this part and is in the same B major key. Later, it brings back the theme from the Allegro and ends with a loud chord which eventually fades away.

Notes
[1] Lawson, Colin Brahms: Clarinet Quintet, back cover [2] Lawson, Colin Brahms: Clarinet Quintet, pp.31-32 [3] Rodda, Richard E.. "Quintet for Clarinet and String Quartet in B minor, Op. 115" (http:/ / www. chambermusicsociety. org/ calendar/ 160/ ). . Retrieved 2008-07-21. [4] Toenes, George. "Richard Mhlfeld" (http:/ / www. clarinet. org/ Anthology1. asp?Anthology=12). . Retrieved 2010-04-01. from The Clarinet, No. 23 (Summer, 1956) [5] Freed, Richard. "Clarinet Trio, Op. 114" (http:/ / www. kennedy-center. org/ calendar/ ?fuseaction=composition& composition_id=2647). . Retrieved 2008-07-21. [6] Bromberger,Eric. "Clarinet Trio in A Minor, Opus 114" (http:/ / www. ljms. org/ index. php?option=com_content& task=view& id=368). . Retrieved 2008-07-21.

References
Lawson, Colin (1998). Brahms: Clarinet Quintet. Cambridge University Press. ISBN0521588316.

External links
Portnoy,Bernard. "Brahms' Prima Donna" (http://www.clarinet.org/Anthology1.asp?Anthology=9). Retrieved 2010-04-01., originally published in Woodwind Magazine 1, No. 5 (March, 1949) Program notes and links about Brahms' Clarinet Quintet (http://web.archive.org/20070217000607/http:// www.musicalresources.co.uk/Brahms-ClarinetQuintet.php) at the Wayback Machine (archived February 17, 2007)

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Two Clarinet Sonatas

The Clarinet Sonatas, Op. 120, Nos. 1 and 2 are a pair of works written for clarinet and piano by the Romantic composer Johannes Brahms. They were written in 1894 and are dedicated to the clarinetist Richard Mhlfeld. The sonatas stem from a period in Brahmss life where he discovered the beauty of the sound and color of the clarinet.[1] The form of the clarinet sonata was largely undeveloped until after the completion of these sonatas, after which the combination of clarinet and piano was more readily used in composers new works.[2] These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire.

Background
By 1890, Brahms vowed to retire from composing, but his promise was short lived. In January 1891 he made a trip to Meiningen for an arts festival and was captivated by performances of the Weber Clarinet Concerto and the Mozart Clarinet Quintet. The solo clarinetist was Richard Mhlfeld, and Brahms began a fond friendship with the man whom he so admired. The beautiful tone of Frulein Klarinette[3] (as Brahms would nickname Mhlfeld) inspired him to begin composing again less than a year after he retired.[4] The fruits of their friendship were a few remarkable additions to the still modest clarinet repertoire of that time, including the Clarinet Sonatas. In the summer of 1894 at his Bad Ischl retreat, Brahms completed the sonatas. They were first performed privately for Duke Georg and his family in September of that year.[5] Brahmss experience in writing his Clarinet Quintet three years earlier led him to compose the sonatas for clarinet and piano because he preferred the sound over that of clarinet with strings.[6] It is interesting to note that the keys of the sonatasF minor and E-flat majorcorrespond to the keys of the two clarinet concertos Weber produced. Brahms also produced a transcription of these works for viola with alterations in order to better suit the solo part to a string instrument.

Sonata No 1 in F minor, Op. 120, No. 1

The Sonata No. 1 in F minor, Op. 120, No. 1 consists of the following movements:

Allegro appassionato
in F minor, in 3/4 time The first movement is in sonata form. It begins with a solo piano introduction in three parallel octaves, outlining a recurring motif throughout the movement. The clarinet then enters with the slurred first theme. The piano takes over the theme, with the clarinet Piano introduction to the first movement. playing more of an embellishing role. It was normal in clarinet music before the sonatas for the soloist to play mostly, if not always, the melody. Brahms did not reduce the scope of the piano part to accommodate for the clarinet, but created a more equal and harmonious relationship between soloist and accompanist.[6] The quiet transition between the two themes is in D-flat major and features staggered entrances between the hands of the piano. The second theme introduces dotted rhythms and is marked marcato, contrasting with the first theme. It passes through many key areas quickly before finally resting on C minor. The development begins by expanding on ideas heard in the introduction and transition. The piano plays with staggered hand entrances and joins the clarinet in recalling the second bar of the introduction. The music makes a

Two Clarinet Sonatas false movement towards A-flat major, instead landing on E major. The introduction material takes over and winds down to pp. A subito forte evokes the second theme combined with staggered entrances from both piano hands and clarinet. The second theme is finally presented and leads to the recapitulation. The introduction is restate forte in the key of C-sharp minor. Brahms brings the key back around to F minor and the first theme, transition, and second theme are heard again. Tonally, this section does not stray far from F although the music goes through major and minor sections. A final statement of the first theme leads into the coda, marked Sostenuto ed espressivo. The coda is slower in tempo and based on material from the introduction. The movement ends quietly in F major.

79

Andante un poco Adagio

in A-flat major, in 2/4 time The second movement is in ternary form. The clarinet introduces a simple descending theme decorated with turns. The piano writing is sparse in the in the first theme area. This A section is repeated twice, once ending on a half cadence and the other with a perfect authentic cadence on the home key of A-flat major.
The descending theme in the clarinet at the opening of the second movement. The B section is characterized by faster rhythmic and harmonic motion. The piano plays sixteenth notes outlining the harmonies while the clarinet continues playing a slurred melody. The harmony descends in an imitation of the A section melody through the keys D-flat major, C-flat major, and A major. The clarinet gets a chance to play the sixteenth notes that the piano had before the modulation to E major.

The A melody returns in the piano in the wrong key of E major, moves to C major, and finally back to the A-flat major. The A section is then restated in its entirety with a more active piano accompaniment. A short interlude of sixteenth notes in the piano alludes to the B section and a final iteration of the melody ends the movement.

Allegretto grazioso
also in A-flat major, in 3/4 time The third movement is also in ternary form. The A section consists of an eight bar melody played by the clarinet, and then traded off to the piano with the clarinet lending supporting lines. A forte repeated section inverts the melody and the second ending leads to the B section. The piano takes up a descending line syncopated between the two hands while the clarinet adds a low supporting line confined within the space of a minor third. Another repeated section lets the clarinet play the descending melody. After the repeat, the melody from the A section returns and ends the movement.

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Vivace
in F major, alla breve The final movement is in an altered rondo form that can be described as A B A C B A. The movement begins with three accented Fs in a piano introduction serving as a sort of call to identify the first theme. The A theme is marked leggero in the clarinet and is mostly eighth notes in stepwise motion. The contrasting B theme is Introduction to the last movement of the sonata. made up of quarter note triplets and is more slurred and leisurely. After a bombastic return to A, the quiet C theme is played in the piano and then handed off to the clarinet. The clarinet then plays the call from the introduction while the piano states the B theme again. Finally, the final A section ends with a coda and the sonata is finished in F major.

Sonata No 2 in E-flat major, Op. 120, No. 2

The Sonata No. 2 in E-flat major, Op. 120, No. 2 is in three movements. 1. Allegro amabile 2. Allegro appassionato-Sostenuto-Tempo I 3. Andante con moto - allegro

Notes
[1] [2] [3] [4] [5] [6] Swafford 1997, p. 572 Musgrave 1985, p. 251 Musgrave 1985, p. 247 Lawson 1998, p. 32 Lawson 1998, p. 40 Musgrave 1985, p. 255-256

References
Swafford, Jan (1997), Johannes Brahms: A biography, New York: Alfred A. Knopf, ISBN 0679422617 Musgrave, Michael (1985), The Music of Brahms, Oxford: Clarendon Press, ISBN 0198164017 Lawson, Colin (1998), "Brahms: Clarinet Quintet", Cambridge: Cambridge University Press, ISBN 0521588316

External links
Clarinet Sonata No.1, Clarinet Sonata No.2: Free scores at the International Music Score Library Project.

Piano Sonata No. 1

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Piano Sonata No. 1

The Piano Sonata No. 1 in C major, Op. 1 of Johannes Brahms was written in Hamburg in 1853, and published later that year. Despite being his first published work, he had actually composed his second piano sonata first, but chose this work to be his first opus because he felt that it was of higher quality. The piece was sent along with his second sonata to Breitkopf und Hrtel with a letter of recommendation from Robert Schumann. Schumann had already praised Brahms enthusiastically, and the sonata shows signs of an effort to impress. It was dedicated to Joseph Joachim. The sonata is in four movements: Allegro (C Major) Andante (nach einem altdeutschen Minneliede) (C Minor, ending in the parallel major) Allegro molto e con fuoco -- Pi mosso (E Minor - C Major) Allegro con fuoco -- Presto non troppo ed agitato (C Major)

The first movement is in conventional sonata form with a repeated exposition. The second movement is a theme and variations inspired by the song Verstohlen geht der Mond auf. Brahms was to rewrite it for female chorus in 1859 (WoO 38/20). The third movement is a scherzo and trio. The fourth is a loose rondo whose theme is noticeably changed at every recurrence.

Text of song
Verstohlen geht der Mond auf. Blau, blau Blmelein! Durch Silberwlkchen fhrt sein Lauf. Blau, blau Blmelein! Rosen im Tal, Mdel im Saal, O schnste Rosa! Stealthily rises the moon. Blue, blue flower! Through silver cloudlets makes its way. Blue, blue flower! Roses in the dale, Maiden in the hall, O handsomest Rosa!

External links
Full text [1] of Verstohlen geht der Mond auf Full text [2] with translation Brahms Piano Sonata No. 1: Free scores at the International Music Score Library Project. Detailed listening guide [3] using a recording by Martin Jones

References
[1] http:/ / ingeb. org/ Lieder/ verstohl. html [2] http:/ / www. recmusic. org/ lieder/ get_text. html?TextId=40106 [3] http:/ / www. kellydeanhansen. com/ opus1. html

Piano Sonata No. 2

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Piano Sonata No. 2

The Piano Sonata No. 2 in F-sharp minor, Op. 2 of Johannes Brahms was written in Hamburg, Germany in 1853, and published the year after. Despite being his second published work, it was actually composed before his first piano sonata, but was published later because Brahms recognized the importance of an inaugural publication and felt that the C major sonata was of higher quality. It was sent along with his first sonata to Breitkopf und Hrtel with a letter of recommendation from Robert Schumann. Schumann had already praised Brahms enthusiastically, and the sonata shows signs of an effort to impress. It was dedicated to Clara Schumann. The sonata is in four movements: Allegro non troppo, ma energico (F sharp minor) Andante con espressione (B minor) Scherzo: Allegro -- Poco pi moderato (B minor - D major) Finale: Sostenuto -- Allegro non troppo e rubato -- Molto sostenuto (F sharp minor, ending in the parallel major)

The first movement is in the conventional sonata-allegro form. The second movement is a theme and variations based on the German Minnesang "Mir ist leide." Like the theme and variations of the first sonata, the variations move from the minor mode to the parallel major. The third movement is a scherzo and trio whose beginning theme is almost identical to that of the second movement. The finale begins with a brief introduction in A major, the relative major of F sharp minor. The main subject of the introduction serves as the first theme of this movement, which is in sonata form and contains a repeated exposition. The coda of the finale, marked pianissimo and to be played with the soft pedal, returns to and expands upon material from the movement's introduction.

External links
Brahms Piano Sonata No. 2: Free scores at the International Music Score Library Project. Detailed listening guide [1] using a recording by Martin Jones

References
[1] http:/ / www. kellydeanhansen. com/ opus2. html

Piano Sonata No. 3

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Piano Sonata No. 3

The Piano Sonata No. 3 in F minor, Op. 5 of Johannes Brahms was written in 1853 and published the following year. The sonata is unusually large, consisting of five movements, as opposed to the traditional four. When he wrote this piano sonata, the genre was seen by many to be past its heyday. Brahms, enamored of Beethoven and the classical style, composed Piano Sonata No. 3 with a masterful combination of free Romantic spirit and strict classical architecture. As a further testament to Brahms' affinity for Beethoven, the Piano Sonata is infused with the instantly recognizable motive from Beethoven's Fifth Symphony during the first, third, and fourth movements. Composed in Dsseldorf, it marks the end of his cycle of three sonatas, and was presented to Robert Schumann in November of that year; it was the last work which Brahms submitted to Schumann for commentary. Brahms was barely 20 years old at its composition. The piece is dedicated to Countess Ida von Hohenthal of Leipzig. A performance of the work generally lasts 40 minutes or more.

Form
The sonata is in five movements: Allegro maestoso (F minor, ending in the parallel major) Andante. Andante espressivo - Andante molto (A flat major - D flat major) Scherzo. Allegro energico avec trio (F minor - D flat major) Intermezzo (Rckblick / Regard en arrire) Andante molto (B flat minor) Finale. Allegro moderato ma rubato (F minor, ending in the parallel major)

Movements
The first movement begins with fortissimo chords that almost span the entire range of the piano register. A movement in sonata form, it is essentially composed of two musical subjects. The exposition is repeated and leads to a complex development section in which the "fate motif" from Beethoven's Symphony No. 5 is unmistakably incorporated. At nearly the onset of the recapitulation, the piece moves to the parallel key of F major, and finishes in that key. The second movement begins with a quotation above the music of a poem by Otto Inkermann under the pseudonym C.O. Sternau.
Der Abend dammert, das Mondlicht scheint, Da sind zwei Herzen in Liebe vereint Und halten sich selig umfangen Through evening's shade, the pale moon gleams While rapt in love's ecstatic dreams Two hearts are fondly beating.

Perhaps symbolizing the two beating hearts in this Andante are its two principal themes, one in A flat major and the other in D flat major, which alternate throughout the movement. This movement is also a very rare instance of progressive tonality in a Brahms work, as it ends in D flat major rather than the key in which it began, A flat major. The third movement, a scherzo and trio, begins in F minor with a musical quotation of the beginning of the finale of Mendelssohn's Piano Trio No. 2, Op. 66. In contrast to the tumult of the scherzo, the trio in D flat major is calm and lyrical, and the accompanying bass too refers to Beethoven's "Fate" motif. Once the trio brings back the movement's opening material at its close, the scherzo is repeated. The fourth movement is marked as an intermezzo and is given the title "Rckblick," literally "Remembrance." It begins with the initial theme of the second movement, except in the key of B flat minor. Like the opening and third movements, the "Fate" motif from Beethoven's Symphony No. 5 figures prominently throughout the intermezzo.

Piano Sonata No. 3 The fifth and final movement is a rondo in the home key of F minor. It explores several ideas that become intertwined in the virtuosic and triumphant close. Notably, the first diversion from the rondo theme begins with a musical cryptogram that was a personal musical motto of his lifelong friend Joseph Joachim, the F-A-E theme, which stands for Frei aber einsam (free but lonely).[1] Like Brahms's second piano sonata, this sonata's finale also ends in the parallel major.

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References
[1] Young, John Bell. "Brahms: A Listener's Guide." Unlocking the Masters Series. New York: Amadeus Press, 2008. p. 59

External links
Piano Sonata No. 3 (Brahms): Free scores at the International Music Score Library Project. Misato Yokoyama plays Piano Sonata No. 3 in F minor, Op. 5 by Brahms on Classical Connect (http://www. classicalconnect.com/node/6077)

Four Ballades
The Ballades, Op. 10, constituted some of the finest examples of lyrical piano music written by Johannes Brahms during his youth. They were dated 1854 and dedicated to his friend Julius Otto Grimm. Their composition coincided with the beginning of the composer's lifelong affection for Clara Schumann, the wife of the famous composer who was helping Brahms launch his career. The ballades are arranged in two pairs of two, the members of each pair being in parallel keys. The first ballade was inspired by a Scottish poem "Edward" found in a collection Stimmen der Vlker in ihren Liedern compiled by Johann Gottfried Herder. It is also one of the best examples of Brahms's bardic or Ossianic style; its open fifths, octaves, and simple triadic harmonies are supposed to evoke the sense of a mythological past. No. 1 in D minor. Andante No. 2 in D major. Andante No. 3 in B minor. Intermezzo. Allegro No. 4 in B major. Andante con moto

It is also worth noting that the tonal centers of each ballade convey an interconnectedness between the four pieces: the first three each include the key signature of the ballade that follows it somewhere as a tonal center, and the fourth ends in the key signature of D major/B minor despite cadencing in B major. Brahms returned to the wordless ballade form in writing the third of the Six Pieces for Piano, Op. 118. His opus 75 duets are also ballades, including a setting of the poem "Edward"the same that inspired Op. 10, no 1.

External links
Ballades, Op. 10: Free scores at the International Music Score Library Project. Brahms Ballade Op. 10 No. 1 on Classical Connect [1]

References
[1] http:/ / www. classicalconnect. com/ Brahms/ Ballade_No_1/ 1310

Variations and Fugue on a Theme by Handel

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Variations and Fugue on a Theme by Handel

The Variations and Fugue on a Theme by Handel, Op. 24, is a work for solo piano written by Johannes Brahms in 1861. It consists of a set of twenty-five variations and a concluding fugue, all based on a theme from George Frideric Handel's Harpsichord Suite No. 1 in B-flat Major, HWV 434. The great music writer Donald Francis Tovey has ranked it among "the half-dozen greatest sets of variations ever written."[1] Biographer Jan Swafford describes the Handel Variations as "perhaps the finest set of piano variations since Beethoven," adding, "Besides a masterful unfolding of ideas concluding with an exuberant fugue with a finish designed to bring down the house, the work is quintessentially Brahms in other ways: the filler of traditional forms with fresh energy and imagination; the historical eclectic able to start off with a gallant little tune of Handel's, Baroque ornaments and all, and integrate it seamlessly into his own voice, in a work of massive scope and dazzling variety."[2]

Background
The Handel Variations were written in September 1861 after Brahms, aged 28, abandoned the work he had been doing as director of the Hamburg women's choir (Frauenchor) and moved out of his family's cramped and shabby apartments in Hamburg to his own apartment in the quiet suburb of Hamm, initiating a highly productive period that produced "a series of early masterworks."[3] Written in a single stretch in September 1861,[4] the work is dedicated to a "beloved friend," Clara Schumann, widow of Robert Schumann, Brahms's musical and personal mentor. It was presented to her on her 42nd birthday, September 13. At about the same time, his interest in, and mastery of, the piano also shows in his writing two important piano quartets, in G minor and A major. Barely two months later, in November 1861, he produced his second set of Schumann Variations, Op. 23, for piano four hands. From his earliest years as a composer, the variation was a musical form of great interest to Brahms. Before the Handel Variations he had written a number of other sets of variations, as well as using variations in the slow movement of his Op. 1, the Piano Sonata in C major, and in other chamber works.[4] As he appeared on the scene, variations were in decline, "little more than a basis for writing paraphrases of favorite tunes".[4] In Brahms's work the form once again became restored to greatness. Brahms had been emulating Baroque models for six years or more.[5] In particular, between the time he wrote his previous Two Sets of Variations for piano, (No. 1, Eleven Variations on an Original Theme, in D major (1857) and No. 2, Fourteen Variations on a Hungarian Melody, in D major (1854)), Op. 21, and the Handel Variations, Op. 24, Brahms did a careful study of "more rigorous, complex and historical models, among others preludes, fugues, canons and the then obscure dance movements of the Baroque period.[6] Two gigues and two sarabandes that Brahms wrote in order to develop his technique are extant today.[7] The results of these historical studies are seen in, obviously, his choice of Handel for the theme, as well as his use of Baroque forms, including the Siciliano dance form (Var. 19) from the French school of Couperin and, in general, the frequent use of contrapuntal techniques in many variations. One aspect of his approach to variation writing is made explicit in a number of letters. "In a theme for a [set of] variations, it is almost only the bass that has any meaning for me. But this is sacred to me, it is the firm foundation on which I then build my stories. What I do with a melody is only playing around ... If I vary only the melody, then I cannot easily be more than clever or graceful, or, indeed, [if] full of feeling, deepen a pretty thought. On the given bass, I invent something actually new, I discover new melodies in it, I create." The role of the bass is critical. Identifying the bass as the essence of the theme, ...Brahms advocated using it to control the structure and character of individual variations and of the entire set. But by this he apparently did not mean retaining in the variations the bass line of the theme or even its harmonies ... To invent something actually new and to discover new melodies in the bass give the bass a role at once passive and active. While maintaining the structure of the themethe passive bass, so to speakBrahms may actively create

Variations and Fugue on a Theme by Handel melodies and figurative patterns (including melodies "discovered in" the bass), project different contrapuntal textures, and draw on an expanded harmonic vocabulary, sometimes interpreting the melody as the bass of the harmony or regarding major and minor or sharp and flat versions of the same passage as equally valid and available. The result is a great diversity of expression and character founded on a relatively strict conception of the "given" material.[8] Brahms also took into careful account the character of the theme, and its historical context. Unlike the great model of Beethoven's Diabelli Variations, where the variations departed widely from the character of the theme, Brahms's variations expressed and developed the character of the theme. Because the theme for the Handel variations originated in the Baroque era, Brahms included forms such as a siciliana, a musette, a canon and, of course, a fugue.[9] Still not fully established in his career in 1861, Brahms had to struggle to get the work published. He wrote to Breitkopf & Hrtel," I am unwilling, at the first hurdle, to give up my desire to see this, my favourite work, published by you. If therefore, it is primarily the high fee that stops you taking it, I will be happy to let you have it for 12 Friedrichsdors or, if this still seems too high, 10 Friedrichsdors. I very much hope you will not think I plucked the initial fee arbitrarily out of the air. I consider this work to be much better than my earlier ones; I think it is also much better adapted to the demands of performance and will therefore be easier to market ..."[10] The theme of the Handel Variations is taken from an aria in the third movement of Handel's Harpsichord Suite No. 1 in B-flat Major, HWV 434 (Suites de pices pour le clavecin, published by J. Walsh, London 1733 with five variations). Brahms himself owned a copy of the 1733 First Edition.[11] The appeal of the aria for Brahms might have been its simplicity: its range is restricted to one octave; the harmony is plain, with every note taken from the B-flat major scale; it "made an admirably neutral starting-place".[12] While Handel had written only five variations on his theme, Brahms, with the piano as his instrument rather than the more limited harpsichord, enlarged the scope of his opus to 25 variations ending with an extended fugue. Brahms's use of Handel exemplifies his love of the music of the past and his tendency to incorporate it and transform it in his own compositions. Of the overall concept of the work, Malcolm MacDonald writes "Some of Brahms's models in this monumental work are easy enough to identify. In the scale and ambition of his conception both Bach's 'Goldberg' and Beethoven's 'Diabelli Variations' must have exercised a powerful if generalized influence; in specific features of form Beethoven's 'Eroica' Variations is a closer parallel. But the overall structure is original to Brahms." And MacDonald suggests what might have been a more contemporary source of inspiration, the Variations on a Theme of Handel, Op. 26, by Robert Volkmann. "Brahms might well have known that large and often admirable work, published as recently as 1856, which Volkmann based on the so-called 'Harmonious Blacksmith' theme from the Air with Variations in Handel's E major Harpsichord Suite." [13]

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Structure
In Music, Imagination, and Culture Nicholas Cook gives the following concise description: "The Handel Variations consist of a theme and twenty-five variations, each of equal length, plus a much longer fugue at the end which provides the climax of the movement in terms of duration, dynamics, and contrapuntal complexity. The individual variations are grouped in such a way as to create a series of waves, both in terms of tempo and dynamics, leading to the final fugue, and superimposed on this overall organization are a number of subordinate patterns. Variations in tonic major and minor more or less alternate with each other; only once is there a variation in another key (the twenty-first, which is in the relative minor). Legato variations are usually succeeded by staccato ones; variations whose texture is fragmentary are in general followed by more homophonic ones. ... the organization of the variation set is not so much concentricwith each variation deriving coherence from its relationship to the themeas edge-related, with each variation being lent significance by its relationship with what comes before and after it, or by the group of variations within which it is located. In other words, what gives unity to the

Variations and Fugue on a Theme by Handel variation set ... is not the theme as such, but rather a network of 'family resemblances', to use Wittgenstein's term, between the different variations."[14] There are various opinions about the organization of the Handel Variations. Hans Meyer, for example, sees the divisions as nos. 1-8 ('strict'), 9-12 ('free'), 13 ('synthesis'), 14-17 ('strict') and 18-25 ('free'), culminating, of course, in the fugue.[15] William Horne emphasizes paired variations: nos. 3 and 4, 5 and 6, 7 and 8, 11 and 12, 13 and 14, 23 and 24. This helps him to group the set as 1-8, 9-18, 19-25, with each group ending with a fermata and preceded by one or more variation pairs.[16] John Rink, focusing on Brahms's dynamic markings, writes, "Brahms takes pains to control the intensity level throughout the twenty-five variations, maintaining a state of flux in the first half, and then keeping the temperature perceptibly low after the peak in Variations 13-15 until the massive 'crescendo' towards the fugue begins in Variation 23. We thus find a sensitivity to motion and momentum that complementsand possibly transcends in importance to the listenerthe elegance of structure about which so many authors have (legitimately) enthused.[17] Unity is maintained, at least in part, by using Handel's key signature of B flat throughout most of the set, varied by only a few exceptions in the tonic minor, and by repeating Handel's four-bar/two-part structure, including the repeats, in most of the work.

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The variations
The performer of the audio files in this section is Martha Goldstein. Theme. Aria Handel's theme is divided into two parts, each four bars in length and each repeated. The elegant aria moves in stately quarter notes in 4/4 time with "a ceremonial character typical of its period."[12] The harmonic progressions are elementary. Every bar except one has one or two decorations. The melody consists of a one-bar figure in the right hand consisting mostly of a trill and a turn; it is repeated in a rising sequence three times followed by a fourth descending repetition; a decorative flourish finishes the first half of the variation, which is then repeated. The left hand plays solid chords in support throughout, three quarter-note chords to each bar setting the pace followed by a rhythmic eighth-note chord leading to the next bar and emphasizing its first beat. The second half follows a similar pattern, varied mainly by alterations to the turns.

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Variation I. Brahms's first variation stays close to the melody and harmonies of Handel's theme while changing its character completely. It uses staccato throughout and its syncopated accents are distinctly non-Baroque. The dynamic marking poco (a bit louder), too, clearly separates it from Handel's elegant aria. In tempo the variation seems much more hurried, crisp, even dance-like; each time the right hand "pauses" on an eighth note, the left hand fills in with sixteenth notes. At the end of the two sections Brahms replaces Handel's decorations with brilliant up- and down-scale runs. Variation II. Minor-key inflections in Variations 2 to 4 increase the distance from Handel and lay the groundwork for Variations 5 and 6, in the tonic minor. Variation 2 is a subtle piece with a flowing, lilting rhythm. Complexity is added as Brahms uses a favourite technique, found throughout his works, with triple time in one voicein this case, triplets in the right handagainst duple time in the other. While explicitly recalling the melody of Handel's theme, the chromaticism of this variation adds to the sense of a world beyond the Baroque. In the first half the pattern is of phrases rising on the scale with a crescendo, then falling away in a shorter decrescendo. The second half climbs both in pitch and dynamics to a high climax, again falling away quickly. There is a smooth transition to the next variation.

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Variation III. The elegant third variation, marked dolce, moves at a more leisurely pace, providing a sense of calm after two rather busy variations. It also provides a much-needed contrast with the following thunderous variation. Right and left hands alternate and overlap, the left imitating the right in a pattern of three eighth notes. The first note of each group is played staccato, adding to the sense of lightness. The occasional rolled chord adds interest. Variation IV. The fourth variation, marked risoluto, is a showpiece, with sixteenth notes played in octaves in both hands, strong accents (the sforzandos are frequently emphasized by six-note chords) and climaxes that rise a full octave higher than Handel's theme. The charging, syncopated rhythm places the stress on the last sixteenth of almost every beat. Although no tempo indications are given, this variation is often performed at great speed.

Variation V. After the mighty sounds of the previous variation, the lyrical fifth variation begins quietly. The change of mood is emphasized by a shift to the tonic minor (B-flat minor). This is the first variation in a key different from Handel's. Numerous small crescendos and decrescendos underscore the espressivo marking. The melody moves upward at a measured pace in eighth notes while the left hand accompanies with broken chords in sixteenth notes in contrary motion. The mood is one of peace and tranquility. A pairing between this fifth variation and the following one is created by the use of the tonic minor key signature and contrary motion.

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Variation VI. Like the preceding variation, this piece is in the tonic minor and features contrary motion, and there are similarities in the motives of the two pieces. Marked p sempre with legato phrasing, Variation 6 has a hushed, mysterious tone. The pace is measured, as both hands are written mainly in eighth notes with short sequences of sixteenth notes providing variety. Here Brahms uses counterpoint in the form of a two-part canon in octaves, including inverted canon for several measures in the second half. Variation VII. Like Variations 5 and 6, this seventh variation is paired with the following eighth. Returning to Handel's original B flat major, No. 7 is fast, exciting, high-spirited, and fundamentally rhythmic in nature. A sustained drumbeat effect is created by the emphatic repetition of its upper notes and a staccato rhythm throughout all three voices. Because of the repeated upper notes, the focus moves to the inner voices. Numerous accents add further emphasis to the highly rhythmic character of this variation: in some bars in the first half, accents are placed on the last beat of the bar, while in the second half, the accents are yet more numerous, assigned to every beat except the last of each bar. Each half ends in a peak of excitement, marked forte with arpeggios in contrary motion. It leads seamlessly into No. 8.

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Variation VIII. Variation 8 continues the rhythmic excitement of Variation 7, the left hand beating out, on the same note over and over, the same anapestic rhythm as the preceding variation. After a few bars the two voices of the right hand are flipped. A fermata at the close provides a moment of silence before No. 9 begins and signals the end of the first section.

Variation IX. Variation 9 slows the pace of the series, with a sense of grandeur as both treble and bass move in stately, and ominous, octaves. The piece is highly chromatic, and, like several earlier variations, treble and bass are in contrary motion throughout. Each two-bar phrase begins with two exclamatory sf chords, as if sounding an alarm. The variation starts an octave higher than Handel's theme, and its repeated two-bar pattern continually ascends, increasing in tension, until the climax, when it reaches a full two octaves higher than Handel.

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Variation X. In contrast to the preceding number, Variation 10 is Allegro energico, fast and exhilarating. Its rather odd effect sounds almost devoid of melody, as the main notes of the theme are scattered among various registers. The first half consists of a series of startling gestures that begin with large, loud chords (f energetico) in the higher registers followed by echoes progressively lower, ending deep in the bass in a series of single notes played pp. The second half rushes to a great climax.

Variation XI. After the tension of Variations 7-10, the next two variations are sweet and melodic. Variation 11 uses counterpoint and has a simple, pleasant air with its rock-steady rhythm in one hand while the second simply plays two notes to one. Variations 11 and 12 are another example of the pairing of variations which is so characteristic of the work.

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Variation XII. The quietness and delicacy of Variation 12 prepares for the return of the dark tonic minor in Variation 13.

Variation XIII. Variation 13 returns to the tonic minor in a funereal mood. It is the middle variation of the set and, in the view of Denis Matthews, the emotional centre.[18] Right-hand sixths play against rolled chords in the left, perhaps suggesting muffled drums.[18] For Tovey the lugubrious tone suggests a "kind of Hungarian funeral march,"[18] while Malcolm MacDonald sees it as "florid" and "a Hungarian fantasia."[19] Here Brahms abandons the usual repeat signs and writes variations within the variation. Variations 13 and 14, while very different in character, are paired in being fast and exciting and in their the use of parallel sixths in the right hand.

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Variation XIV. Variation 14, marked sciolto ("loose") breaks the dark mood of Variation 13 and returns to the original key. With its extended trills and scalar runs in sixths in the right hand against broken octaves in the left hand, it is a virtuoso showpiece. The mood is of great energy, excitement and high spirits. It leads without a break into the following variation. Donald Francis Tovey sees a grouping in variations 14-18, which he describes as "aris[ing] one out of the other in a wonderful decrescendo of tone and crescendo of Romantic beauty." [20] Variation XV. Following without a pause from the previous number, Variation 15, marked forte, is a bravura variation building relentlessly toward an exciting climax. It consists of a one-bar pattern, varied only slightly, of two declamatory chords in eighth notes in the higher registers, followed by lower sixteenth notes that echo Handel's original turns. A prominent upbeat creates syncopated energy. It has been called an tude for Brahms's Second Piano Concerto.[21] It breaks the structural mould of Handel's theme by adding one "extra" bar. In Brahms's first autograph Variations 15 and 16 were positioned in the reverse order.[22]

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Variation XVI. Variation 16 continues from Variation 15 as a "variation of variation,"[23] repeating the pattern of two high eighth notes followed by a run of lower sixteenth notes. It also forms another pairing with Variation 17. Baroque contrapuntal techniques appear again in this canon, described by Malcolm MacDonald as "wittier" than the canon of no.6.[19] The left hand begins with two descending staccato eighth notes, immediately followed in the opposite hand by the two eighth notes inverted, a full four octaves higher. In each case, a figure in sixteenth notes follows in canonic imitation. The effect is light and exhilarating. Variation XVII. In Variation 17 the absence of the sixteenth notes that were so prominent in the preceding two variations gives the impression of a slowing, despite the marking of pi mosso. The effect is of gently falling raindrops, with gracefully descending broken chords in the right hand, piano and staccato, repeated throughout the work at various pitches. Each note is played twice, adding to the suggestion of a leisurely pace.

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Variation XVIII. Another "variation of variation," paired with the preceding Variation 17.[23]

Variation XIX. This slow, relaxing variation, with its lilting rhythm and 12/8 time, is written in the dance style of a Baroque French siciliana from the school of Couperin (Brahms had edited Couperin's music[24] ). It uses chords almost exclusively in the root position, perhaps as another reminiscence of "antique" music. In a technique often used by Brahms, the melodic line is hidden in an inner part. This variation opens a lengthy quiet section which includes nos. 19-22, "not noticeably interrelated".[18] Variation XX.

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From the outset, Variation 20 builds toward its climax. In contrast to the preceding variation, there is little of the Baroque in it with its chromaticism in both treble and bass and its thick textures (triads in the right hand against octaves in the left hand). Malcolm MacDonald refers to its "organ-loft progressions."[25]

Variation XXI. Variation 21 moves to the relative minor. Like No. 19, the theme is hidden, in this case by merely gracing the main notes of the theme in passing, thereby achieving a sense of lightness. It is another example of Brahms' use of triple-against-duple time.

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Variation XXII. The light mood of the preceding variation continues in No. 22. Often referred to as the "musical-box" variation because of the regularity of its rhythm, underlined particularly by a drone bass,[19] Variation 22 alludes to the Baroque musette, a soft pastoral air imitating the sound music of a bagpipe, or musette. It remains in the high registers, consistently above Handel's theme, the lowest note being the repeated B-flat of the drone. The light mood prepares the way for the climactic, concluding section which, in Tovey's words, comes "swarming up energetically out of darkness."[26]

Variation XXIII. At Variation 23 the rise toward a final climax begins. It is clearly paired with the following Variation 24, which continues its pattern but in a more hurried, more urgent manner.

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Variation XXIV. In preparation for the climactic final variation, no. 24 intensifies the excitement, replacing the triplets of Variation 23 with masses of sixteenth notes. Clearly modeled on the preceding no. 23, it is another example of Brahms's use of "variation of variation."[23]

Variation XXV. An exultant showpiece, Variation 25 ends the variations and leads into the concluding fugue. Its strong resemblance to Variation 1 ties the set together. Fugue The powerful concluding fugue brings the variation set to a climactic close. Its subject, repeated many times from beginning to end, derives from the opening of Handel's theme. Julian Littlewood observes that the fugue has "a dense contrapuntal argument which recalls Bach more than Handel."[27] Denis Matthews adds that it is "more redolent of one of Bach's great organ fugues than any of any in 'The 48', with inversions, augmentation and double counterpoint to match, and a great peroration over a swinging dominant pedal-point."[28] Despite its magnitude, Littlewood suggests, the fugue avoids separation from the rest of the set by its comparable texture. "In this way it systematically creates a web of links between past and present, achieving synthesis rather than quotation or parody." Michael Musgrave in The Music of Brahms writes, "Brahms brings his subject, derived, like that of the Diabelli fugue, from the theme, into contrapuntal relationships involving diminution, augmentation, stretto, building to the final peroration through a long dominant pedal with two distinct ideas above. But the pianism is an equal part of the conception, and in this, the most complex example of Brahms's virtuoso style, the characteristic spacings in thirds, sixths and wide spans between the hands are employed as never before. Indeed, the pianistic factor serves to create the great contrasts within the fugue, which transcends a traditional fugal movement to create a further set of variations, in which many of the previous textures are recalled in the context of the equally

Variations and Fugue on a Theme by Handel transformed fugal theme."[29]

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Reception and aftermath

An entry in Clara Schumann's diary about the Handel Variations gives an idea of how close the relationship between her and Brahms was, as well as Brahms's sometimes extraordinary insensitivity: "On Dec 7th I gave another soire, at which I played Johannes' Handel Variations. I was in agonies of nervousness, but I played them well all the same, and they were much applauded. Johannes, however, hurt me very much by his indifference. He declared that he could no longer bear to hear the variations, it was altogether too dreadful for him to listen to anything of his own and to have to sit by and do nothing. Although I can well understand this feeling, I cannot help finding it hard when one has devoted all one's powers to a work, and the composer himself has not a kind word for it."[30] Yet in the following spring (April 1862) Brahms wrote, in a note to a critic to whom he was sending a copy of the work, "I am fond of it and value it particularly in relation to my other works." [31] Clara Schumann premiered the work in Hamburg on December 7, when she visited Brahms's home town to give a series of performances, which also included the Piano Concerto No. 1 in D minorwhich had not been well received when Brahms introduced it to Leipzig in the Gewandhaus in January 1858and the premiere of the G Minor Quartet. Clara's performance of the Handel Variations in Hamburg was a triumph, which she repeated soon afterward in Leipzig. During that winter, Brahms also gave

Variations and Fugue on a Theme by Handel performances of the Handel Variations, as a result of which he made minor alterations to the score.[22] Publication came in July 1862 by Breitkopf & Hrtel. With the "complete failure,[32] " as he described it to Clara, of his first large-scale orchestral work, the First Piano Concerto, the Handel Variations became an important landmark in the developing career of Brahms. Another seven years passed before his reputation was firmly established by A German Requiem in Bremen in 1868, and it took a full fifteen years before he made his mark as a symphonist with his first symphony (1876). During what was probably the first meeting of Brahms and Richard Wagner in January 1863, Brahms performed his Handel Variations. Despite the great differences between the two men in musical style and an underlying tension based on musical politicsBrahms championing a more conservative approach to music while Wagner, along with Franz Liszt, called for "the music of the future" with new forms and new tonalitiesWagner complimented the work graciously, if not wholeheartedly, saying, "One sees what still may be done in the old forms when someone comes along who knows how to use them."[33]

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Arrangements
The piece is often heard in a version that was arranged for orchestra by British composer and Brahms enthusiast Edmund Rubbra in 1938. The orchestration was first performed at a Royal Philharmonic Society concert conducted by Adrian Boult.[34] The ballet Brahms/Handel, made by New York City Ballet balletmaster Jerome Robbins in collaboration with Twyla Tharp, was set to this orchestration.[35]

Notes
[1] Matthews, Denis, Brahms Piano Music, Ariel Music BBC Publications, 1986, p. 31. [2] Swafford, Jan, Johannes Brahms: A Biography, Vintage Books, 1999, p. 228. [3] Hofmann, Kurt, "Brahms the Hamburg musician 1833-1862," in The Cambridge Companion to Brahms, ed. Michael Musgrave, Cambridge University Press, Cambridge, 1999, p. 24, 28. [4] Brahms, Johannes, Variations for Piano, Urtext Edition, Ed.: Sonja Gerlach, Fing.: Hans-Martin Theopold, G. Henle Verlag HN440, 1988, Foreword [5] Musgrave, Michael, The Music of Brahms, Oxford University Press, 1994, ISBN 0-19-816401-7, 9780198164012, p. 52. "Extensive material which emerged after Brahms's death, some of it only very recently, has shown just how deep was the interest. It covered not merely the conventional forms of the prelude and fugue and the canon, but what were at that time obscure dance movements of the Baroque." [6] Rink, John, "Opposition and integration in the piano music," in The Cambridge Companion to Brahms, ed. Michael Musgrave, Cambridge University Press, Cambridge, 1999, p.85. [7] Geiringer, Karl, Brahms - His Life and Work, Read Books, 2007, ISBN 1-4067-5582-6, 9781406755824, p. 217. [8] Sisman, Elaine R., "Brahms and the Variation Canon," 19th-Century Music, Vol. 14, No. 2 (Autumn, 1990), pp. 134 [9] Sisman, Elaine R., "Brahms and the Variation Canon," 19th-Century Music, Vol. 14, No. 2 (Autumn, 1990), pp. 141 [10] Neunzig, Hands, Peter Sheppard Skaerved, and Mike Mitchell, translated by Mike Mitchell Brahms, Haus Publishing, 2003, ISBN 1-904341-17-9, 9781904341178, p. 70. [11] Littlewood, Julian, The Variations of Johannes Brahms, Plumbago Books, 2004, ISBN 0-9540123-4-8, 9780954012342 [12] Matthews, Denis, Brahms Piano Music, Ariel Music BBC Publications, 1986, p. 30. [13] MacDonald, Malcolm, Brahms (The Master Musician Series), J.M Dent & Sons Ltd., London, 1990, p.180., [14] Cook, Nicholas, Music, Imagination, and Culture, Oxford University Press, 1990, ISBN 0-19-816303-7, 9780198163039, pp. 60-64. [15] Rink, John, "Opposition and integration in the piano music," in The Cambridge Companion to Brahms, ed. Michael Musgrave, Cambridge University Press, Cambridge, 1999, p.86. [16] Horne, William, in Brahms Studies, Volume 3, translated by David Brodbeck, University of Nebraska Press, 2001, p. 108f. [17] Rink, John, "Opposition and integration in the piano music," in The Cambridge Companion to Brahms, ed. Michael Musgrave, Cambridge University Press, Cambridge, 1999, p.87-88. [18] Matthews, Denis, Brahms Piano Music, Ariel Music BBC Publications, 1986, p. 33. [19] MacDonald, Malcolm, Brahms (The Master Musician Series), J.M Dent & Sons Ltd., London, 1990, p.180. [20] Quoted by Palmer, John, AllMusic.com, http:/ / www. allmusic. com/ work/ c40005 accessed on August 14, 2008. [21] Littlewood, Julian, The Variations of Johannes Brahms, Plumbago Books, 2004, ISBN 0-9540123-4-8, 9780954012342 [22] Brahms, Johannes, Handel Variations op. 24, Urtext Edition, G. Henle Verlag HN272, 1978, Preface [23] Musgrqave, Michael, The Music of Brahms, p. 55. [24] Musgrave, Michael, The Music of Brahms, p. 53.

Variations and Fugue on a Theme by Handel

[25] MacDonald, Malcolm, Brahms (The Master Musician Series), J.M Dent & Sons Ltd., London, 1990, p.179f. [26] Matthews, Denis, Brahms Piano Music, Ariel Music BBC Publications, 1986, p. 34. [27] Littlewood, Julian, The Variations of Johannes Brahms, Plumbago Books, 2004, ISBN 095401 [28] Matthews, Denis, Brahms Piano Music, Ariel Music BBC Publications, 1986, p. 35. [29] Musgrave, Michael, The Music of Brahms, p. 57-58. [30] Litzmann, Berthold, Clara Schumann: An Artist's Life Based on Material Found in Diaries and Letters - Vol II, Read Books, 2007, ISBN 1-4067-5905-8, 9781406759051, p. 201. [31] Swafford, Jan, Johannes Brahms: A Biography, Vintage Books, 1999, p. 234. [32] Matthews, Denis, Brahms Piano Music, Ariel Music BBC Publications, 1986, p. 29. [33] Swafford, Jan, Johannes Brahms: A Biography, Vintage Books, 1999, p. 267. [34] "London Concerts". The Musical Times (subscription) (Musical Times Publications Ltd.) 79 (1150): 938. 1938-12. JSTOR923682 [35] Macaulay, Alastair (24 June 2008). "In a Salute to Robbins, Variations Mr. B Might Not Have Considered" (http:/ / www. nytimes. com/ 2008/ 06/ 24/ arts/ dance/ 24thar. html). The New York Times. . Retrieved 16 April 2009.

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External links
Variations and Fugue on a Theme by Handel: Free scores at the International Music Score Library Project. Free score (http://www.bh2000.net/score/pianbrah/bp07.pdf) Detailed listening guide (http://www.kellydeanhansen.com/opus24.html) based on a recording by Martin Jones Sleeve notes from a recording by Seta Tanyel (free registration required) (http://www.hyperion-records.co.uk/ notes/55201-N.asp)

Variations on a Theme of Paganini

The Variations on a Theme of Paganini are a set of theme and variations for solo piano, written by Johannes Brahms (Op. 35). The theme that is the basis for the work is that of the Caprice No. 24 in A minor by Niccol Paganini. Brahms' piece is well-known for its emotional depth and technical challenge. Structurally, the work is divided into two sections ("Book I", Op. 35/1 and "Book II", Op. 35/2), with the theme stated at the beginning of each section. Each section concludes with a virtuosic finale-style variation.

External links
Paganini Variations, Book I, Book II: Free scores at the International Music Score Library Project. Detailed Listening Guide [1] using the recording by Martin Jones

References
[1] http:/ / www. kellydeanhansen. com/ opus35. html

Sixteen Waltzes for piano, four hands

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Sixteen Waltzes for piano, four hands

All performances by Martha Goldstein Sixteen Waltzes for Piano, four hands, Op. 39 is a set of 16 short waltzes for piano four hands written by Johannes Brahms. They were composed in 1865, and published two years later, dedicated to Eduard Hanslick.[1] These waltzes were also arranged for piano solo by the composer, in two different versions difficult and simplified. The three versions were published at the same time, and sold well, contrary to the composer's expectations. In the solo versions, some of the keys were altered from the original duet version (the last four in the difficult version and No. 6 in the easy version). Waltz Number 15 in A major (or A-flat major) has acquired a life of its own. An arrangement of five of the waltzes (Nos. 1, 2, 11, 14, and 15) for two pianos, four hands was published after the composer's death. The 16 waltzes, in the keys of the original piano duet version, are:
Johannes Brahms

No. 1 in B major Tempo giusto No. 2 in E major No. 3 in G-sharp minor No. 4 in E minor Poco sostenuto No. 5 in E major Grazioso No. 6 in C-sharp major Vivace (C major in the easy solo version) No. 7 in C-sharp minor Poco pi Andante No. 8 in B-flat major No. 9 in D minor No. 10 in G major No. 11 in B minor No. 12 in E major No. 13 in C major (B major in the more difficult solo version) No. 14 in A minor (G-sharp minor in the more difficult solo version and the two-piano version) No. 15 in A major (A-flat major in the more difficult solo version and the two-piano version) No. 16 in D minor (C-sharp minor in the more difficult solo version)

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References
[1] Sixteen Waltzes for piano, four hands (http:/ / www. allmusic. com/ work/ c40516) at Allmusic

External links
Sixteen Waltzes for Piano, four hands: Free scores at the International Music Score Library Project. Listening Guide (http://www.kellydeanhansen.com/opus39.html) for all four versions of the waltzes.

Rhapsodies
The Rhapsodies, Op. 79, for piano were written by Johannes Brahms in 1879 during his summer stay in Prtschach, when he had reached the maturity of his career. They were inscribed to his friend, the musician and composer Elisabeth von Herzogenberg. At the suggestion of the dedicatee, Brahms reluctantly renamed the sophisticated compositions from "klavierstcke" (piano pieces) to "rhapsodies". No. 1 in B minor. Agitato This is the more extensive piece, with outer sections in sonata form enclosing a lyrical central section in B major and with a coda ending in that key. No. 2 in G minor. Molto passionato, ma non troppo allegro is a more compact piece in a more "normal" sonata form. In each piece, the main key is not definitely established until fairly late in the exposition.

External links
Rhapsodies, Op. 79: Free scores at the International Music Score Library Project. Performance of both Rhapsodies [1] by Louis Schwizgebel-Wang from the Isabella Stewart Gardner Museum in MP3 format

References
[1] http:/ / traffic. libsyn. com/ gardnermuseum/ brahms_op79. mp3

Six Pieces for Piano

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Six Pieces for Piano

The Six Pieces for Piano, Op. 118, are some of the most beloved items that the composer Johannes Brahms wrote for the solo instrument. Completed in 1893 and dedicated to Clara Schumann, the collection was the second to last composition to be published during Brahms' lifetime. It was also his second to last work composed for piano solo. Like Brahms' other late keyboard works, Op. 118 is overall more introspective than his earlier piano pieces, which tend to be more virtuosic in character. The six pieces are: No. 1. Intermezzo in A minor. Allegro non assai, ma molto appassionato No. 2. Intermezzo in A major. Andante teneramente No. 3. Ballade in G minor. Allegro energico No. 4. Intermezzo in F minor. Allegretto un poco agitato No. 5. Romance in F major. Andante No. 6. Intermezzo in E flat minor. Andante, largo e mesto

External links
A public domain engraving of the second piece using GNU LilyPond is available [1] from the Mutopia Project in several formats. Six Pieces for Piano, Op. 118: Free scores at the International Music Score Library Project. Performance of Intermezzo No.2 in A Major [2] by Jiyang Chen Detailed Listening Guide [3] using the recording by Martin Jones Recordings of Klavierstucke Op.118 are available [4] from the Piano Society [5] as well as from this website [6].

References
[1] [2] [3] [4] [5] [6] http:/ / www. mutopiaproject. org/ cgibin/ piece-info. cgi?id=535 http:/ / www. jiyangchen. com/ music/ http:/ / www. kellydeanhansen. com/ opus118. html http:/ / pianosociety. com/ cms/ index. php?section=115 http:/ / pianosociety. com/ cms/ index. php http:/ / music. sedaroeder. com/ album/ mozart-brahms-berg

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Four Pieces for Piano

The Four Pieces for Piano (German: 'Klavierstcke') Op. 119, are four character pieces for piano composed by Johannes Brahms in 1893. The collection is the last composition for solo piano by Brahms. Together with the six pieces from Op. 118 these four pieces were first performed in London in January 1894.

Historic Background
The Four Pieces for Piano were published in 1892 and 1893 along with three other collections of smaller piano pieces: the Seven Fantasias Op. 116, Three Intermezzos Op. 117, Six Pieces for Piano Op. 118, and Four Pieces for Piano Op. 119. The Pieces for Piano Op. 119 are: 1. Intermezzo in B minor, 2. Intermezzo in E minor, 3. Intermezzo in C major, 4. Rhapsodie in E flat major. (The fact that Brahms originally intended to call his earlier B minor rhapsody, Op. 79 No. 1, Capriccio shows that he may have used such terms rather loosely. Intermezzo can be seen as an umbrella term under which Brahms could collect anything which was neither capricious nor passionate.) He completed these pieces during his summer holiday in Ischl, Upper Austria, in 1893, the first intermezzo being written in May and the following three pieces in June. Since Brahms has combined these 18 character pieces in collections, he may have included some earlier compositions, and it is quite possible, although there is no definite proof, that some workssuch as the E flat major rhapsodymay have been conceived before 1892. Two earlier collections of smaller lyric piano pieces, Eight Pieces for Piano Op. 76, and Two Rhapsodies Op. 79, date from 1871-79 (published 1879 and 1880 respectively).

Romantic Traits
The fact that Brahms spurned poetic titles for his works cannot be taken as proof of his compositions dispensing with programmatic inspiration. His Edward Ballade Op. 10 (composed 1854), for example, was inspired by a Scottish ballad, and we can easily hear the verses in the meter of the piano piece, especially the exclamation: "...Edward, Edward?"

Intermezzo in B minor
The poetic mood of the first intermezzo from Op. 119 belies its vague title. In a letter from May 1893, Brahms tells Clara Schumann: "I am tempted to copy out a small piano piece for you, because I would like to know how you agree with it. It is teeming with dissonances! These may [well] be correct and [can] be explainedbut maybe they wont please your palate, and now I wished, they would be less correct, but more appetizing and agreeable to your taste. The little piece is exceptionally melancholic and to be played very slowly is not an understatement. Every bar and every note must sound like a ritard[ando], as if one wanted to suck melancholy out of each and every one, lustily and with pleasure out of these very dissonances! Good Lord, this description will [surely] awaken your desire!"[1] Brahms sounds somewhat ironic here, but Clara Schumann was enthusiastic and asked him to send the remaining pieces of his new opus. The words melancholy and with pleasure aptly describe the decadent Schoenbergian atmosphere evoked by those aimless opening harmonies. In fact no clear tonality can be perceived in these first three bars. The very first chord, for example, could be a B minor 7th chord superimposed on an E minor triad. The entire A section (bars 1-16) eludes the tonic and only the coda (bars 55-67) ends in B minor in a mood of deep resignation. The effect of wistful intimacy is not a result of improvisational looseness. The composer has calculated each effect in minute detail to

Four Pieces for Piano create one of the most delicately wrought miniatures imaginable. Brahmss meticulosity in delineating the polyphonic texture, often produced by individual articulation in different voices, is almost beyond imagination and makes enormous demands on the sensitivity of the performer. In the middle section of the piece (bars 17-46) the warmer D major is supported by more consonant harmonies, a less polyphonic texture and a lilting slow waltz rhythm. The motivic relationship can be observed in the top voice (compare bar 1 with bar 17). To appreciate Brahmss incredible expertise in manipulating the mood by slight changes in articulation and voice leading, compare bars 17-20, the opening of the middle section, with its repeated statement 31-34: In the later statement the blissful lilt has been corrupted by an additional chromatic middle voice echoing the faded memory of the previous phrase (bars 29-30) and foreboding the immanent ecstasy of the climax (bar 39). Even the waltz rhythm in the left hand appears less comfortably declamated because the composer has renounced the use of legato. Only the somewhat decadently syncopated top voice maintains its articulation. Thus we have three voiceseach with its individual articulation and rhythm.

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Intermezzo in E minor
The E minor intermezzo could almost be called monothematic, but each time the theme appears in a completely different guise which makes it hardly recognizable. Brahms has a very marked predilection for subtle rhythmic shifts. In the opening of the E minor intermezzo (Ex. 14) the meter is disturbed by the sforzando and sostenuto in bar 2. In bar 3 a correction is suggested, but already in bar 4 a much more serious displacement of the meter is occasioned with an apparent wrong repeat of the theme on the third beat. The weak B minor sixth chord in bar 5 can no longer be perceived as a downbeat. The subsequent syncopated repetitions of the d sharp in the top voice completely distort the original feeling of triple meter. It is mainly through these rhythmic shifts that the music evokes a mood of nervous agitation and anxious searching.

Intermezzo in C major
But also the gracious playfulness of an apparent nave melody, such as the main theme of the C major intermezzo, owes quite a lot to subtle rhythmic manipulations. The freshness of C major is modified by presenting the melody as the middle voice, certainly lending it a more mellow hue. Brahmss rhythmic manipulations involve the dichotomy of the first and fourth beats. The strong bass note C in the opening bar seems to establish a very certain downbeat, but this is contradicted by the right hand melody suggesting a downbeat on the fourth eighth note. The length of the phrase is twelve bars, subdividing into two six-bar sections. The first six bars can certainly be heard as two three-bar units whereas the second six-bar section can rather be perceived as three times two bars. The second six-bar sub-phrase functions rhythmically as a giant Hemiola (23=>32). This rhythmic gracefulness is opposed by the middle section of the piece. Two eight-bar phrases, subdividing into four-bar units, try to correct the twelve-bar dream in a most energetic manner. The smooth legato opening of the recapitulation (starting with bar 41) is hiding a lot of impatience causing the undulating Hemiolas of the first two bars to explode in a sudden outburst. As a result of this the main theme can hardly be perceived as the entrance of the recapitulation, and the underlying song form of the intermezzo becomes almost unrecognizable for the listener. Therefore it is arguable that this piece is in binary form and the B section begins at bar 49 where new material appears.

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Rhapsodie in E-flat major

Brahmss experiments with rhythm and phrase lengths are also apparent in the E-flat major rhapsody which for 60 bars maintains 5 bar phrases. An insensitive performer will always present these first five bars as five times 2/4 rather than the implied two times 2/4, plus two times 3/4. More scrutiny in observation would reveal the absence of an accent on the fourth bar in connection with an inversion of the one fourth-note/two eighth-notes pattern in the left hand, clearly shifting the feeling of downbeat to the second beat of bar 4. The result is not a march rhythm (as described in many superficial analysis) but rather an exalted heroic declamation. The grazioso second theme (starting bar 93) is constructed by eight-bar phrases that do not subdivide into four plus four, but rather into three plus two plus three. Together with the lute like arpeggiated accompaniment, these uneven phrase lengths project a certain teasing charm. The rhapsody from Op. 119 has been criticized for its rather crude form and medieval austerity. But the form has to match its content and a complex polyphony or a sonata form like development would surely disturb the archaic character of this magnificently heroic epic. The fact that Brahms uses extremely complex polyphonic devices in the intermezzos, but refrains from employing them in the rhapsody, proves that his enormous technical expertise as a composer is applied to the service of the character his music is to convey. The piece ends in E-flat minor, the parallel minor key to where it started (E-flat major). While it is not unusual to end a minor-key composition in the parallel major, it is much less common to find a work constructed in this manner.

Notes
[1] Berthold Litzmann, Clara Schumann: Ein Knstlerleben nach Tagebchern und Briefen, 3 vols. (Leipzig: Breitkopf & Hrtel, 1909), vol.III, pp.570-571.

External links
Four Pieces for Piano, Op. 119: Free scores at the International Music Score Library Project. Detailed listening guide (http://www.kellydeanhansen.com/opus119.html) using a recording by Martin Jones

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Organ
Eleven Chorale Preludes
The Eleven Chorale Preludes, Op. 122, are a collection of chorale preludes for organ by Johannes Brahms, composed in 1896, and published posthumously in 1902.[1] The eleven pieces are relatively short and are based on selected verses of nine separate Lutheran chorales. This work is considered a final statement on Brahms' life and pending death. One of the selections is a prayer for healing and restoration to health. Some organists sense that there is a "good-bye" in the last prelude based on "O Welt, ich muss dich lassen" ("O World, I Now Must Leave Thee").

Preludes
1. Mein Jesu, der du mich 2. Herzliebster Jesu, was hast du verbrochen 3. O Welt, ich muss dich lassen 4. Herzlich tut mich erfreuen 5. Schmcke dich, o liebe Seele 6. O wie selig seid ihr doch, ihr Frommen 7. O Gott, du frommer Gott 8. Es ist ein Ros' entsprungen 9. Herzlich tut mich verlangen 10. Herzlich tut mich verlangen (second version) 11. O Welt, ich muss dich lassen (second version)

Transcriptions
Preludes 4, 5, and 811 were transcribed for solo piano by Ferruccio Busoni in 1902 as BVB50. These transcriptions have been recorded by Paul Jacobs.

References
[1] Bond, Ann. Brahms Chorale Preludes, Op. 122, The Musical Times, Vol. 112, Nbr. 1543, pp. 898900. September 1971.

External links
Eleven Chorale Preludes, Op. 122: Free scores at the International Music Score Library Project. Works by Brahms, including the Eleven Chorale Preludes, performed on virtual organs (http://www.phantorg. net/brahms.htm)

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Vocal
Neue Liebeslieder
Neue Liebeslieder, Op. 65 (New Love Songs), also known as Neue Liebesliederwalzer, written by Johannes Brahms, is a collection of Romantic pieces written for four solo voices and four hands on the piano. The Neue Liebeslieder were written during the Romantic period between 1869 and 1874. The text of the songs is adapted from folk songs of various areas of Europe including Turkey, Poland, Latvia, and Sicily. The text for songs 1 through 14 were translated and compiled by Georg Friedrich Daumer in his poem series, Polydora; the text for the fifteenth and final song, entitled Zum Schlu (In Conclusion), was written by Johann Wolfgang von Goethe.

Musical Aspects
The Neue Liebeslieder differs from the conventional Liebeslieder in the fact that the ensemble sections of the work are separated by two solo songs for the individual members of the quartet. Although this piece was originally written for a quartet, the Neue Liebeslieder is often performed by a larger chamber ensemble and soloists. The better known and more liked portion of this fifteen song cycle are the seven quartets. Throughout these ensemble sections, Brahms uses innovative techniques to portray a central idea. For example, in the first song, measures 16-21, he depicts the rocky shores by the repeated cry of "zertrmmert", which, translated into English, means "wrecked". Brahms also enhances the text "Well auf Well" (wave after wave) with octave leaps in all four parts in measure 4 and 29. In song number 8, Brahms's use of the musical rest in the middle of the words mixed with the chorus singing dolce helps to create a gentle atmosphere. The eight solo sections of The Neue Liebeslieder differ from the ensemble parts in that the soloists illustrate different characters who behave in certain ways when it comes to love. The soprano is a female who continuously has no luck when it comes to men; the alto is depicted as a female who has suddenly abandoned her lover; the tenor is portrayed as a male who is selfish and irresponsible when it comes to sexual relationships with women; and the bass is one who is hopelessly in love with his married lover. The final song in this cycle moves away from the subject of lovers and puts the spotlight on the muses and thanks them for inspiring not only the author (Goethe), but also all of the artists in the world. With this change in subject comes the change in meter. Brahms moves away from the standard 3/4 meter and changes to 9/4. The music is also much more contrapuntal than the previous songs in this cycle. At the climax of this song in measure 16, the piano drops out and the choir sings a cappella and moves from the dominant key back to the tonic key of F. J. A. Fuller Maitland, in Grove's Dictionary, wrote: One of the most beautiful of all the quartets not in waltz-rhythm, is the epilogue to the second set of Neue Liebeslieder, a true lyric for four voices, with a gentler style of accompaniment than is provided for the rest. (Maitland 1904, 390)

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References
Maitland, J. A. Fuller. 1904. "Brahms, Johannes". Groves Dictionary of Music and Musicians, edited by J. A. Fuller Maitland, M.A., F.S.A. in five volumes, 1:38291. London: Macmillan & Co., Ltd.; New York: The Macmillan Company.

Further reading
Stark, Lucien. 1998. Brahmss Vocal Duets and Quartets with Piano: A Guide with Full Texts and Translations. Bloomington: Indiana University Press. ISBN 0253334020.

External links
Rehearsal Information for The Napa Valley Chorale 2006 [1] Detailed Listening Guide [2] using a recording with four solo voices Neue Liebeslieder, op. 65 (Brahms): Free scores at the International Music Score Library Project. Neue Liebeslieder, op. 65 (Brahms) [3], Neue Liebeslieder, op. 65a (Brahms) [4]: Free scores at the Brahms Institut [2].

References
[1] [2] [3] [4] http:/ / www. napavalleychorale. org/ Resources/ Liebeslieder06. pdf http:/ / www. kellydeanhansen. com/ opus65. html http:/ / brahms-institut. de/ web/ bihl_notenschrank/ ausgaben/ op_065. html http:/ / brahms-institut. de/ web/ bihl_notenschrank/ ausgaben/ op_065a. html

Fnf Gesnge
Of all of Brahms's works for mixed choir a cappella, this late series is considered by many to be his most mature and serious work in the genre. Composed in 1888 when Brahms was a 55-year old bachelor, the five songs reflect an intensely nostalgic and even tragic mood. Brahms has chosen texts which centre on lost youth, summer turning into spring and, ultimately, man's mortality. While the score and the parts themselves are not that difficult for the singers, the sombre nature of the texts coupled with intense soaring melodies and complex harmonies make it quite a demanding work for any choir.

The songs
1. Nachtwache I (Night Watch I, text by Friedrich Rckert) B minor, SAATBB The opening piece sets the atmosphere for the pieces to come with its haunting first bars only. The musical writing reflects the frail beatings of a heart awakened by the breath of love the text speaks about. The dynamics alter swiftly from the soft to the very strong, sounding like the actual breathing of the narrator who seeks an answer to his love. 2. Nachtwache II (Night watch II, text by Friedrich Rckert) E flat major, SAATBB All at once, the mood is set by a more confident and reassuring tone in the music as well as in the text. The repeated calls of "Ruhn sie?" in all six voices is an imitation of the horns of the night watchmen, telling their listeners to confidently put out their lamps and let themselves be enveloped by the peaceful night. This is the shortest of the five songs, with just 21 bars. 3. Letztes Glck (Last happiness, text by Max Kalbeck) F minor, SAATBB Winter is coming and dead leaves from the trees are falling on each other - a picture wonderfully recreated in the music with its swiftly changing chords, sounding like breaths of an autumn wind. These are followed by long and

Fnf Gesnge sad melodies in all parts. The piece temporarily switches to the major mode as the narrator experiences a feeling of hope that spring will swiftly come again, but this is quickly crushed by the image of the "late wild rose". 4. Verlorene Jugend (Lost youth, Bohemian poem) D minor, SATBB This is the most lively and boisterous song in the series, perhaps due to the folkloristic character of the text. It is clearly divided into two verses, both of which can be divided into a fast and slow part. Once more, the ageing of man is contrasted with nature, particularly in the end, when we realise that while a stone thrown into a stream always resurfaces (portrayed by a fast canon between the tenor and the baritone), youth can never be recovered. 5. Im Herbst (In Autumn, text by Klaus Groth) C minor, SATB Definitely a highlight in Brahms's choral output (and a very chilling one at that), Im Herbst can be considered one of the most sombre choral songs ever composed. Written for four parts and easily divided into three verses, its simple structure is deceptive, for this is where the mixed emotions of the previous songs come together to form an impressive climax to this work. Considering pitch, intensity in sound and overall interpretation, Im Herbst is the most difficult song of the five. The parts are repeatedly intertwined and small seconds apart from each other, creating an almost disturbing image of the inevitability of man's own autumn which heralds death. Suddenly, in the third verse, the voices rise and the dynamic level of the piece (which is very quiet throughout) grows to an ultimate high as a tear glitters in the eyes of a man who knows his life will soon be over - but the tear is one of bliss, and the work ends in a quiet and meditative major chord.

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Recordings
Norddeutscher Runfunkchor, conducted by Gnter Jena - Deutsche Grammophon, 1983 Monteverdi Choir, conducted by John Eliot Gardiner - Philips, 1992 Kammerchor Stuttgart, conducted by Frieder Bernius - Sony, 1995 [1] Chamber Choir of Europe, conducted by Nicol Matt - Brilliant, 2003

External links
Fnf Gesnge op.104 (Brahms) [2]: Free scores at the Brahms Institut [2]. Fnf Gesnge op.104: Free scores at the International Music Score Library Project. Fnf Gesnge op.104 (Brahms) [3]: Free MP3s (op. 42, op. 93a, op. 104 and op. 52) Detailed Listening Guide [4] using the recording by the North German Radio Chorus

References
[1] [2] [3] [4] http:/ / www. chamber-choir-of-europe. de http:/ / brahms-institut. de/ web/ bihl_notenschrank/ ausgaben/ op_104. html http:/ / www. kaiser-ulrich. de/ Kaiser/ Brahms. aspx http:/ / www. kellydeanhansen. com/ opus104. html

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Other
Brahms's Lullaby
Cradle Song is the common name for a number of children's lullabies with similar lyrics, the original of which was Johannes Brahms's Wiegenlied: Guten Abend, gute Nacht ("Good evening, good night"), Op.49, No.4, published in 1868 and widely known as Brahms's Lullaby. The lyrics of the first verse are from a collection of German folk poems called Des Knaben Wunderhorn[1] and the second stanza was written by Georg Scherer (18241909) in 1849. The lullaby's melody is one of the most famous and recognizable in the world, used by countless parents to sing their babies to sleep. The Lullaby was first sung by Brahms's friend, Bertha Faber, as the piece had been written to celebrate the birth of her son. Brahms had been in love with her in her youth and constructed the melody of the Wiegenlied to suggest, as a hidden countermelody, a song she used to sing to him.[1]

Lyrics
Guten Abend, gute Nacht, mit Rosen bedacht, [2] mit Nglein besteckt, schlupf unter die Deck! Morgen frh, wenns Gott will, wirst du wieder geweckt. Guten Abend, gute Nacht, von Englein bewacht, die zeigen im Traum dir Christkindleins Baum. Schlaf nun selig und s, schau im Traum s Paradies. Good evening, good night, With roses adorned, With carnations covered, Slip under the covers. Tomorrow morning, if God wants so, you will wake once again. Good evening, good night. By angels watched, Who show you in your dream the Christ-childs tree. Sleep now peacefully and sweetly, see the paradise in your dream. Lullaby and good night, With roses bedight, With lilies o'er spread Is baby's wee bed. Lay thee down now and rest, May thy slumber be blessed. Lullaby and good night, Thy mother's delight, Bright angels beside My darling abide. They will guard thee at rest, Thou shalt wake on my breast.

[1] Swafford, Jan (1999). Johannes Brahms: A Biography. Random House of Canada. p.338. ISBN9780679745822. [2] "Nglein": archaic/poetic for "Nelklein" = carnation

Brahms's Lullaby is also commonly sung to the Hebrew words of Jacob's blessing to his grandchildren, Ephraim and Menashe, in Genesis48:16. (http:/ / jonathans-music. blogspot. com/ 2008/ 02/ hamalach-hagoel. html) This blessing is incorporated into the "Bedtime Shema" and has thus become a popular Jewish Lullaby (Hamalach hagoel oti...). (http://www.zemirotdatabase.org/view_song.php?id=26)

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Arrangements
In 1922, Australian pianist and composer Percy Grainger arranged the Wiegenlied as one of his "Free Settings of Favorite Melodies" for solo piano. This study was characterized by much use of suspensions and arpeggiation, with the first statement of the melody placed in the tenor range of the keyboard. This last practice was a favorite one of Grainger.[1]

References
[1] Ould, 5.

Bibliography
Ould, Barry Peter, Notes for Hyperion CDA67279, Percy Grainger: Rambles and Reflections Piano Transcriptions, Piers Lane, piano.

External links
Sheet music for Brahms' Lullaby (Wiegenlied) (http://artsongcentral.com/2007/brahms-wiegenlied/) J. Brahms: 5 Songs, Op. 49: Free scores at the International Music Score Library Project. Tune with more lyrical versions of the lullaby (http://www.niehs.nih.gov/kids/lyrics/lullaby.htm) Another website with lyrics (http://www.smart-central.com/Brahms_Lullaby.html) Text of the Wiegenlied at Recmusic.org (http://www.recmusic.org/lieder/get_text.html?TextId=19669) Text of original verse as "Gute Nacht, mein Kind!" (http://books.google.com/books?id=lVIuAAAAMAAJ& pg=RA1-PA68) in Des Knaben Wunderhorn at Google Books.

F-A-E Sonata
The F-A-E Sonata, a four-movement work for violin and piano, is a collaborative musical work by three composers: Robert Schumann, the young Johannes Brahms, and Schumann's pupil Albert Dietrich. It was composed in Dsseldorf in October 1853. The sonata was Schumann's idea as a gift and tribute to violinist Joseph Joachim, whom the three composers had recently befriended. Joachim had adopted the Romantic German phrase "Frei aber einsam" ("free but lonely") as his personal motto. The composition's movements are all based on the musical notes F-A-E, the motto's initials, as a musical cryptogram. Schumann assigned each movement to one of the composers. Dietrich wrote the substantial first movement in sonata form. Schumann followed with a short Romanze as the second movement. The Scherzo was by Brahms, who had already proven himself a master of this form in his E flat minor Scherzo for piano and the scherzi in his first two piano sonatas. Schumann provided the finale. Schumann penned the following dedication on the original score: "F.A.E.: In Erwartung der Ankunft des verehrten und geliebten Freundes JOSEPH JOACHIM schrieben diese Sonate R.S., J.B., A.D." ("F.A.E.: In expectation of the arrival of their revered and beloved friend, Joseph Joachim, this sonata was written by R.S., J.B., A.D.").[1] The composers presented the score to Joachim on 28 October at a soire in the Schumann household, which Bettina von Arnim and her daughter Gisela also attended.[2] The composers challenged Joachim to determine who composed each movement. Joachim played the work that evening, with Clara Schumann at the piano. Joachim identified each movement's author with ease.[3]

F-A-E Sonata The complete work was not published during the composers' lifetimes. Schumann incorporated his two movements into his Violin Sonata No. 3. Joachim retained the original manuscript, from which he allowed only Brahms's Scherzo to be published in 1906, nearly ten years after Brahms's death.[4] Whether Dietrich made any further use of his sonata-allegro is not known. The complete sonata was first published in 1935. All three composers wrote other violin concerti for Joachim. Schumann's was completed on 3 October 1853, just before the F-A-E Sonata was begun. Joachim never performed it, unlike the concertos of Brahms and Dietrich. Steven Isserlis, the English cellist and Schumann aficionado, transcribed the F-A-E Sonata for cello and piano.

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Notes
[1] [2] [3] [4] Dietrich (1899), p.5. May (1948), pp. 12930. MacDonald (1990), p.17. Geiringer (1948), p.224.

References
Dietrich, Albert & Widmann, Karl Recollections of Johannes Brahms translated by Dora E. Hecht (London: Seeley & Co. Ltd, 1899) Geiringer, Karl Brahms. His Life and Work, 2nd edition (London: George Allen & Unwin, 1948) MacDonald, Malcolm Brahms (London: JM Dent, 1990), ISBN 0-460-03185-6 May, Florence The Life of Johannes Brahms, 2nd edition (London: William Reeves, 1948)

External links
The performance of 2nd movement (Schumann) (https://www.youtube.com/watch?v=buiJw3jkRGc) on YouTube The performance of 3rd movement (Brahms) by Issac Stern (https://www.youtube.com/ watch?v=XsKD1IY0dKA) on YouTube

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Hungarian Dances
The Hungarian Dances (German: Ungarische Tnze) by Johannes Brahms (WoO 1[1] ), are a set of 21 lively dance tunes based mostly on Hungarian themes, completed in 1869. They vary from about a minute to four minutes in length. They are among Brahms' most popular works, and were certainly the most profitable for him. Each dance has been arranged for a wide variety of instruments and ensembles. Brahms originally wrote the version for piano four-hands and later arranged the first 10 dances for solo piano.[2] Only numbers 11, 14 and 16 are entirely original compositions. The most famous Hungarian Dance is No. 5 in F minor (G minor in the orchestral version), but even this dance was based on the csrds by Kler Bla titled "Brtfai emlk" which Brahms mistakenly thought was a traditional folksong.[3]

List of Hungarian Dances

Book 1. (Published in 1869) 1 In G minor: Allegro molto 2 In D minor: Allegro non assai - Vivace 3 In F major: Allegretto 4 In F minor (F minor for orchestra): Poco sostenuto - Vivace 5 In F minor (G minor for orchestra): Allegro - Vivace Book 2. (Published in 1869) 6 In D major (D major for orchestra): Vivace 7 In A major (F major for orchestra): Allegretto - Vivo 8 In A minor: Presto 9 In E minor: Allegro ma non troppo 10 In E major (F major for orchestra): Presto Book 3. (Published in 1880) 11 In D minor: Poco andante 12 In D minor: Presto 13 In D major: Andantino grazioso - Vivace 14 In D minor: Un poco andante 15 In B major: Allegretto grazioso 16 In F minor: Con moto - F major: Presto Book 4. (Published in 1880) 17 In F minor: Andantino - Vivace 18 In D major: Molto vivace 19 In B minor: Allegretto 20 In E minor: Poco allegretto - Vivace 21 In E minor: Vivace - E major: Pi Presto The Hungarian Dances bear many resemblances to, and may have influenced, the similarly profitable and popular Slavonic Dances of Antonn Dvok.

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Orchestrations
Brahms wrote orchestral arrangements for No. 1, No. 3 and No. 10.[4] Other composers have orchestrated the other dances. These composers include Antonn Dvok, Andreas Halln (No. 2), Paul Juon (No. 4), Martin Schmeling (Nos. 5 to 7), Hans Gl (Nos. 8 and 9), Albert Parlow (Nos. 11 to 16). Dvok orchestrated the last numbers. More recently, Ivn Fischer has orchestrated the complete set. Brahms's Hungarian Dances were influential in the development of ragtime.[5] See, for example, the role of German-American piano teacher Julius Weiss in ragtime composer Scott Joplin's early life and career.

Recordings
The Boston Pops Orchestra Cond.: Arthur Fiedler recorded "Hungarian Dance No 5" and "Hungarian Dance No 6" in Symphony Hall, Boston. "Hungarian Dance No 5" was recorded on June 25, 1950. It was released by RCA Victor as catalog number 10-3254B (in USA) and by EMI on the His Master's Voice label as catalog number B10631. "Hungarian Dance No 6" was recorded on June 16, 1950. It was released by RCA Victor Records as catalog number 10-3244B (in USA) and by EMI on the His Master's Voice label as catalog number B10631. The pieces were arranged by Albert Parlow. Julius Katchen and Jean-Pierre Marty recorded the complete set in the 1960s, as part of Katchen's recording of the complete piano works of Brahms. The French sister duo-pianists Katia and Marielle Labque recorded the complete set of dances for Philips in 1981, as catalog number 4164592.

References
[1] Bozarth, George. "Brahms, Johannes" (http:/ / www. oxfordmusiconline. com/ subscriber/ article/ grove/ music/ 51879pg11). Grove Music Online. Oxford Music Online. Oxford. . Retrieved 26 September 2011. [2] Lopraits, Elizabeth (2008). Hungarian gypsy style in the Lisztian spirit: Georges Cziffra's two transcriptions of Brahms' Fifth Hungarian Dance. ProQuest. p.33. ISBN9780549556077. [3] p. 341 Walker (1998) Alan. Cornell. Franz Liszt: The Virtuoso Years, 1811 - 1847. Cornell University Press [4] Wilson, Conrad (2005). Notes on Brahms: 20 crucial works. Wm. B. Eerdmans Publishing. p.42. ISBN9780802829917. [5] Brahms Hungarian Dance No. 5 on Bill Edwards' site. (http:/ / www. perfessorbill. com/ pbmidi1. shtml)

External links
Hungarian Dances for four hands: Free scores at the International Music Score Library Project.

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Ballets to the music of Brahms

BrahmsSchoenberg Quartet
BrahmsSchoenberg Quartet is a ballet made by New York City Ballet founding balletmaster (and co-founder) George Balanchine to Brahms's Piano Quartet No. 1 in G minor, Op. 25 (1861) orchestrated by Arnold Schoenberg in 1937. The premiere took place Tuesday, April 12th, 1966[1] at the New York State Theater, Lincoln Center, with costumes by Karinska, original lighting by Ronald Bates and current lighting by Mark Stanley. Brahms-Schoenberg Quartet was Balanchine's first abstract made for the stage at the New York State Theater (City Ballet had previously performed on the smaller stage of City Center of Music and Drama, its home since its founding until its move to the New York State Theatre.) Balanchine is quoted as saying that chamber music was not suited to large ballets, chamber pieces being "too long, with too many repeats, and [are] meant for small rooms." Schoenberg expressed similar feelings about the Brahms Piano Quartet; that it "is always very badly played, as the better the pianist, the louder he plays, and one hears nothing of the strings." NYCB principal dancer Yvonne Borree chose to include the BrahmsSchoenberg Quartet in her farewell performance, Sunday, June 6th, 2010.

Casts
original
First movement
Allegro Melissa Hayden Gloria Govrin Andr Prokovsky

8 women

4 men

Second movement
Intermezzo Patricia McBride 3 women Conrad Ludlow [1]

Third movement
Andante Allegra Kent Edward Villella

3 female demi-soloists 12 women

Fourth movement
Rondo alla Zingarese Suzanne Farrell 8 women Jacques d'Amboise 8 men

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Notes
[1] The Balanchine Foundation website states that the premiere was held April 21 following a preview at the annual City Ballet gala benefit April 19 and that Kent Stowell partnered Patricia McBride in the second movement Intermezzo, whereas the NYCB website gives Conrad Ludlow as Ms. McBride's partner and April 12 as the date of the premiere.

References
Playbill, New York City Ballet, Thursday, June 19, 2008 Repertory Week, New York City Ballet, Spring Season, 2008 repertory, week 8

Reviews
NY Times by [[Clive Barnes (critic)|Clive Barnes (http:/ / select. nytimes. com/ gst/ abstract. html?res=F70913F6345F1A7493C0AB178FD85F428685F9)], April 22, 1966] NY Times by [[Alastair Macaulay (http:/ / www. nytimes. com/ 2008/ 06/ 10/ arts/ dance/ 10ball. html)], June 10, 2008]

External links
Balanchine Foundation website (http:/ / www. balanchine. org) Balanchine Trust website (http:/ / www. balanchine. com) NYCB website (http:/ / www. nycballet. com)

Liebeslieder Walzer
Liebeslieder Walzer is a ballet made by New York City Ballet co-founder and balletmaster George Balanchine to Johannes Brahms' Liebeslieder, op. 52, 1869, and Neue Liebeslieder, op. 65, 1874, waltzes for piano duet and vocal quartet, set to poems by Daumer and Goethe. The premiere took place on Tuesday, 22 November, 1960, New York, at the City Center of Music and Drama, New York, with mise en scne by David Hays and costumes by Karinska. The duo pianists were Louise Sherman and Robert Irving and the singers Angeline Rasmussen, Mitzi Wilson, Frank Poretta and Herbert Beattie.

Scenario
The musicians and dancers appear on stage together in period costumes. The dancers wear formal evening dress and the women dancing slippers during the first set of eighteen waltzes in a cozy ballroom; after a brief lowering of the curtain they dance the next fourteen waltzes under a starry sky, the women in calf-length tulle skirts and pointe shoes. They leave the stage two by two and return in pairs in original costume to listen to the last waltz.

Casts
original
Diana Adams Melissa Hayden Jillana Violette Verdy Bill Carter Jonathan Watts Conrad Ludlow Nicholas Magallanes

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NYCB revivals
2009 Spring
Darci Kistler Wendy Whelan Jennie Somogyi [1] Janie Taylor Philip Neal [1] Jared Angle Nilas Martins Sbastien Marcovici

2010 Winter
t.b.a.

Footnotes
[1] first time in rle

Film
1973 RM Productions

Videography and DVD

2004 Kultur Balanchine part I excerpts from 2005 Films du Prieur Violette et Mr. B

Television
1961 CBC Montreal, L'Heure du Concert 1973 RM Productions 2004 French television Violette et Mr. B excerpt 2004 PBS Live from Lincoln Center: Balanchine 100 excerpt 2004 French television Violette et Mr. B excerpt

Articles
Sunday NY Times by [[Anna Kisselgoff (http://select.nytimes.com/gst/abstract. html?res=F1091EFC345C0C738EDDAC0894DC484D81)], 20 May 1984]

Reviews
NY Times by [[John Martin (dance critic)|John Martin (http:/ / select. nytimes. com/ gst/ abstract. html?res=F30C12FB3F551A7A93C1AB178AD95F448685F9)], 23 November 1960] NY Times by [[Clive Barnes (critic)|Clive Barnes (http:/ / select. nytimes. com/ gst/ abstract. html?res=F10C15FB3955157B8EDDAE0894D8415B858AF1D3)], 7 October 1965] NY Times by Paul Hofmann, 31 May 1977 (http:/ / select. nytimes. com/ gst/ abstract. html?res=F60D16FF3A5B167493C3AA178ED85F438785F9) NY Times by [[Jack Anderson (dance critic)|Jack Anderson (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9C0CEED71339F93BA25755C0A963948260)], 18 June 1985] NY Times by [[Jennifer Dunning (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9B0DEFD8123BF932A25755C0A961948260)], 11 June 1987] NY Times by [[Roslyn Sulcas (http:/ / www. nytimes. com/ 2006/ 05/ 19/ arts/ dance/ 19bala. html)], 19 May 2006]

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External links
Balanchine Foundation website (http:/ / www. balanchine. org) Balanchine Trust website (http:/ / www. balanchine. com) NYCB website (http:/ / www. nycballet. com)

Brahms/Handel
Brahms/Handel is a ballet made by New York City Ballet balletmaster Jerome Robbins in collaboration with Twyla Tharp to Brahms' Variations and Fugue on a Theme by Handel, op. 24 (1861), orchestrated by Edmund Rubbra. The premiere took place Thursday, June 7th, 1984, at the New York State Theater, Lincoln Center with costumes by Oscar de la Renta and lighting by Jennifer Tipton.

Casts
original
Merrill Ashley Maria Calegari Ib Andersen Bart Cook

NYCB revivals
2008 Spring Jerome Robbins celebration
first cast [1] [2] Ashley Bouder [2] Wendy Whelan [2] Philip Neal [2] Andrew Veyette

second cast

[3]

[2] Abi Stafford [2] Sara Mearns

Gonzalo Garcia [2] Jared Angle

[2]

Footnotes
[1] see New York City Ballet 2008 Spring repertory week eight [2] first time in rle [3] see New York City Ballet 2008 Spring repertory week nine

References
Playbill, NYCB, Sunday, June 22nd, 2008

Articles
NY Times, [[Anna Kisselgoff (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9D0CEED91439F930A25752C1A965948260)], November 13, 1983] Sunday NY Times, [[Anna Kisselgoff (http:/ / select. nytimes. com/ gst/ abstract. html?res=F70A1FF73F5C0C718EDDAD0894DC484D81)], April 22, 1984]

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Reviews
NY Times, [[Anna Kisselgoff (http:/ / query. nytimes. com/ gst/ fullpage. html?res=9405E0D7123BF93AA35755C0A962948260)], June 9, 1984] NY Times, [[Alastair Macaulay (http:/ / www. nytimes. com/ 2008/ 06/ 24/ arts/ dance/ 24thar. html)], June 24, 2008]

External links
NYCB website (http:/ / www. nycballet. com) Robbins Foundation and Trust website (http:/ / jeromerobbins. org)

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Related people
Joseph Joachim
Joseph Joachim (June 28, 1831 August 15, 1907) was a Hungarian violinist, conductor, composer and teacher. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century.

Life

Joseph Joachim.

Origins
Joseph Joachim was born in Kittsee (Kopany / Kpcsny), near Bratislava and Eisenstadt, in today's Burgenland area of Austria. He was the seventh of eight children born to Julius, a wool merchant, and Fanny Joachim who were of Hungarian Jewish origin. His infancy was spent as a member of the Kittsee Kehilla (Jewish community), one of Hungary's prominent Siebengemeinden ('Seven Communities') under the protectorate of the Esterhzy family. He was a first cousin of Fanny Wittgenstein, the mother of Karl Wittgenstein and the grandmother of the philosopher

Joseph Joachim's birth house in Kittsee.

Joseph Joachim Ludwig Wittgenstein and the pianist Paul Wittgenstein.[1]

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Early career
In 1833 his family moved to Pest, where he studied violin with Stanislaus Serwaczynski, the concertmaster of the opera in Pest. (Serwaczynski later moved to Lublin, Poland, where he taught Wieniawski). In 1839, Joachim continued his studies at the Vienna Conservatory (briefly with Miska Hauser and Georg Hellmesberger, Sr.; finally and most significantly with Joseph Bhm). He was taken by his cousin, Fanny Wittgenstein to live and study in Leipzig, where he became a protg of Felix Mendelssohn. In his dbut performance in the Leipzig Gewandhaus he played the Otello Fantasy by Heinrich Wilhelm Ernst. The twelve-year-old Joachim's 1844 performance of Beethoven's Violin Concerto in London (under Mendelssohn's baton) was a triumph, and helped to establish that work in the repertory. Joachim remained a favorite with the English public for the rest of his career.

Maturity
Following Mendelssohn's death in 1847, Joachim stayed briefly in Leipzig, teaching at the Conservatorium and playing on the first desk of the Gewandhaus Orchestra with Ferdinand David. In 1848, Franz Liszt took up residence in Weimar, determined to re-establish the town's reputation as the Athens of Germany. There, he gathered a circle of young avant-garde disciples, vocally opposed to the conservatism of the Leipzig circle. Joachim was Joseph Joachim's signature. amongst the first of these. He served Liszt as concertmaster, and for several years enthusiastically embraced the new "psychological music," as he called it. In 1852 he moved to Hanover, at the same time dissociating himself from the musical ideals of the 'New German School' (Liszt, Richard Wagner, Hector Berlioz, and their followers, as defined by journalist Franz Brendel) and instead making common cause with Robert Schumann, Clara Schumann and Johannes Brahms. His break with Liszt became final in August 1857, when Joachim wrote to his former mentor: "I am completely out of sympathy with your music; it contradicts everything which from early youth I have taken as mental nourishment from the spirit of our great masters."

Joseph Joachim

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Joachim's time in Hanover was his most prolific period of composition. During this time, he frequently performed with Clara Schumann and with Brahms, both in private and in public. In 1860 Brahms and Joachim jointly wrote a manifesto against the "progressive" music of the 'New German' School, in reaction to the polemics of Brendel's Neue Zeitschrift fr Musik. This manifesto met with a mixed reception, being heavily derided by followers of Wagner.

Joseph and Amalie Joachim.

The famous Joachim Quartet. From left to right: Robert Hausmann (cello), Josef Joachim (1st violin), Emanuel Wirth (viola) and Karel Hal (2nd violin)

On May 10, 1863 Joachim married the contralto Amalie Schneeweiss (stage name: Amalie Weiss) (183999). Amalie gave up her own promising career as an opera singer and gave birth to six children. She did continue to perform in oratorios and to give lieder recitals. In 1865 Joachim quit the service of the King of Hanover in protest, when the Intendant of the Opera refused to advance one of the orchestral players (Jakob Grn) because of the latter's Jewish birth.[2] In 1866, Joachim moved to Berlin, where he was invited to help found a new department of the Royal Academy of Music. There he became the director of the Hochschule fr ausbende Tonkunst, or High School for

Musical Execution. On Good Friday, April 10, 1868, Joachim and his wife joined their friend, Johannes Brahms, in the celebration of one of Brahms' greatest triumphs, the first complete performance of his German Requiem at the Bremen Cathedral. Amalie Joachim sang "I Know that My Redeemer Liveth" and Joseph Joachim played Schumann's Abendlied. It was a glorious occasion, after which about 100 of the composer's friends, the Joachims, Clara Schumann, the Dietrichs,

Joseph Joachim Max Bruch and others gathered at the Bremen Rathskeller. In 1869, the Joachim String Quartet, was formed, which quickly gained a reputation as Europe's finest. Other members of the Quartet were Karel Hal (2nd violin), Emanuel Wirth (viola) and Robert Hausmann (cello). In 1884, Joachim and his wife separated after he became convinced that she was having an affair with the publisher Fritz Simrock. Brahms, certain that Joachim's suspicions were groundless, wrote a sympathetic letter to Amalie, which she later produced as evidence in Joachim's divorce proceeding against her. This led to a cooling of Brahms and Joachim's friendship, which was not restored until some years later, when Brahms composed the Double Concerto in A minor for violin and cello, Op. 102, as a peace offering to his old friend. On April 16, 1889, in England, Joseph Joachim was presented a Stradivarius violin and Tourte bow once owned by Raphael Georg Kiesewetter. In late 1895 both Brahms and Joachim were present at the opening of the new Tonhalle at Zurich, Switzerland; Brahms conducted and Joachim was assistant conductor. But in April, two years later, Joachim was to lose forever this revered friend, as Johannes Brahms died at the age of 64 at Vienna. At Meiningen, in December 1899, it was Joachim who made the speech when a statue to Brahms was unveiled. During 1899, Joachim was invited to become president of the newly-established Oxford & Cambridge Musical Club in London. He remained club president until his death. In Berlin on August 17, 1903, Joachim recorded five sides for The Gramophone & Typewriter Ltd (G&T), which remain a fascinating and valuable source of information about 19th-century styles of violin playing. He is the earliest violinist of distinction known to have recorded, only to be followed soon thereafter when Sarasate made some recordings the following year. Joachim's portrait was twice painted by Philip de Lszl. A portrait of Joachim was painted by John Singer Sargent [3] and presented to him at the 1904 "Diamond Jubilee" celebration of his sixtieth anniversary of his first appearance in London. In Berlin, a great concert took place, at which his pupils past and present, 116 violinists and violists, with 24 cellists who attended his classes played under the direction of Fritz Steinbach, a conductor of note, for his interpretations of Brahms' music. The great moment of celebration came when Joachim, without the slightest hesitation, responded to the spontaneous request to play Beethoven's Violin Concerto in D major. Joachim remained in Berlin until his death in 1907.

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Joseph Joachim, by Philip Alexius de Lszl, 1903

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Repertoire
Among the most notable of Joachim's achievements were the revivals of Bach's Sonatas and partitas for solo violin, BWV 1001-1006, and particularly of Beethoven's Violin Concerto in D major, Op. 61. Joachim was among the first to play Mendelssohn's Violin Concerto in E minor, which he studied with the composer. Joachim played a pivotal role in the career of Brahms, and remained a tireless advocate of Brahms's compositions through all the vicissitudes of their friendship. He conducted the English premiere of Brahms's Symphony No. 1 in C minor. A number of Joachim's composer colleagues, including Schumann, Brahms, Bruch, and Dvok composed concerti with Joachim in mind, many of which entered the standard repertory. Nevertheless, Joachim's solo repertoire remained relatively restricted. Despite his close friendship with Brahms, Joachim performed his Violin Concerto in D major only six times in his career. He never performed Schumann's Violin Concerto in D minor, which Schumann wrote especially for him, or Dvok's Violin Concerto in A minor. The most unusual work written for Joachim was the F-A-E Sonata, a collaboration between Schumann, Brahms, and Albert Dietrich, based upon the initials of Joachim's motto, Frei aber Einsam (free but lonely). Although the sonata is rarely performed in its entirety, the third movement, the Scherzo in C minor, composed by Brahms, is still frequently played today.
Amalie's and Joseph's grave in Berlin-Charlottenburg.

Compositions
Joachim's own compositions are less well known. He has a reputation as a composer of a short but distinguished catalogue of works. Among his compositions are various works for the violin (including three concerti) and overtures to Shakespeare's Hamlet and Henry IV. He also wrote cadenzas for a number of other composers' concerti (including the Beethoven and Brahms concerti). His most highly regarded composition is his Hungarian concerto (Violin Concerto No 2 in D minor, Op. 11).

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List of compositions
Original compositions Op. 1, Andantino and Allegro scherzoso, for violin and piano (1848): dedicated to Joseph Bhm Op. 2, Three Pieces, (circa 1848-1852), Romanze, Fantasiestck, Eine Frhlingsfantasie for Violin or Viola and Piano Op. 3, Violin Concerto in One Movement, in G minor (1851); dedicated to Franz Liszt Op. 4, Hamlet Overture (1853) Op. 5, Three Pieces for Violin and Piano: Lindenrauschen, Abendglocken, Ballade; dedicated to Gisela von Arnim Op. 6, Demetrius Overture (Herman Grimm, dedicated to Franz Liszt) Op. 7, Henry IV Overture (1854) Op. 8, Overture to a Comedy by Gozzi (1854) Op. 9, Hebrew Melodies, for Viola and Piano Op. 10, Variations on an Original Theme, for Viola and Piano (1855) Op. 11, Violin Concerto No. 2 in D minor "in the Hungarian Manner" (1853?) Op. 12, Notturno for Violin and Orchestra in A major (1858) Violin Concerto No. 3 in G major (1875) Op. 13, Elegiac Overture "In Memoriam Heinrich von Kleist" (ca. 1877) Op. 14, Szene der Marfa from Friedrich Schiller's unfinished drama "Demetrius" (ca. 1869) WoO, Ich hab' im Traum geweinet for voice and piano, pub. Wigand, 1854. Scene from Schiller's Demetrius (1878) WoO, Rain, rain and sun, Merlin's Song (Tennyson), pub. C. Kegan & Co., 1880. Melodrama zu einer Schillergedenkfeier (unpublished, autograph in Hamburg Staats- und Universittsbibliothek) Overture in C major' (Konzertouvertre zum Geburtstag des Kaisers) (1896) Two Marches for orchestra Andantino in A minor, for violin and orchestra (also for violin and piano) Romance in B flat major, for violin and piano Romance in C major, for violin and piano Variationen ber ein irisches Elfenlied for piano Variations for Violin and Orchestra in E minor (ca. 1879); dedicated to Pablo Sarasate

Joseph Joachim.

Joseph Joachim

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Arrangements In 1855 Joachim made a version for full orchestra of Schubert's Grand Duo in C major for piano duet (D. 812), which many scholars at that time considered (probably incorrectly) to be a draft or piano reduction of a lost symphony. He also made a virtuosic transcription for violin and piano of all 21 of Brahms's Hungarian Dances. He produced numerous editions of music, many in collaboration with Andreas Moser. Cadenzas Beethoven, Concerto in D major, Op. 61 Brahms, Concerto in D major, Op. 77 Kreutzer, Concerto No. 19 in D minor Mozart, Aria from Il re pastore, Concerto in D major, K. 218, and Concerto in A major, K 219
Joseph Joachim (1853) by Adolph Menzel.

Rode, Concerto No. 10 in B minor, and Concerto No. 11 in D major Spohr, Concerto in A minor, Op. 47 (Gesangsszene) Tartini, Sonata in G minor (Devil's Trill) Viotti, Concerto No 22 in A minor

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Recordings of Joachim's compositions

Violin Concerto No. 2 in D minor, Op. 11 "In the Hungarian Style": Rachel Barton Pine (Violin), Carlos Kalmar (Conductor), Chicago Symphony Orchestra, Cedille Records: CDR 90000 068 (liner notes [4]) Elmar Oliviera (Violin), Leon Botstein (Conductor), London Philharmonic, IMP Aaron Rosand (Violin), Louis de Froment (Conductor), Luxembourg Radio/Television Symphony Orchestra, Vox Catalog #: 5102 Violin Concerto No. 3 Takako Nishizaki (Violin), Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8554733 Hamlet Overture, Op. 4 Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8554733 Elegische Ouvertre, Op. 13 Meir Minsky (Conductor), Stuttgart Radio Symphony Orchestra, Naxos #: 8554733 Andantino and Allegro scherzoso, Op. 1: Andantino Marat Bisengaliev (Violin), John Lenehan (Piano), Naxos #: 553026 Romance in B flat major Marat Bisengaliev (Violin), John Lenehan (Piano), Naxos #: 553026 Hebrew melodies, Op. 9 Anna Barbara Dtschler (Viola), Marc Pantillon (Piano), Claves #: 9905 Heinrich IV Overture, Op. 7 (2 pianos, arr. Johannes Brahms) Duo Egri-Pertis, Hungaroton #: 32003 Variations for Viola and Piano, Op. 10 Numerous recordings Variations for Violin and Orchestra in E minor Vilmos Szabadi (Violin), Lszl Kovcs (Conductor), North Hungarian Symphony Orchestra, Hungaroton #: 32185
Joseph Joachim at age 53.

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Joachim's own discography

J. S. Bach: Partita for Violin No. 1 in B minor, BWV 1002: 7th movement, Tempo di Boure, Pearl Catalog: 9851 (also on Testament (749677132323)). Brahms: Hungarian Dances (21) for Piano 4 hands, WoO 1: No. 1 in G minor (arr. Joachim), Opal Recordings (also on Testament (749677132323)). Brahms Hungarian Dance No. 2 in D minor (arr. Joachim), Grammophon Catalogue # 047905; HMV, D88. Joachim: Romance in C major, Op. 20, Pearl Catalog: 9851 Original pressings are single-sided and have a flat red G&T label. Later reeditions have a black G&T label (or, from 1909, a label showing the 'His Master's Voice' trade-mark), and those made for the German market are double-sided. They are better in quality.

Joachim's students
Leopold Auer, violinist and teacher, studied with Joachim in Hanover Aylmer Buesst Willy Burmester Will Marion Cook Carl Courvoisier (12 November 1846-1908), author of Technics of Violin Playing on Joachim's Method, London: The Strad Library, No. I, 1894.

Bernardo V. Moreira de S (14.2.1853-2.4.1924, Portugal), Portuguese violinist and teacher, director of the "Conservatrio de Msica do Porto", director and founder of the "Orpheon Portuense", studied with Joachim in Berlin.

Bram Eldering (8 July 1865-17 June 1943), Concertmaster of the Berlin Philharmonic under Hans von Blow. Concertmaster of the Meininger Hofkapelle. Adila Fachiri, Joachim's niece.

Joseph Joachim and the young Franz von Vecsey. Note the strongly incurving, arthritic first finger of his left hand. The chair in which he is sitting was a special present to him. He willed it to Donald Francis Tovey, and it is now owned by the University of Edinburgh [5] Museum.

F. Fleischhauer (b. 24 July 1834), Hofconcertmeister in Meiningen.[6] Sam Franko Richard Gompertz (b. 27 April 1859), professor of violin at the Royal College of Music, London. Karel (Carl) Hal (18591909), Bohemian violinist, member of the Joachim Quartet. Gustav Hille Willy Hess Richard Himmelsto (b. 17 June 1843), concertmaster in Breslau. Gustav Hollnder (b. 15 February 1855), solo violinist. Jen Hubay Violinist, composer. Bronisaw Huberman[7] Karl Klingler Violinist of the Klingler Quartet and Joachim's successor at the Berlin Hochschule. Klingler was the teacher of Shinichi Suzuki. Iosif Kotek - Russian violinist (18551885) Hans Letz, Concertmaster of the Theodore Thomas Orchestra[8] Bernhard Listemann Concertmaster of the Boston Symphony Orchestra.[9] Charles Martin Loeffler (18611935)

Joseph Joachim Martin Marsick Pietro Melani Waldemar J. Meyer (18531940) Andreas Moser (18591925) Violinist and assistant to Joachim. Moser wrote the first biography of Joachim. He helped recover original scores of J.S. Bach's Sonate e Partite per violino solo, and collaborated with him on numerous editions. Tivadar Nachz, (Budapest 1859 - Lausanne 1930) Henri Petri, concertmaster in Leipzig. Maximilan Pilzer, Concertmaster of the New York Philharmonic, 1915-1917[10] Enrico Polo, (18681953). Maud Powell, American violinist[11] Willibald Richter, (18601929), German-born English pianist, organist and teacher. Student, friend and accompanist of Joachim. Student of Haupt, Lebert, Liszt, Mischalek and Oscar. Founded College of Music at Leicester. Camillo Ritter, teacher of William Primrose Ossip Schnirlin, (? - 1937) Emily Shinner[12]

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Maria Soldat-Rger Theodore Spiering, American violinist. Born in St. Louis, lived in Chicago. Concertmaster (19091911), New York Philharmonic. Franz von Vecsey, Studied with Hubay, then Joachim. Dedicatee of the Sibelius violin concerto. Alfred Wittenberg Other pupils are mentioned by Wilhelm Joseph von Wasielewski in his "Die Violine und Ihre Meister."

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Joachim's instruments
As a child, Joachim played a Guarneri del Ges, which he gave to Felix Schumann after he acquired his first Stradivarius. In his Hanover years, Joachim played on a Guadagnini made in 1767.[13] He later bought a 1714 Stradivarius, which he played until 1885.[14] He exchanged this instrument for a 1713 Stradivarius, which was later acquired by Robert von Mendelssohn and lent for life to Joachim's student Karl Klingler. A 1714 Stradivarius "de Barreau/Joachim" which he bought in 1881 and sold in 1897, later owned by Richard von Mendelssohn, Baron Knoop, and Karl Klingler.[15] A 1698 Joachim Stradivarius is held by the Royal Academy of Music[16] A violin, the ex-Joachim Stradivarius of 1715 is currently held by the Collezione Civica del Comune di Cremona.[17] It was presented to Joachim on the occasion of his Jubilee celebration in 1889. Another 1715 Stradivarius, the Joachim-Aranyi.[18] Another 1715 Stradivarius, later owned by George Eastman[19] A 1722 Stradivarius, later owned by Burmester, Mischa Elman and Josef Suk.[20] Another 1722 Stradivarius, also owned by the Mendelssohn family.[21] A 1723 Stradivarius[22] A 1725 Stradivarius, later owned by Norbert Brainin[23] Currently played by Rainer Kchl. A 1727 Stradivarius, currently owned by Suntory, Ltd. and currently on loan to Mayuko Kamio.[24] [25] The Ex Joachim, Joseph Vieland Viola by Gasparo da Salo, Brescia, before 1609 is held by the Shrine to Music No. 3368,[26] [27] According to the Henley Atlas of Violin Makers, during the time he spent in France, Joachim performed on a violin made by French luthier Charles Jean Baptiste Collin-Mezin. A violin by Francesco Ruggeri bearing the label Nicolaus Amati[28] A Joachim Tielke viola anno 1670, Hamburg, bought by Joachim in the late 19th Century in the Vuillaume shop. Currently played by David Yang. Joachim also played a Guarneri del Gesu, loaned by the Wittgenstein family, perhaps a 1737 Guarneri del Gesu?[29] A Johannes Theodorus Cuypers anno 1807 was bought by Joachim in the mid 19th century and taken on tour throughout Europe. There is also evidence that the instrument was played by Joachim in a recital in Paris a half century later, in 1895. The same instrument was also played by Fritz Kreisler in a 1955 Carnegie Hall concert.[30] A 1747 Pietro Guarneri[31]
Joseph Joachim.

A 1767 Guadagnini[13] A 1775 Guadagnini[32] A Carlo Testore violin[33]

Joseph Joachim Among Joachim's bows was a Tourte, previously owned by Ernst.

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Other
The English poet Robert Bridges wrote a sonnet about Joachim in his first major work of poetry The Growth of Love.[34]

Literature
Adolph Kohut, Josef Joachim. Ein Lebens- und Knstlerbild. Festschrift zu seinem 60. Geburtstage, am 28. Juni 1891, Berlin: A. Glas, 1891. Johannes Joachim and Andreas Moser (eds.), Briefe von und an Joseph Joachim, 3 vols., Berlin: Julius Bard, 19111913 Andreas Moser (ed.), Johannes Brahms im Briefwechsel mit Joseph Joachim, 2nd ed., Berlin: Deutsche Brahms-Gesellschaft, 1912. Letters From and To Joseph Joachim, selected and translated by Nora Bickley with a preface by J. A. Fuller-Maitland, New York: Vienna House, 1972. Andreas Moser, Joseph Joachim: Ein Lebensbild, 2 vols. Berlin: Verlag der Deutschen Brahms-Gesellschaft, vol. 1: 1908; vol. 2: 1910. Andreas Moser, Joseph Joachim: A Biography, translated by Lilla Durham, introduction by J. A. Fuller Maitland, London: Philip Wellby, 1901. J. A. Fuller-Maitland, Joseph Joachim, London & New York: John Lane, 1905. F. G. E., Joseph Joachim, Musical Times, 48/775 (September 1, 1907): 577-583. Hans Joachim Moser, Joseph Joachim, Sechsundneunzigstes Neujahrsblatt der Allgemeinen Musikgesellschaft in Zrich, Zrich & Leipzig: Hug & Co., 1908
Joseph Joachim

Karl Storck, Joseph Joachim: Eine Studie, Leipzig: Hermann Seemann Nachfolger, n.d. Anne Russell, Joachim, The Etude, (December, 1932) 884-885. Siegfried Borris, Joseph Joachim zum 65. Todestag, Oesterreichische Musikzeitschrift XXVII (June 1972): 352-355. Barrett Stoll, Joseph Joachim: Violinist, Pedagogue, and Composer, Ph.D. Diss., Univ. of Iowa, 1978. Brigitte Massin, Les Joachim: Une Famille de Musiciens, Paris: Fayard, 1999. ISBN 2-213-60418-5 Otto Biba, "Ihr Sie hochachtender, dankbarer Schler Peppi" Joseph Joachims Jugend im Spiegel bislang unverffentlicher Briefe, Die Tonkunst, Jg. 1, Nr. 3, Juli 2007, 200-204. Beatrix Borchard, Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte, Wien, Kln, Weimar: Bhlau Verlag [35], 2005. Beatrix Borchard, Gro-mnnlich-deutsch? Zur Rolle Joseph Joachims fr das deutsche Musikleben in der Wilhelminischen Zeit, Die Tonkunst, Jg. 1, Nr. 3, Juli 2007, 218-231.

Joseph Joachim Dietmar Shenk, Aus einer Grnderzeit: Joseph Joachim, die Berliner Hochschule fr Musik und der deutsch-franzsische Krieg, Die Tonkunst, Jg. 1, Nr. 3, Juli 2007, 232-246. Ute Br, Sie wissen ja, wie gerne ich, selbst ffentlich, mit Ihnen musicire! Clara Schumann und Joseph Joachim, Die Tonkunst, Jg. 1, Nr. 3, Juli 2007, 247-257. Gerhard Winkler (ed.) Geigen-Spiel-Kunst: Joseph Joachim und der "Wahre" Fortschritt, Burgenlndische Heimatbltter, Jg. 69, Nr. 2, 2007. Robert W. Eshbach, Der Geigerknig: Joseph Joachim as Performer, Die Tonkunst, Jg. 1, Nr. 3, Juli 2007, 205-217. Robert W. Eshbach, Verehrter Freund! Liebes Kind! Liebster Jo! Mein einzig Licht. Intimate letters in Brahms's Freundeskreis, Die Tonkunst, Jg. 2, Nr. 2, April 2008, 178-193. Robert W. Eshbach, Joachims Jugend, Die Tonkunst, Jg. 5, Nr. 2, April 2011, 176-190. Robert W. Eshbach, Free but Lonely: The Education of Joseph Joachim 1831-1866; forthcoming.

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External links
Joseph Joachim's autograph and handwritten note to Marianne Scharwenka [36] (Violinist and wife of Philipp Scharwenka) Bach Adagio g-minor played by Joseph Joachim 1903 [37] on YouTube Joachim Romanze in C played by Joseph Joachim 1903 [38] on YouTube Brahms Hungarian Dance No. 1 played by Joseph Joachim 1903 [39] on YouTube Brahms Hungarian Dance No. 2 played by Joseph Joachim 1903 [40] on YouTube Short biography of Joseph and Amalie Joachim [41] Free scores by Joseph Joachim at the International Music Score Library Project

Notes
[1] Monk Ludwig Wittgenstein: The Duty of Genius: p.5 [2] Moser (1901) 202-6 [3] http:/ / jssgallery. org/ Paintings/ Joseph_Joachim. htm [4] http:/ / classical. rachelbartonpine. com/ rec_notes. php?id=08 [5] The University of Edinburgh Museums, Galleries & Collections (http:/ / tweed. lib. ed. ac. uk/ audit/ Web/ OTMJuly. htm) [6] Traditionalmusic.com.uk (http:/ / www. traditionalmusic. co. uk/ violin-playing/ violin-playing - 0191. htm) [7] Bronislaw Huberman (http:/ / www. huberman. info/ ) [8] Theviolinsite.com (http:/ / www. theviolinsite. com/ violin_mastery/ hans_letz. html) [9] Bernhard Listemann [10] Stokowski.org (http:/ / www. stokowski. org/ Principal_Musicians_Russian_Symphony_of_NY. htm) [11] Music.acu.edu (http:/ / music. acu. edu/ www/ iawm/ MPF. html) [12] Books.google.com (http:/ / books. google. com/ books?id=zyBEuvYIIeEC& pg=PA156& lpg=PA156& dq="pupil+ of+ joachim"& source=bl& ots=MBdQ5KdUGe& sig=UyxQwoCuwRbW5LqiPMdNx5uUaSk& hl=en& ei=3jzOS5CBOsGblgf8svyfCw& sa=X& oi=book_result& ct=result& resnum=2& ved=0CBAQ6AEwATgK#v=onepage& q="pupil of joachim"& f=false) [13] Cozio.com: violin by Giovanni Battista Guadagnini, 1767 (ex-Sennhauser; ex-Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=2736) [14] Cozio.com: violin by Antonio Stradivari, 1714 (Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=496) [15] Cozio.com: violin by Antonio Stradivari, 1714 (De Barrau; Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=1389) [16] Cozio.com: violin by Antonio Stradivari, 1698 (Kortschak; Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=474) [17] Cozio.com: violin by Antonio Stradivari, 1715 (Cremonese; Harold Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=603) [18] Cozio.com: violin by Antonio Stradivari, 1715 (Joachim; Aranyi) (http:/ / www. cozio. com/ Instrument. aspx?id=56) [19] Cozio.com: violin by Antonio Stradivari, 1715 (David Hochstein; Nowell, Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=1390) [20] Cozio.com: violin by Antonio Stradivari, 1722 (Joachim; Elman) (http:/ / www. cozio. com/ Instrument. aspx?id=1503) [21] Cozio.com: violin by Antonio Stradivari, 1722 (Laurie) (http:/ / www. cozio. com/ Instrument. aspx?id=3096) [22] Cozio.com: violin by Antonio Stradivari, 1723 (Joachim; Wanamaker, Arbos) (http:/ / www. cozio. com/ Instrument. aspx?id=1511) [23] Cozio.com: violin by Antonio Stradivari, 1725 (Chaconne; Hammig) (http:/ / www. cozio. com/ Instrument. aspx?id=703) [24] YCA.org (http:/ / www. yca. org/ kamio. html) [25] Cozio.com: violin by Antonio Stradivari, 1727 (http:/ / www. cozio. com/ Instrument. aspx?id=8308)

Joseph Joachim
[26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39] [40] [41] Bowed Stringed Instruments Made Before 1800 at the National Music Museum (http:/ / www. usd. edu/ smm/ bowstg. html) Cozio.com: viola by Gasparo di Bertolotti da Sal, before 1609 (http:/ / www. cozio. com/ Instrument. aspx?id=44) Cozio.com: violin by Francesco Ruggieri (ex-Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=4125) Cozio.com: violin by Giuseppe Guarneri del Ges, 1737 (Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=412) Caline.dom (http:/ / www. caline. com/ media/ calvin/ Further Adventures- Golden Script with Lighting. doc) Cozio.com: violin by Pietro (of Venice) Guarneri, 1747 (ex-Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=8294) Cozio.com: violin by Giovanni Battista Guadagnini, 1775 (ex-Joachim) (http:/ / www. cozio. com/ Instrument. aspx?id=2705) Cozio.com: violin by Carlo Antonio Testore (http:/ / www. cozio. com/ Instrument. aspx?id=5023) Robert Bridges (http:/ / www. sonnets. org/ bridges. htm#030) http:/ / www. boehlau. at/ main/ book_volume. jsp?bookVolumeID=3-205-77242-3& categoryID=4 http:/ / www. flickr. com/ photos/ mscharwenka/ 392901517/ https:/ / www. youtube. com/ watch?v=i3wysuAIDGc https:/ / www. youtube. com/ watch?v=EeVFYA0Duss https:/ / www. youtube. com/ watch?v=f-p8YeIQkxs https:/ / www. youtube. com/ watch?v=lV_YXtUs_Ow http:/ / www. xs4all. nl/ ~androom/ biography/ p011603. htm

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Franz Liszt
Franz Liszt (German: [fants lst]); Hungarian: Liszt Ferencz, in modern use Liszt Ferenc),[1] (October 22, 1811 July 31, 1886) was a 19th-century Hungarian[2] [3] [4] composer, pianist, conductor, and teacher. Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age. In the 1840s he was considered by some to be perhaps the greatest pianist of all time.[5] He was also a well-known composer, piano teacher, and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Sans, Edvard Grieg and Alexander Borodin.[6] As a composer, Liszt was one of the most prominent representatives of the "Neudeutsche Schule" ("New German School"). He left behind an extensive and diverse body of work in which he influenced his Portrait by Pierre Petit, 1870 forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of his most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.[7]

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Life
Early life
The earliest known ancestor of Liszt is his great-grandfather, Sebastian List, who was one of the thousands of German migrant serfs locally migrating within the Austrian Empire's territories (around the area now constituting Lower Austria and Hungary), in the first half of the 18th century, and died in 1793 in Rajka, Moson County, Kingdom of Hungary.[8] Liszt's grandfather was an overseer on several Esterhzy estates; he could play the piano, violin and organ.[9] The Liszt clan dispersed throughout Austria and Hungary and gradually lost touch with one another.[10] Franz Liszt was born to Marie Anna Lager and dm Liszt on October 22, 1811, in the village of Doborjn (German: Raiding) in Sopron County, in the Kingdom of Hungary.[11] His father would use only the Hungarian language when dealing, as steward, with the folk of the village in which the family settled.[12] Liszt's father played the piano, violin, cello, and guitar. He had been in the service of Prince Nikolaus II Esterhzy and knew Haydn, Hummel and Beethoven personally. At age six, Franz began listening attentively to his father's piano playing and showed an interest in both sacred and Romani music. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight. He appeared in concerts at Sopron and Pozsony (German: Pressburg; Slovak: Bratislava) in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franz's musical education abroad.
Memorial tablet at the Leopold de Pauli Palace in

Memorial tablet in Sopron

In Vienna, Liszt received piano lessons from Carl Czerny, who in his Bratislava commemorating Liszt's concert there in 1820, aged 9 own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, who was then music director of the Viennese court. His public debut in Vienna on December 1, 1822, at a concert at the "Landstndischer Saal," was a great success. He was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert.[13] In spring 1823, when the one year leave of absence came to an end, Adam Liszt asked Prince Esterhzy in vain for two more years. Adam Liszt therefore took his leave of the Prince's services. At the end of April 1823, the family returned to Hungary for the last time. At end of May 1823, the family went to Vienna again. Towards the end of 1823 or early 1824, Liszt's first published composition appeared in print, a Variation on a Waltz by Diabelli (now S.147), which was Variation 24 in Part II of Vaterlndischer Knstlerverein. This anthology, commissioned by Diabelli, included 50 variations on his waltz by 50 different composers (Part II), Part I being taken up by Beethoven's 33 variations on the same theme, which are now better known as the Diabelli Variations, Op.120.

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Adolescence in Paris
After his father's death Liszt moved to Paris; for the next five years he was to live with his mother in a small apartment. He gave up touring. To earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to cover long distances. Because of this, he kept uncertain hours and also took up smoking and drinkingall habits he would continue throughout his life.[14] [15] The following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce. However, her father insisted that the affair be broken off. Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother. He had many discussions with the Abb de Lamennais, who acted as his spiritual father, and also with Chrtien Urhan, a German-born violinist who introduced him to the Saint-Simonists.[14] Urhan also wrote music that was anti-classical and highly subjective, with titles such as Elle et moi, La Salvation anglique and Les Regrets, and may have whetted the young Liszt's taste for musical romanticism. Equally important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music.[16] During this period Liszt read widely to overcome his lack of a general education, and he soon came into contact with many of the leading authors and artists of his day, including Victor Hugo, Alphonse de Lamartine and Heinrich Heine. He composed practically nothing in these years. Nevertheless, the July Revolution of 1830 inspired him to sketch a Revolutionary Symphony based on the events of the "three glorious days," and he took a greater interest in events surrounding him. He met Hector Berlioz on December 4, 1830, the day before the premiere of the Symphonie fantastique. Berlioz's music made a strong impression on Liszt, especially later when he was writing for orchestra. He also inherited from Berlioz the diabolic quality of many of his works.[14]

Paganini
After attending an April 20, 1832 concert for charity, for the victims of a Parisian cholera epidemic, by Niccol Paganini,[17] Liszt became determined to become as great a virtuoso on the piano as Paganini was on the violin. Paris in the 1830s had become the nexus for pianistic activities, with dozens of pianists dedicated to perfection at the keyboard. Some, such as Sigismond Thalberg and Alexander Dreyschock, focused on specific aspects of technique (e.g. the "three-hand effect" and octaves, respectively). While it was called the "flying trapeze" school of piano playing, this generation also solved some of the most intractable problems of piano technique, raising the general level of performance to previously unimagined heights. Liszt's strength and ability to stand out in this company was in mastering all the aspects of piano technique cultivated singly and assiduously by his rivals.[18]

In 1833 he made transcriptions of several works by Berlioz, including the Symphonie fantastique. His chief motive in doing so, especially with the Symphonie, was to help the poverty-stricken Berlioz, whose symphony remained unknown and unpublished. Liszt bore the expense of publishing the transcription himself and played it many times to help popularise the original score.[19] He was also forming a friendship with a third composer who influenced him, Frdric Chopin; under his influence Liszt's poetic and romantic side began to develop.[14]

Niccol Paganini. His playing inspired Liszt to become as great a virtuoso.

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With Countess Marie d'Agoult

In 1833, Liszt began his relationship with the Countess Marie d'Agoult. In addition to this, at the end of April 1834 he made the acquaintance of Felicit de Lamennais. Under the influence of both, Liszt's creative output exploded. In 1834 Liszt debuted as a mature and original composer with his piano compositions Harmonies potiques et religieuses and the set of three Apparitions. These were all poetic works which contrasted strongly with the fantasies he had written earlier.[20] In 1835 the countess left her husband and family to join Liszt in Geneva; their daughter Blandine was born there on December 18. Liszt taught at the newly founded Geneva Conservatory, wrote a manual of piano technique (later lost)[21] and contributed essays for the Paris Revue et gazette musicale. In these essays, he argued for the raising of the artist from the status of a servant to a respected member of the community.[14] For the next four years Liszt and the countess lived together, mainly in Switzerland and Italy, where their daughter, Cosima, was born in Como, with occasional visits to Paris. On May 9, 1839 Liszt's and the countess's only son, Daniel, was born, but that autumn relations between them became strained. Liszt heard that plans for a Beethoven monument in Bonn were in danger of collapse Franz Liszt, portrait by Mikls for lack of funds, and pledged his support. Doing so meant returning to the life of Barabs, a Hungarian painter, 1847 a touring virtuoso. The countess returned to Paris with the children, while Liszt gave six concerts in Vienna, then toured Hungary.[14]

Touring Europe
For the next eight years Liszt continued to tour Europe, spending holidays with the countess and their children on the island of Nonnenwerth on the Rhine in summers 1841 and 1843. In spring 1844 the couple finally separated. This was Liszt's most brilliant period as a concert pianist. Honours were showered on him and he was adulated everywhere he went.[14] Since Liszt often appeared three or four times a week in concert, it could be safe to assume that he appeared in public well over a thousand times during this eight-year period. Moreover, his great fame as a pianist, which he would continue to enjoy long after he had officially retired from the concert stage, was based mainly on his accomplishments during this time.[22] After 1842 "Lisztomania" swept across Europe. The reception Liszt enjoyed as a result can only be described as hysterical. Women fought over his silk handkerchiefs and velvet gloves, which they ripped to Liszt in 1843, at the height of his career shreds as souvenirs. Helping fuel this atmosphere was the artist's mesmeric personality and stage presence. Many witnesses later testified that Liszt's playing raised the mood of audiences to a level of mystical ecstasy.[23] Adding to his reputation was the fact that Liszt gave away much of his proceeds to charity and humanitarian causes. In fact, Liszt had made so much money by his mid-forties that virtually all his performing fees after 1857 went to charity. While his work for the Beethoven monument and the Hungarian National School of Music are well known, he also gave generously to the building fund of Cologne Cathedral, the establishment of a Gymnasium at Dortmund, and the construction of the Leopold Church in Pest. There were also private donations to hospitals, schools and charitable organizations such as the Leipzig Musicians Pension Fund. When he found out about the Great Fire of

Franz Liszt Hamburg, which raged for three weeks during May 1842 and destroyed much of the city, he gave concerts in aid of the thousands of homeless there.[24]

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Liszt in Weimar
In February 1847, Liszt played in Kiev. There he met the Princess Carolyne zu Sayn-Wittgenstein, who dominated most of the rest of his life. She persuaded him to concentrate on composition, which meant giving up his career as a travelling virtuoso. After a tour of the Balkans, Turkey and Russia that summer, Liszt gave his final concert for pay at Elisavetgrad in September. He spent the winter with the princess at her estate in Woronince.[25] By retiring from the concert platform at 35, while still at the height of his powers, Liszt succeeded in keeping the legend of his playing untarnished.[26] The following year, Liszt took up a long-standing invitation of Grand Duchess Maria Pavlovna of Russia to settle at Weimar, where he had been appointed Kapellmeister Extraordinaire in 1842, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre. He gave lessons to a number of pianists, including the great virtuoso Hans von Blow, who married Liszt's daughter Cosima in 1857 (years later, she would marry Richard Wagner). He also wrote articles championing Berlioz and Wagner. Finally, Liszt had ample time to compose and during the next 12 years revised or produced those orchestral and choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850. Princess Carolyne lived with Liszt during his years in Weimar. She eventually wished to marry Liszt, but since she had been previously married and her husband, Russian military officer Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg (18121864), was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. After huge efforts and a monstrously intricate process, she was temporarily successful (September 1860). It was planned that the couple would marry in Rome, on October 22, 1861, Liszt's 50th birthday. Liszt having arrived in Rome on October 21, 1861, the Princess nevertheless declined, by the late evening, to marry him. It appears that both her husband and the Tsar of Russia had managed to quash permission for the marriage at the Vatican. The Russian government also impounded her several estates in the Polish Ukraine, which made her later marriage to anybody unfeasible.
Liszt in 1858 by Franz Hanfstaengl

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Liszt in Rome
The 1860s were a period of great sadness in Liszt's private life. On December 13, 1859, he lost his son Daniel, and on September 11, 1862, his daughter Blandine also died. In letters to friends, Liszt afterwards announced that he would retreat to a solitary living. He found it at the monastery Madonna del Rosario, just outside Rome, where on June 20, 1863, he took up quarters in a small, Spartan apartment. He had on June 23, 1857, already joined a Franciscan order.[27] On April 25, 1865, he received the tonsure at the hands of Cardinal Hohenlohe. Following this he was sometimes called the Abb Liszt. On July31, 1865 he received the four minor orders of porter, lector, exorcist, and acolyte. On August 14, 1879 he was made an honorary canon of Albano.[28] On some occasions, Liszt took part in Rome's musical life. On March 26, 1863, at a concert at the Palazzo Altieri, he directed a programme of sacred music. The "Seligkeiten" of his "Christus-Oratorio" and his "Cantico del Sol di Francesco Liszt, photo by Franz Hanfstaengl, d'Assisi", as well as Haydn's "Die Schpfung" and works by J. S. Bach, June 1867 Beethoven, Jommelli, Mendelssohn and Palestrina were performed. On January 4, 1866, Liszt directed the "Stabat mater" of his "Christus-Oratorio", and on February 26, 1866, his "Dante Symphony". There were several further occasions of similar kind, but in comparison with the duration of Liszt's stay in Rome, they were exceptions. Bdog Pichler, who visited Liszt in 1864 and asked him for his future plans, had the impression that Rome's musical life was not satisfying for Liszt.

Threefold life
Liszt was invited back to Weimar in 1869 to give master classes in piano playing. Two years later he was asked to do the same in Budapest at the Hungarian Music Academy. From then until the end of his life he made regular journeys between Rome, Weimar and Budapest, continuing what he called his "vie trifurque" or threefold existence. It is estimated that Liszt travelled at least 4,000 miles a year during this period in his lifean exceptional figure given his advancing age and the rigors of road and rail in the 1870s.[29]

Last years
Liszt fell down the stairs of the Hotel in Weimar on July 2, 1881. Though friends and colleagues had noted swelling in his feet and legs when he had arrived in Weimar the previous month (an indication of possible congestive heart failure), he had been in good health up to that point and was still fit and active. He was left immobilized for eight weeks after the accident and never fully recovered from it. A number of ailments manifesteddropsy, asthma, insomnia, a cataract of the left eye and heart disease. The last-mentioned eventually contributed to Liszt's death. He became increasingly plagued by feelings of desolation, despair and preoccupation with deathfeelings which he expressed in his works from this period. As he told Lina Ramann, "I carry a deep sadness of the heart which must now and then break out in sound."[30] He died in Bayreuth, Germany, on July 31, 1886, at age 74, officially as a result of pneumonia, which he may have contracted during the Bayreuth Festival hosted by his daughter Cosima. Questions have been posed as to whether medical malpractice played a part in his death.[31] He was buried on August 3, 1886, in the municipal cemetery of Bayreuth in accordance with his wishes.[32]
Liszt a few months before his death. Photo by Nadar

Franz Liszt Composer Camille Saint-Sans, an old friend, whom Liszt had once called "the greatest organist in the world", dedicated his Symphony No. 3 "Organ Symphony" to Liszt; it had premiered in London only a few weeks before his death.

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Liszt as pianist
Performing style
There are few, if any, good sources that give an impression of how Liszt really sounded from the 1820s. Carl Czerny claimed Liszt was a natural who played according to feeling, and reviews of his concerts especially praise the brilliance, strength and precision in his playing. At least one also mentions his ability to keep absolute tempo,[33] which may be due to his father's insistence that he practice with a metronome. His repertoire at this time consisted primarily of pieces in the style of the brilliant Viennese school, such as concertos by Hummel and works by his former teacher Czerny, and his concerts often included a chance for the boy to display his prowess in improvisation. Following the death of Liszt's father in 1827 and his hiatus from the life as a touring virtuoso, it is likely Liszt's playing gradually developed a more personal style. One of the most detailed descriptions of his playing from this time comes from the winter of 1831/1832, during which he was earning a living primarily as a teacher in Paris. Among his pupils were Valerie Boissier, whose mother Caroline kept a careful diary of the lessons. From her we learn that: "M. Liszt's playing contains abandonment, a Franz Liszt Fantasizing at the Piano (1840), by Danhauser, commissioned by Conrad liberated feeling, but even Graf. The imagined gathering shows seated Alfred de Musset or Alexandre Dumas, when it becomes George Sand, Franz Liszt, Marie d'Agoult; standing Hector Berlioz or Victor Hugo, impetuous and energetic in Niccol Paganini, Gioachino Rossini; a bust of Beethoven on the grand piano (a "Graf"), [34] [35] [36] a portrait of Lord Byron on the wall, a statue of Joan of Arc on the far left. his fortissimo, it is still without harshness and dryness. [...] [He] draws from the piano tones that are purer, mellower and stronger than anyone has been able to do; his touch has an indescribable charm. [...] He is the enemy of affected, stilted, contorted expressions. Most of all, he wants truth in musical sentiment, and so he makes a psychological study of his emotions to convey them as they are. Thus, a strong expression is often followed by a sense of fatigue and dejection, a kind of coldness, because this is the way nature works." Possibly influenced by Paganini's showmanship, once Liszt began focusing on his career as a pianist again his emotionally vivid presentations of the music were rarely limited to mere sound. His facial expression and gestures at the piano would reflect what he played, for which he was sometimes mocked in the press.[37] Also noted was the extravagant liberties he could take with the text of a score at this time. Berlioz tells us how Liszt would add cadenzas, tremolos and trills when playing the first movement of Beethoven's Moonlight Sonata, and created a dramatic scene by changing the tempo between Largo and Presto.[38] In his Baccalaureus letter to George Sand from the beginning of 1837, Liszt admitted that he had done so for the purpose of gaining applause, and promised to follow both the letter and the spirit of a score from then on. It has been debated to what extent he realized his

Franz Liszt promise, however. By July 1840 the British newspaper The Times could still report "His performance commenced with Hndel's Fugue in E minor, which was played by Liszt with an avoidance of everything approaching to meretricious ornament, and indeed scarcely any additions, except a multitude of ingeniously contrived and appropriate harmonies, casting a glow of colour over the beauties of the composition, and infusing into it a spirit which from no other hand it ever received."

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Repertoire
During his years as a travelling virtuoso Liszt performed an enormous amount of music throughout Europe,[39] but his core repertoire always centered around his own compositions, paraphrases and transcriptions. Studying Liszt's German concerts between 1840 and 1845, the five most frequently played pieces were the Grand galop chromatique, Schubert's Erlknig (in Liszt's transcription), Rminiscences de Don Juan, Rminiscences de Robert le Diable, and Rminiscences de Lucia de Lammermoor.[40] Among the works by other composers we find compositions like Weber's Invitation to the Dance, Chopin mazurkas, tudes by composers like Ignaz Moscheles, Chopin and Ferdinand Hiller, but also major works by Beethoven, Schumann, Weber and Hummel, and from time to time even selections from Bach, Handel and Scarlatti. Most of the concerts at this time were shared with other artists, and as a result Liszt also often accompanied singers, participated in chamber music, or performed works with an orchestra in addition to his own solo part. Frequently played works include Weber's Konzertstck, Beethoven's Emperor Concerto and Choral Fantasy, and Liszt's reworking of the Hexameron for piano and orchestra. His chamber music repertoire included Hummel's Septet, Beethoven's Archduke Trio and Kreutzer Sonata, and a large selection of songs by composers like Rossini, Donizetti, Beethoven and especially Schubert. At some concerts Liszt could not find musicians to share the program with, and consequently was among the first to give solo piano recitals in the modern sense of the word. The term was coined by the publisher Frederick Beale, who suggested it for Liszt's concert at the Hanover Square Rooms in London on June 9, 1840,[41] even though Liszt had given concerts all by himself already by March 1839.[42]

Musical works
Liszt was a prolific composer. His composition career has a clear arch that follows his changing professional and personal life. Liszt is best known for his piano music, but he wrote extensively for many media. Because of his background as a forefront technical piano virtuoso, Liszt's piano works are often marked by their difficulty. Liszt is very well known as a programmatic composer, or an individual who bases his compositional ideas in extra-musical things such as a poetry or painting. Liszt is credited with the creation of the Symphonic Poem which is a programmatic orchestral work that generally consists of a single movement. Liszt's compositional style delved deeply into issues of unity both within and across movements. For this reason, in his most famous and virtuosic works, he is an archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the Leitmotif by Richard Wagner.

The sound of the fountains of the famous garden of Villa d'Este inspired Liszt to write a piano piece called "Jeux d'eau la Villa d'Este". The villa and the portrait of the composer can be seen in the same image made by Istvn Orosz.

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Piano music
The largest and best-known portion of Liszt's music is his original piano work. His thoroughly revised masterwork, "Annes de plerinage" ("Years of Pilgrimage") includes arguably his most provocative and stirring pieces. This set of three suites ranges from the virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michelangelo and Raphael in the second set. Annes contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of "Album d'un voyageur", while the second book includes a resetting of his own song transcriptions once separately published as "Tre sonetti di Petrarca" ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed, and the level of technical difficulty which was present in much of his composition. Liszt's piano works are usually divided into two categories. On the one hand, there are "original works", and on the other hand "transcriptions", "paraphrases" or "fantasies" on works by other composers. Examples for the first category are works such as the piece Harmonies potiques et religieuses of May 1833 and the Piano Sonata in B minor (1853). Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are examples from the second category. As special case, Liszt also made piano arrangements of his own instrumental and vocal works. Examples of this kind are the arrangement of the second movement "Gretchen" of his Faust Symphony and the first "Mephisto Waltz" as well as the "Liebestrume No. 3" and the two volumes of his "Buch der Lieder".

Transcriptions
When Liszt wrote transcriptions of works by other composers, he invested a lot of creativity in doing so. Instead of just overtaking original melodies and harmonies, he ameliorated them. In the case of his fantasies and transcriptions in the Italian style, composers such as Bellini and Donizetti knew that certain forms, usually periods of eight measures, were to be filled with music. Occasionally, while the first half of a period was composed with inspiration, the second half was added with mechanical routine. Liszt changed this by modifying the melody, bass and occasionally the harmonies. Liszt's transcriptions yielded results that were often more inventive than what Liszt or the original composer could have achieved alone. Some notable examples are the Sonnambula-fantasy (Bellini), the Rigoletto-Paraphrase (Verdi), the Faust-Walzer (Gounod), and "Rminiscences de Don Juan" (Mozart). Hans von Blow admitted that Liszt's transcription of his Dante Sonett "Tanto gentile" was much more refined than the original he himself had composed.[43] Liszt's transcriptions of Schubert songs, his fantasies on operatic melodies, and his piano arrangements of symphonies by Berlioz and Beethoven are other well known examples of piano transcriptions. Liszt was the second pianist (after Kalkbrenner) to transcribe Beethoven's symphonies for the piano. He usually performed them for audiences that would probably never have an opportunity to hear the orchestral version.

Original songs
Franz Liszt composed about six dozen original songs with piano accompaniment. In most cases the lyrics were in German or French, but there are also some songs in Italian and Hungarian and one song in English. Liszt began with the song "Angiolin dal biondo crin" in 1839, and by 1844 had composed about two dozen songs. Some of them had been published as single pieces. In addition, there was an 18431844 series "Buch der Lieder". The series had been projected for three volumes, consisting of six songs each, but only two volumes appeared. Although Liszt's early songs are seldom sung, they show him in much better light than works such as the paraphrase "Gaudeamus igitur" and the Galop after Bulhakow, both composed in 1843. The transcriptions of the two volumes of the "Buch der Lieder" can be counted among Liszt's finest piano works.[44] However, the contemporaries had much to criticise with regard to the style of the songs. Further critical remarks can be found in Peter Raabe's Liszts Schaffen.

Franz Liszt Today, Liszt's songs are nearly entirely forgotten. As an exception, most frequently the song "Ich mchte hingehen" is cited. It is because of a single bar, most resembling the opening motif of Wagner's Tristan und Isolde. While it is commonly claimed that Liszt wrote that motif ten years before Wagner started work on his masterpiece,[45] it has turned out that this is not true: the original version of "Ich mchte hingehn" was composed in 1844 or 1845. There are four manuscripts, and only a single one, a copy by August Conradi, contains the said bar with the Tristan motif. It is on a paste-over in Liszt's hand. Since in the second half of 1858 Liszt was preparing his songs for publication, and he just at that time received the first act of Wagner's Tristan, it is most likely that the version on the paste-over was a quotation from Wagner.[46] This is not to say the motif was originally invented by Wagner. An earlier example can be found in bar 100 of Liszt's Ballade No. 2 in B minor for piano, composed in 1853.[47]

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Programme music
Liszt, in some of his works, supported the idea of programme music that is, music intended to evoke extra-musical ideas. By contrast, absolute music (a radical new idea in the 19th century world of music) stands for itself and is intended to be appreciated without any particular reference to the outside world. Liszt's own point of view regarding programme music can for the time of his youth be taken from the preface of the Album d'un voyageur (1837). According to this, a landscape could evoke a certain kind of mood. Since a piece of music could also evoke a mood, a mysterious resemblance with the landscape could be imagined. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood. In July 1854 Liszt wrote his essay about Berlioz and Harold in Italy that stated A statue of Liszt in Kalocsa, that not all music was programme music. If, in the heat of a debate, a person Hungary would go so far as to claim the contrary, it would be better to put all ideas of programme music aside. But it would be possible to take means like harmony, modulation, rhythm, instrumentation and others to let a musical motif endure a fate. In any case, a programme should only be added to a piece of music if it was necessarily needed for an adequate understanding of that piece. Still later, in a letter to Marie d'Agoult of November 15, 1864, Liszt wrote: "Without any reserve I completely subscribe to the rule of which you so kindly want to remind me, that those musical works which are in a general sense following a programme must take effect on imagination and emotion, independent of any programme. In other words: All beautiful music must be first rate and always satisfy the absolute rules of music which are not to be violated or prescribed".[48]

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Symphonic poems
A symphonic poem or tone poem is a piece of orchestral music in one movement in which some extramusical program provides a narrative or illustrative element. This program may come from a poem, a story or novel, a painting, or another source. The term was first applied by Liszt to his 13 one-movement orchestral works in this vein. They were not pure symphonic movements in the classical sense because they dealt with descriptive subjects taken from mythology, Romantic literature, recent history or imaginative fantasy. In other words, these works were programmatic rather than abstract.[49] The form was a direct product of Romanticism which encouraged literary, pictorial and dramatic associations in music. It developed into an important form of program music in the second half of the 19th century.[50]

Die Hunnenschlacht, as painted by Wilhelm von Kaulbach, which in turn inspired one of Liszt's symphonic poems

The first 12 symphonic poems were composed in the decade 184858 (though some use material conceived earlier); one other, Von der Wiege bis zum Grabe (From the Cradle to the Grave), followed in 1882. Liszt's intent, according to Hugh MacDonald in the New Grove Dictionary of Music and Musicians (1980), was for these single-movement works "to display the traditional logic of symphonic thought."[51] That logic, embodied in sonata form as musical development, was traditionally the unfolding of latent possibilities in given themes in rhythm, melody and harmony, either in part or in their entirety, as they were allowed to combine, separate and contrast with one another.[52] To the resulting sense of struggle Beethoven had added an intensity of feeling and the involvement of his audiences in that feeling, beginning from the Eroica Symphony to use the elements of the craft of musicmelody, bass, counterpoint, rhythm and harmonyin a new synthesis of elements toward this end.[53] Liszt attempted in the symphonic poem to extend this revitalization of the nature of musical discourse and add to it the Romantic ideal of reconciling classical formal principles to external literary concepts. To this end, he combined elements of overture and symphony with descriptive elements, approaching symphonic first movements in form and scale.[50] While showing extremely creative amendments to sonata form, Liszt used compositional devices such as cyclic form, motifs and thematic transformation to lend these works added coherence.[54] Their composition proved daunting, requiring a continual process of creative experimentation that included many stages of composition, rehearsal and revision to reach a version where different parts of the musical form seemed balanced.[55]

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Late works
With some works from the end of the Weimar years Liszt drifted more and more away from the musical taste of his time. An early example is the melodrama "Der traurige Mnch" ("The sad monk") after a poem by Nikolaus Lenau, composed in the beginning of October 1860. While in the 19th century harmonies were usually considered as major or minor triads to which dissonances could be added, Liszt took the augmented triad as central chord. More examples can be found in the third volume of Liszt's Annes de Plerinage. "Les Jeux d'Eaux la Villa d'Este" ("The Fountains of the Villa d'Este"), composed in September 1877, foreshadows the impressionism of pieces on similar subjects by Debussy and Ravel. However, other pieces such as the "Marche funbre, En mmoire de Maximilian I, Empereur du Mexique" ("Funeral march, In memory of Maximilian I, Emperor of Mexico")[56] composed in 1867 are without stylistic parallel in the 19th and 20th centuries. At a later stage Liszt experimented with "forbidden" things such as parallel 5ths Liszt as caricatured in 1886 by in the "Csrds macabre"[57] and atonality in the Bagatelle sans tonalit Vanity Fair's 'Spy' ("Bagatelle without Tonality"). In the last part of his "2de Valse oublie" ("2nd Forgotten waltz") Liszt composed that he could not find a lyrical melody. Pieces like the "2nd Mephisto-Waltz" are shocking with nearly endless repetitions of short motives. Also characteristic are the "Via crucis" of 1878, as well as Unstern!, Nuages gris, and the two works entitled La lugubre gondola of the 1880s.

Literary works
Besides his musical works, Liszt wrote essays about many subjects. Most important for an understanding of his development is the article series "De la situation des artistes" ("On the situation of the artists") which was published in the Parisian Gazette musicale in 1835. In winter 183536, during Liszt's stay in Geneva, about half a dozen further essays followed. One of them was slated to be published under the pseudonym, "Emm Prym", was about Liszt's own works. It was sent to Maurice Schlesinger, editor of the Gazette musicale. Schlesinger, however, following the advice of Berlioz, did not publish it.[58] In the beginning of 1837, Liszt published a review of some piano works of Sigismond Thalberg. The review provoked a huge scandal.[59] Liszt also published a series of writings titled "Baccalaureus letters", ending in 1841. During the Weimar years, Liszt wrote a series of essays about operas, leading from Gluck to Wagner. Liszt also wrote essays about Berlioz and the symphony Harold in Italy, Robert and Clara Schumann, John Field's nocturnes, songs of Robert Franz, a planned Goethe foundation at Weimar, and other subjects. In addition to essays, Liszt wrote a book about Chopin as well as a book about the Romanis (Gypsies) and their music in Hungary. While all of those literary works were published under Liszt's name, it is not quite clear which parts of them he had written himself. It is known from his letters that during the time of his youth there had been collaboration with Marie d'Agoult. During the Weimar years it was the Princess Wittgenstein who helped him. In most cases the manuscripts have disappeared so that it is difficult to determine which of Liszt's literary works actually were works of his own. However, until the end of his life it was Liszt's point of view that it was he who was responsible for the contents of those literary works. Liszt also worked until at least 1885 on a treatise for modern harmony. Pianist Arthur Friedheim, who also served as Liszt's personal secretary, remembered seeing it among Liszt's papers at Weimar. Liszt told Friedheim that the time was not yet ripe to publish the manuscript, titled Sketches for a Harmony of the Future. Unfortunately, this treatise has been lost.

Franz Liszt Liszt also wrote a biography of his friend and fellow composer Frdric Chopin, "Life of Chopin".[60]

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Legacy
Although there was a period in which many considered Liszt's works "flashy" or superficial, it is now held that many of Liszt's compositions such as Nuages gris, Les jeux d'eaux la villa d'Este, etc., which contain parallel fifths, the whole-tone scale, parallel diminished and augmented triads, and unresolved dissonances, anticipated and influenced twentieth century music like that of Debussy, Ravel and Bartok.[61]

Liszt's students
Early students Liszt was one of the most noted teachers of the 19th century. This part of his career commenced after his father's death in August 1827. For the purpose of earning his own and his mother's living, Liszt gave lessons in composition and piano playing. According to a letter to Monsieur de Mancy on December 23, 1829, he was so full of lessons that each day, from half-past eight in the morning till 10 at night, he had scarcely breathing time.[62] Most of Liszt's students of this period were amateurs, but there were also some who made a professional career. An example of the first kind is Valrie Boissier, the later Comtesse de Gasparin. Examples of the second kind are Julius Eichberg, Pierre Wolff, and Hermann Cohen. During winter 183536 they were Liszt's colleagues at the Conservatoire at Geneva. Wolff then went to Saint Petersburg. Cohen, who from George Sand received the nickname "Puzzi", developed into a very successful pianist. Of Jewish origin, he was baptized on August 28, 1847. On this day he experienced what he called an "apparition" of Christ, Mary and the saints in an "ecstasy of love". A year later he became novice of a Carmelite convent. When on October 7, 1850, he was professed, he took the name Pre AugstinMarie du Trs Saint Sacrament ("Pater AugustinMary of the Most Holy Sacrament"). On April 19, 1851, he was ordained as priest. In spring 1862 he met Liszt in Rome. After colloquies with Pater Augustin, Liszt decided that he would himself become ecclesiastic.[63] During the years of his tours Liszt gave only few lessons. Examples of students from this period are Johann Nepumuk Dunkl and Wilhelm von Lenz. Dunkl received lessons from Liszt during winter 183940. He had introduced himself by playing Thalberg's Fantasy Op.6 on melodies from Meyerbeer's opera "Robert le diable". Liszt later called him a "Halbschler" ("half-student"). Lenz, from St. Petersburg, had met Liszt already at the end of 1828. In summer 1842 he was in Paris again where he received further lessons from Liszt. He was merely an amateur with a repertoire of pieces such as Chopin's Nocturne Op.9/2. In spring 1844, in Dresden, Liszt met the young Hans von Blow, his later son in law. Blow's repertoire included Thalberg's Fantasy "La Donna del Lago" Op.40 and Liszt's Sonnambula-Fantasy. Later students Since Liszt had settled in Weimar, the number of those who received lessons from him was steadily increasing. Until his death in 1886 there would have been several hundred people who in some sense may have been regarded as his students. August Gllerich published a voluminous catalogue of them.[64] In a note he added the remark that he had taken the connotation "student" in its widest sense. As consequence, his catalogue includes names of pianists, violinists, cellists, harpists, organists, composers, conductors, singers and even writers. Another catalogue was prepared by Carl Lachmund. In Lachmund's catalogue his own wife's name, missing in Gllerich's catalogue, is included. She had successfully persuaded Liszt to listen to her playing the harp. After she had played a single piece, without Liszt saying a word about it, she was nominated as Liszt's student by her husband. The following catalogue by Ludwig Nohl, headed with "Die Hauptschler Liszts" ("Liszt's main students"), was approved in September 1881 and, with regard to the order of the names, corrected, by Liszt.[65]

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Hans von Blow Hans von Bronsart Julius Reubke Friedrich Altschul Dionys Pruckner Antal Sipos Louis Jungmann Juliusz Zarbski Siegfried Langgaard Louis Marek Berthold Kellermann

Carl Tausig Karl Klindworth Theodor Ratzenberger Nicolaus Neilissoff Ferdinand Schreiber Julius Eichberg William Mason Giovanni Sgambati Karl Pohlig Eduard Reuss Carl Stasny

Franz Bendel Alexander Winterberger Robert Pflughaupt Carl Baermann Louis Rothfeld Jzef Wieniawski Max Pinner Carlo Lippi Arthur Friedheim Bertrand Roth Julius Richter Sophie Pflughaupt

Ingeborg Starck-Bronsart Sophie Menter-Popper Aline Hundt Anna Mehlig Sara Magnus-Heinze Ccilia Gaul

Pauline Fichtner-Erdmannsdrfer Ahrenda Blume Vera Timanova Dora Petersen Marie Breidenstein Martha Remmert Ilonka Ravacz George Leitert

In 1886 a similar catalogue would have been much longer, including names such as Eugen d'Albert, Walter Bache, Carl Lachmund, Moriz Rosenthal, Emil Sauer, Alexander Siloti, Conrad Ansorge, William Dayas, August Gllerich, Bernhard Stavenhagen, August Stradal, and Istvn Thomn. Nohl's catalogue was by far not complete, and this even when the restriction to the period since the Weimar years is neglected. Of Liszt's Hungarian students, for example, only Antal Sipos and Ilonka Ravasz were mentioned. Sipos had become Liszt's student in 1858 in Weimar, after Liszt had heard him playing at a concert and invited him. In 1861 Sipos returned to Budapest, where in 1875 he founded a music school.[66] Ilonka Ravasz was since winter 187576 one of Liszt's most gifted students at the newly founded Royal Academy for Music at Budapest. Astonishingly, the names of Aladr Juhsz and Kroly Agghzy are missing in Nohl's catalogue, although both had been among Liszt's favourite students at the Hungarian Academy. Also missing are the names of Agnes Street-Klindworth and Olga Janina. Agnes Street-Klindworth had in 1853 arrived in Weimar, where she received lessons in piano playing from Liszt and lessons in composition from Peter Cornelius. Until 1861 she was Liszt's secret mistress. Olga Janina had joined the circle around Liszt in 1869 in Rome. According to Liszt's impression, she had rare and admirable musical talents.[67] In his presence, she performed his piano concertos in E-flat and A Major as well as further examples of his works. Unfortunately, Olga Janina fell in love with Liszt. They had a short affair, until in spring 1871on Liszt's initiativethey separated. Olga went to America, but in spring 1873 returned to Budapest. In a telegram to Liszt she had announced that she would kill him. After three adventurous days together with Liszt in an apartment in Budapest she left.[68] Together with Liszt's student Franz Servais she first went to Belgium where she gave concerts which were brilliant successes. She then, together with Servais, went to Italy. During the 1870s Olga Janina wrote several scandalous books about Liszt, among them the novel Souvenirs d'une Cosaque, published under the pseudonym "Robert Franz". In Gllerich's catalogue of Liszt's students she is registered as "Janina, Olga, Grfin (Marquise Cezano) (Genf)". Thus she may have changed her name and moved to Geneva. Taking the preface of her Souvenirs d'une Cosaque literally, she had first moved from Italy to Paris where she had lived in poverty. The last paragraph of the preface can be read as a dedication to Liszt.

Franz Liszt Besides Liszt's master students there was a crowd of those who could at best reach only moderate abilities.[69] In such cases, Liszt's lessons changed nothing.[70] However, also several of Liszt's master students were disappointed about him.[71] An example is Eugen d'Albert, who in the end was on nearly hostile terms with Liszt.[72] The same must be said of Felix Draeseke who had joined the circle around Liszt at Weimar in 1857, and who during the first half of the 1860s had been one of the most prominent representatives of the New German School. In Nohl's catalogue he is not even mentioned. Also Hans von Blow, since the 1860s, had more and more drifted towards a direction which was not only different from Liszt's, but opposite to it According to August Stradal, some of Liszt's master students had claimed that Anton Rubinstein was a better teacher than Liszt.[73] It might have been meant as allusion to Emil Sauer, who had in Moscow studied with Nikolai Rubinstein. During a couple of months in summers 1884 and 1885 he studied with Liszt at Weimar. When he arrived for the first time, he already was a virtuoso of strongest calibre who shortly before had made a concert tour through Spain. The question of whether there was any change in his playing after he had studied with Liszt remains open. According to his autobiography Meine Welt, he had found it imposing when Arthur Friedheim was thundering Liszt's Lucrezia-Fantasy. Regarding Liszt's playing a Beethoven Sonata, however, he wrote, Liszt had at least given a good performance as actor. As his opinion, Sauer had told his fellow students that Anton Rubinstein was a greater composer than Liszt.[74] In Sauer's own compositions, a piano concerto, two sonatas, about two and a half dozen Etudes and several concert pieces, no influence of Liszt as composer of the 1880s can be recognized.

150

Liszt's teaching approach

Liszt offered his students little technical advice, expecting them to "wash their dirty linen at home," as he phrased it. Instead, he focused on musical interpretation with a combination of anecdote, metaphor and wit. He advised one student tapping out the opening chords of Beethoven's Waldstein Sonata, "Do not chop beefsteak for us." To another who blurred the rhythm in Liszt's Gnomenreigen (usually done by playing the piece too fast in the composer's presence): "There you go, mixing salad again." Liszt also wanted to avoid creating carbon copies of himself; rather, he believed in preserving artistic individuality.[75] There were some pieces which Liszt famously refused to hear at his masterclasses. Among them were Carl Tausig's transcription of J. S. Bach's organ Toccata and Fugue in D minor, and Chopin's Scherzo No. 2 in B-flat minor. Liszt also did not like to hear his own Polonaise No. 2 in E Major, as it was overplayed and frequently badly played. Liszt did not charge for lessons. He was troubled when German newspapers published details of pedagogue Theodor Kullak's will, revealing that Kullak had generated more than one million marks from teaching. "As an artist, you do not rake in a million marks without performing some sacrifice on the altar of Art," Liszt told his biographer Lina Ramann. However, Carl Czerny charged an expensive fee for lessons and even dismissed Stephen Heller when he was unable to afford to pay for his lessons. Interestingly, Liszt spoke very fondly of his former teacher, to whom he dedicated his Transcendental Etudes. He wrote the Allgemeine musikalische Zeitung, urging Kullak's sons to create an endowment for needy musicians, as Liszt himself frequently did.[29] In the summer of 1936, Hungarian-French music critic Emil Haraszti published a two-part essay on Liszt, entitled Liszt Paris in the publication La Revue musicale. In 1937 he published Deux Franciscians: Adam et Franz Liszt and in December of that year published La Probleme Liszt. The essay, which is a deep exploration of the musicality of Liszt, established Haraszti as one of the foremost Liszt scholars of his generation.[76]

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Royal Academy of Music at Budapest

Since the early 1860s there were attempts of some of Liszt's Hungarian contemporaries to have him settled with a position in Hungary. In January 1862, in Rome, Liszt received a letter by Baron Gbor Prnay, since 1850 President of a Conservatory in Pest. Baron Prnay offered Liszt the position as President. When in 1867 the Conservatory became "Ungarisches National Konservatorium" ("Hungarian National Conservatory"), Baron Prnay still tried to persuade Liszt to take the leadership.[77] Liszt, however, in letters to Baron Prnay and further ones of his Hungarian contemporaries explained that his career as virtuoso and as conductor had finally ended. If he took a position in Hungary, it would be solely for the purpose of spreading his own compositions, his Oratorios and his symphonic works. Besides, as soon as he left Rome, it was his duty to spend some months of the year in Weimar. The Grand Duc had for several times asked for it.[78]

Franz Liszt Academy of Music in Budapest

In 1871 the Hungarian Prime Minister Gyula Andrssy made a new attempt. In a writing of June 4, 1871, to the Hungarian King[79] he demanded an annual rent of 4,000 Gulden and the rank of a "Kniglicher Rat" ("Crown Councillor") for Liszt, who in return would One of Franz Liszt's pianos from his apartment in permanently settle in Budapest, directing the orchestra of the National Budapest. Theatre as well as music schools and further musical institutions. With decision of June 13, 1871, the King agreed.[80] By that time there were also plans of the foundation of a Royal Academy for Music at Budapest, of which the Hungarian state should be in charge. The Royal Academy is not to be confused with the National Conservatory which still existed. The National Conservatory, of which the city Budapest was in charge, was until his death in 1875 directed by Baron Prnay. His successor was Count Gza Zichy. The plan of the foundation of the Royal Academy was in 1871 refused by the Hungarian Parliament, but a year later the Parliament agreed. Liszt was ordered to take part in the foundation. In March 1875 he was nominated as President. According to his wishes, the Academy should have been opened not earlier than in late autumn 1876. However, the Academy was officially opened already on November 14, 1875. Since it was Liszt's opinion that his colleagues Franz Erkel, the director, Kornl brnyi and Robert Volkmann could quite well do this job without him, he was absent. He arrived on February 15, 1876, in Budapest. On March 2 he started giving lessons, and on March 30 he left. The main purpose of his coming to Budapest had been a charity concert on March 20 in favour of the victims of a flood. In November 1875, 38 students had passed the entrance examinations. 21 of them wanted to study piano playing, the others composition. Details of the entrance examinations are known from an account by Kroly Swoboda (Szabados), one of Liszt's first students at the Royal Academy.[81] According to this, candidates for a piano class had to play a single piano piece of their own choice. It could be a sonata movement by Mozart, Clementi or Beethoven. The candidates then had to sight read an easy further piece. Candidates for a composition class had to reproduce and continue a given melody of 4, 5 or 8 bars, after Volkmann had played it for about half a dozen times to them. Besides, they had to put harmonies to a given bass which was written on a table. After Liszt had arrived, he selected 8 students for his class for advanced piano playing. To these came ladr Juhsz as the most outstanding one. As exception, he was to study piano playing only with Liszt.[82] The others were matriculated as students of Erkel, since it was him from whom they would receive their lessons during Liszt's absence. Erkel also gave lessons in specific matters of Hungarian music. Volkmann gave lessons in composition and instrumentation. brnyi gave lessons in music aesthetics and harmony theory. Liszt had wished that there should

Franz Liszt have been a class for sacral music, led by Franz Xaver Witt. He had also wished that Hans von Blow should take a position as piano professor. However, neither Witt nor Blow agreed. In spite of the conditions under which Liszt had in June 1871 been appointed as "Kniglicher Rat", he neither directed the orchestra of the National Theatre, nor did he permanently settle in Hungary.[83] As usual case, he arrived in mid-winter in Budapest. After one or two concerts of his students by the beginning of spring he left. He never took part in the final examinations, which were in summer of every year. Most of his students were still matriculated as students of either Erkel or later Henrik Gobbi. Some of them joined the lessons which he gave in summer in Weimar. In winter, when he was in Budapest, some students of his Weimar circle joined him there. Judging from the concert programs of Liszt's students at Budapest, the standard resembled that of an advanced masterclass of our days. There was a difference, however, with regard to the repertoire. Most works as played at the concerts were works of composers of the 19th century, and many of the composers are now forgotten. As rare exceptions, occasionally a piece of J. S. Bach or Hndel was played. Mozart and Haydn, but also Schubert and Weber, were missing. Of Beethoven only a comparatively small selection of his works was played. In typical cases Liszt himself was merely represented with his transcriptions. The actual abilities Liszt's students at Budapest and the standard of their playing can only be guessed. Liszt's lessons of winter 187778 were in letters to Lina Ramann described by Auguste Rennebaum, herself Liszt's student at the Royal Academy. According to this, there had been some great talents in Liszt's class. However, the abilities of the majority had been very poor.[84] August Stradal, who visited Budapest in 1885 and 1886, took the same point of view.[85] In contrast to this, Desz Legny claimed, much in Stradal's book was nonsense, taken from Stradal's own fantasy.[86] Legny's own reliability, however, is not beyond doubt since many of his attempts of whitewashing Liszt andeven morethe Hungarian contemporaries are too obvious. Margit Prahcs shared and supported Stradal's view. Her quotations from the contemporary Hungarian press show that much of Stradal's critique had been true. Concerning Liszt's relation with his Hungarian contemporaries at the end of his life, for example, in spring 1886 the journal Zenelap wrote: "It is solely in Budapest, where musicians are wandering on such high clouds that they hardly take notice when Liszt is among them."[87] In 1873, at the occasion of Liszt's 50th anniversary as performing artist, the city Budapest had installed a "Franz Liszt Stiftung" ("Franz Liszt Foundation"). The foundation was destined to provide stipends of 200 Gulden for three students of the Academy who had shown excellent abilities and especially had achieved progress with regard to Hungarian music. Every year it was Liszt alone who could decide which one of the students should receive the money. He gave the total sum of 600 Gulden either to a single student or to a group of three or more of them, not asking whether they were actually matriculated at the Academy. It was also Liszt's habit to declare all students who took part in his lessons as his private students. As consequence, nearly none of them paid any charge at the Academy. Since the Academy needed the money, there was a ministerial order of February 13, 1884, according to which all those who took part in Liszt's lessons had to pay an annual charge of 30 Gulden. However, Liszt did not respect this, and in the end the Minister resigned. In fact, the Academy was still the winner, since Liszt gave much money from his taking part in charity concerts. The lessons in specific matters of Hungarian music turned out as problematic enterprise, since there were different opinions, exactly what Hungarian music actually was. In 1881 a new edition of Liszt's book about the Romanis and their music in Hungary appeared. According to this, Hungarian music was identical with the music as played by the Hungarian Romanis. Liszt had also claimed, Semitic people, among them the Romanis, had no genuine creativity. For this reason, according to Liszt's book, they only adopted melodies from the country where they lived. After the book had appeared, Liszt was in Budapest accused for a presumed spreading of anti-Semitic ideas.[88] In the following year no students at all wanted to be matriculated for lessons in Hungarian music. According to the issue of July 1, 1886, of the journal Zenelap, this subject at the Hungarian Academy had already a long time ago been dropped.

152

Franz Liszt In 1886 there was still no class for sacral music, but there were classes for solo and chorus singing, piano, violin, cello, organ and composition. The number of students had grown to 91 and the number of professors to 14. Since the winter of 187980, the Academy had its own building. On the first floor there was an apartment where since the winter of 188081 Liszt lived during his stays in Budapest. His last stay was from January 30 to March 12, 1886. After Liszt's death Jans Vgh, since 1881 vice-president, became president. No earlier than 40 years later the Academy was renamed to "Franz Liszt Akademie". Until then, due to world war I, Liszt's Europe and also his Hungary had died. Mainly, the only connection between Franz Liszt and the "Franz Liszt Akademie" was the name.

153

Liszt School of Music Weimar

On June 24, 1872, the composer and conductor Karl Mller-Hartung founded an "Orchesterschule" ("Orchestra School") at Weimar. Although Liszt and Mller-Hartung were on friendly terms, Liszt took no active part in that foundation. The "Orchesterschule" later developed to a conservatory which still exists and is now called "Hochschule fr Musik "Franz Liszt", Weimar".

Notes
[1] Liszt's Hungarian passport spelled his given name as "Ferencz". An orthographic reform of the Hungarian language in 1922 changed the letter "cz" to simply "c" in all words, except in surnames which led to the use of "Ferenc" a long time after his death. (Hungarian pronunciation:[list frnts]), from 1859 to 1867 officially Franz Ritter von Liszt. Franz Liszt was created a Ritter by Emperor Francis Joseph I. in 1859, but never used the title in public. The title was necessary to marry the Princess of Sayn-Wittgenstein without her losing her privileges, but after the marriage fell through, Liszt transferred the title to his uncle Eduard in 1867. Eduard's son was Franz von Liszt. [2] Walker, New Grove 2 [3] "Franz Liszt" (http:/ / www. britannica. com/ EBchecked/ topic/ 343394/ Franz-Liszt). Encyclopdia Britannica. 2008. . Retrieved November 24, 2008. [4] "Franz Liszt" (http:/ / www. encyclopedia. com/ doc/ 1E1-Liszt-Fr. html). Columbia Encyclopedia. . Retrieved November 25, 2008. [5] An indication of this can be found in: Saffle: Liszt in Germany, p.209. Regarding the 1840s Saffle wrote, "no one disputed seriously that [Liszt] was the greatest living pianist, probably the greatest pianist of all time." Since Saffle gave no sources, his statement can only be taken as his own point of view. [6] Searle, New Grove, 11:29. [7] Searle, New Grove, 11:2829. [8] Walker, Franz Liszt: The Virtuoso Years, 18111847, pp.3334 [9] Walker, Franz Liszt: The Virtuoso Years, 18111847, p.34 [10] Walker, Franz Liszt: The Virtuoso Years, 18111847, p.35 [11] Throughout his life he claimed to be Magyar, rather than French or German, and referred to Hungary as his homeland. When later in his life he gave charity concerts in the country, he sometimes appeared wearing national dress. (Walker, Franz Liszt: The Virtuoso Years, 18111847, p.48) [12] Dana Andrew Gooley, The virtuoso Liszt, Volume 13 of New perspectives in music history and criticism, Cambridge University Press, 2004, p.138 [13] At a second concert on April 13, 1823, Beethoven was reputed to have kissed Liszt on the forehead. While Liszt himself told this story later in life, this incident may have occurred on a different occasion. Regardless, Liszt regarded it as a form of artistic christening. Searle, New Grove, 11:29. [14] Searle, New Grove, 11:30. [15] Walker, Virtuoso Years, 131. [16] Walker, Virtuoso Years, 1378. [17] The date is known from Liszt's pocket calendar. [18] Walker, Virtuoso Years, 1617. [19] Walker, Virtuoso Years, 180. [20] Searle, New Grove, 18:30. [21] For more details see: Bory: Une retraite romantique, pp.50ff [22] Walker, Virtuoto Years, 285. [23] Walker, Virtuoso Years, 289. [24] Walker, Virtuoso Years, 290. [25] Searle, New Grove, 11:31. [26] Walker, Virtuoso Years, 442. [27] See the document in: Burger: Lebenschronik in Bildern, p.209.

Franz Liszt
[28] Alan Walker, Liszt, Franz in Oxford Music Online [29] Walker, New Grove 2, 14:781. [30] Walker: Final Years. [31] Walker: Final Years, p.508, p.515 with n.18). [32] LISZT, Derek Watson, p.160 [33] Review of a concert in Marseilles on April 11, 1826, reprinted in Eckhardt, Maria: Liszt Marseille, in: Studia Musicologica Academiae Scientarum Hungaricae 24 (1982), p.165 [34] After the golden age: romantic pianism and modern performance (http:/ / books. google. com. au/ books?id=wQ8d0S8BkEsC& pg=PA83) by Kenneth Hamilton, p.83, Oxford University Press 2008, ISBN 9780195178265 [35] "Liszt at the Piano" (http:/ / www. mozartpiano. com/ articles/ liszt. php) by Edward Swenson, June 2006 [36] Franz Liszt, am Flgel phantasierend (http:/ / bpkgate. picturemaxx. com/ preview. php?IMGID=00009759) at Stiftung Preuischer Kulturbesitz [37] For example, see: Duverger, Franz Liszt, p.140. [38] See Berlioz's essay about Beethoven's Trios and Sonatas, in: Musikalische Streifzge, transl. Ely Ells, Leipzig 1912, pp.52ff [39] Comp.: Walker: Virtuoso Years, pp.445ff [40] Comp.: Saffle: Liszt in Germany, pp.187ff [41] Walker: Virtuoso Years, p.356 [42] Comp.: vry: Ferenc Liszt, p.147. [43] Compare his letter to Louise von Welz of December 13, 1875, in: Blow, Hans von: Briefe, Band 5, ed. Marie von Blow, Leipzig 1904, p.321. [44] Alan Walker, in: Virtuoso Years, p.368, gives an example from "Die Lorelei". While Walker claims Liszt had with this stolen from the future of music, especially from Wagner's Tristan, he overlooked that his example was from Liszt's second transcription of the song, S.369, composed in 1860 after Liszt had already received the first act of Wagner's opera. [45] For example, comp: Raabe: Liszts Schaffen, p.127, and Walker: Virtuoso Years, p.408. [46] Compare the discussion in: Mueller, Rena Charin: Liszt's "Tasso" Sketchbook: Studies in Sources and Revisions, PhD dissertation, New York University 1986, p.118ff. [47] Still earlier examples from works of Machaut, Gesualdo, Bach, Mozart, Beethoven and Spohr can be found in: Vogel, Martin: Der Tristan-Akkord und die Krise der modernen Harmonie-Lehre, Dsseldorf 1962. [48] Translated from French, after: Liszt-d'Agoult: Correspondance II, p.411. [49] Kennedy, 711. [50] Spencer, P., 1233 [51] MacDonald, New Grove (1980), 18:429. [52] Cooper, 29. [53] Temperley, New Grove (1980), 18:455. [54] Searle, "Orchestral Works," 281; Walker, Weimar, 357. [55] Walker, Weimar, 304. [56] The inscription "In magnis et voluisse sat est" ("In great things, to have wished them is sufficient") had in Liszt's youth been correlated with his friend Felix Lichnowski. [57] Liszt wrote to the cover of the manuscript, "Darf man solch ein Ding schreiben oder anhren?" ("Is it allowed to write such a thing or to listen to it?") [58] See the letter by Berlioz to Liszt of April 28, 1836, in: Berlioz, Hector: Correspondance gnrale II, 18321842, dite sous la direction de Pierre Citron, Paris 1975, p.295. [59] For example, see Liszt's letter to J. W. von Wasielewski of January 9, 1857, in: La Mara (ed.): Liszts Briefe, Band 1, translated by Constance Bache (http:/ / www. fullbooks. com/ Letters-of-Franz-Liszt-Volume-1--From-Paris6. html), No. 171. [60] (http:/ / www. gutenberg. org/ ebooks/ 4386) [61] Elie Siegmeister, in The New Music Lover's Handbook; Harvey House 1973, p. 222 [62] See: La Mara (ed.) Liszts Briefe, Band 1, translated to English by Constance Bache (http:/ / www. fullbooks. com/ Letters-of-Franz-Liszt-Volume-1--From-Paris1. html), No. 2. [63] More details will be found in: Cross: "Puzzi" Revisited: A new Look at Hermann Cohen, in the Journal of the American Liszt Society, Volume 36 / July December 1994, p.19ff. [64] See: Gllerich: Liszt, pp.131ff. According to Gllerich's note, his catalogue was the most complete one which until then existed. [65] See: Nohl: Liszt, pp.112ff. The book includes the facsimile of a letter by Liszt to Nohl of September 29, 1881, in which Liszt approved the catalogue. Liszt's letter also includes his suggestions with tegard to the order of the names. [66] See: Prahcs: Briefe aus ungarischen Sammlungen, p.362, n.1 to letter 263. [67] See his letter to Olga Janina of May 17, 1871, in: Bory, Robert: Diverses lettres indites de Liszt, in: Schweizerisches Jahrbuch fr Musikwissenschaft 3 (1928), p.22. [68] Some details will be found in: Legny: Ferenc Liszt and His Country, 18691873. [69] On June 17, 1880, it was Hans von Blow, who gave the lesson instead of Liszt. He tried to get rid of those with minor abilities, but in vain. A couple of days later they went weeping to Liszt and were accepted again; see: Ramann: Lisztiana, p.151, n.55.

154

Franz Liszt
[70] For example, see: Stradal: Erinnerungen an Franz Liszt, pp.157f. [71] See: Stradal: Erinnerungen an Franz Liszt, p.158. [72] For example, see: Ramann: Lisztiana, p.341. [73] See his Erinnerungen an Franz Liszt, p.158. [74] See: Steinbeck: Liszt's approach to piano playing, p.70. [75] Walker, New Grove 2, 14:780. [76] Franz Liszt, Volume 1 (http:/ / books. google. co. uk/ books?id=lCw4cxHmpgYC& pg=PA19& lpg=PA19& dq=Emil+ Haraszti& source=bl& ots=Y8H0zcmfZm& sig=ZU0kUOQiaEFvSW7mC5yE5jnkIrY& hl=en& ei=MkuESpRiw8j5BqrR1J8C& sa=X& oi=book_result& ct=result& resnum=6#v=onepage& q=Emil Haraszti& f=false) [77] See: Prahcs: Briefe aus ungarischen Sammlungen, n.3 to letter 122. [78] For example, see Liszt's letter of November 10, 1862, to Mihly Mosonyi, in: Prahcs: Briefe aus ungarischen Sammlungen, pp.112ff. A similar letter to Baron Prnay of November 9, 1862, is solely available in a translation to Hungarian, in Zenlap of November 27, 1862, p.69f. [79] In 1867 the Austrian Emperor Franz Joseph I had been crowned as Hungarian King. [80] See: Prahcs: Briefe aus ungarischen Sammlungen, p.353, n.1 to letter 221. [81] See: Prahcs: Franz Liszt und die Budapester Musikakademie, p.61. [82] Liszt later tried to install Juhsz with a position at the Academy, but for some resons Juhsz drifted towards a different path; see: Prahcs (ed.): Briefe aus ungarischen Sammlungen, p.405f, n.5 to letter 439. [83] As consequence, there were complaints from the side of the Hungarian Parliament, according to which Liszt's appointment had been a mistake. [84] See: Ramann: Lisztiana, p.125. [85] See his Erinnerungen an Franz Liszt, p.46. [86] See the critical notes in his Ferenc Liszt and His Country, 18741886. [87] Translated from German after: Prahcs: Franz Liszt und die Budapester Musikakademie, p.91. [88] Liszt was as composer boycotted by the Budapest Philharmonic Society. On October 22, 1881, his 70th birthday, for example, they gave a concert where exclusively works by Brahms, directed by Brahms himself, were played. Liszt afterwards refused to attend any further concert of the Philharmonic Society.

155

References Bibliography
ed. Abraham, Gerald, Music of Tchaikovsky (New York, W. W. Norton & Company, 1946). ISBN n/a. Cooper, Martin, "The Symphonies" Bory, Robert: Une retraite romantique en Suisse, Liszt et la Comtesse d'Agoult, Lausanne 1930. Burger, Ernst: Franz Liszt, Eine Lebenschronik in Bildern und Dokumenten, Mnchen 1986. Ehrhardt, Damien (d.): Franz Liszt Musique, mdiation, interculturalit ( Etudes germaniques (http://www. klincksieck.com/livre/?GCOI=22520100111740&fa=sommaire) 63/3, 2008). Franz, Robert (i. e. Janina, Olga): Souvenirs d'une Cosaque, Deuxime dition, Paris 1874. Gllerich, August: Musikerbiographien, Achter Band, Liszt, Zweiter Theil, Reclam, Leipzig, without date (188788). Gibbs, Christopher H. and Gooley, Dana. Franz Liszt and his World. (Princeton : Princeton University Press, 2006.) Hamburger, Klara (ed.): Franz Liszt, Beitrge von ungarischen Autoren, Budapest 1978. ed. Hamilton, Kenneth, The Cambridge Companion to Liszt (Cambridge and New York: Cambridge University Press, 2005). ISBN 0-521-64462-3 (paperback).

Shulstad, Reeves, "Liszt's symphonic poems and symphonies" Jerger, Wilhelm (ed.): The Piano Master Classes of Franz Liszt 18841886, Diary Notes of August Gllerich, translated by Richard Louis Zimdars, Indiana University Press 1996. ed. Latham, Alison, The Oxford Companion to Music (Oxford and New York: Oxford University Press, 2002). ISBN 0-19-866212-2 Spencer, Piers, "Symphonic poem [tone-poem]" Legny, Dezs: Franz Liszt, Unbekannte Presse und Briefe aus Wien 18221886, Wien 1984.

Franz Liszt Legny, Dezs: Ferenc Liszt and His Country, 18691873, Occidental Press, Budapest 1983. Legny, Dezs: Ferenc Liszt and His Country, 18741886, Occidental Press, Budapest 1992. Liszt, Franz: Briefwechsel mit seiner Mutter, edited and annotated by Klara Hamburger, Eisenstadt 2000. Liszt, Franz and d'Agoult, Marie: Correspondence, ed. Daniel Ollivier, Tome I: 18331840, Paris 1933, Tome II: 18401864, Paris 1934. Loya, Shaye, Liszt's Transcultural Modernism and the Hungarian-Gypsy Tradition, University of Rochester Press, Rochester, NY 2011. ISBN 9781580463232. Motta, Cesare Simeone: Liszt Viaggiatore Europeo, Moncalieri, 2000 (ISBN 8877600586) Nohl, Ludwig: Musikerbiographien, Vierter Band, Liszt, Erster Theil, Reclam, Leipzig, without date (188182). Ollivier, Daniel: Autour de Mme d'Agoult et de Liszt, Paris 1941. Prahcs, Margit (ed.): Franz Liszt, Briefe aus ungarischen Sammlungen, 18351886, Budapest 1966. Prahcs, Margit: Franz Liszt und die Budapester Musikakademie, in: Hamburger (ed.): Franz Liszt, Beitrge von ungarischen Autoren, pp.49ff. Raabe, Peter: Liszts Schaffen, Cotta, Stuttgart und Berlin 1931. Ramann, Lina: Lisztiana, Erinnerungen an Franz Liszt in Tagebuchblttern, Briefen und Dokumenten aus den Jahren 18731886/87, ed. Arthur Seidl, text revision by Friedrich Schnapp, Mainz 1983. Rellstab, Ludwig: Franz Liszt, Berlin 1842.

156

Rosen, Charles. The Romantic Generation. Cambridge, Mass., Harvard University Press, 1995. ed Sadie, Stanley, The New Grove Dictionary of Music and Musicians, First Edition (London: Macmillian, 1980). ISBN 0-333-23111-2 MacDonald, Hugh, "Symphonic poem," "Transformation, thematic" Searle, Humphrey, "Liszt, Franz" Temperley, Nicholas, "Symphony: II. 19th century" Saffle, Michael: Liszt in Germany, 18401845, Franz Liszt Studies Series No.2, Pendragon Press, Stuyvesant, NY, 1994. Sauer, Emil: Meine Welt, Stuttgart 1901. Steinbeck, Arne: Franz Liszt's approach to piano playing, PhD dissertation, University of Maryland, College Park 1971. Stradal, August: Erinnerungen an Franz Liszt, Bern, Leipzig 1929. Walker, Alan: Franz Liszt, The Virtuoso Years (18111847), revised edition, Cornell University Press 1987. Walker, Alan: Franz Liszt, The Final Years (18611886), Cornell University Press 1997. Walker, Alan: Article Liszt, Franz, in: Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians, Second Edition, London 2001). Walker, Alan et al. " Liszt, Franz." (http://www.oxfordmusiconline.com/subscriber/article/grove/music/ 48265pg28) Grove Music Online. Oxford Music Online. November 20, 2009. (subscription required) Watson, Derek: Liszt, Schirmer Books, 1989, ISBN 0-02-872705-3

External links
Franz Liszt (http://www.dmoz.org/Arts/Music/Composition/Composers/L/Liszt,_Franz_Joseph/) at the Open Directory Project Free scores by Franz Liszt at the International Music Score Library Project Free scores (http://icking-music-archive.org/ByComposer/Liszt.php) by Franz Liszt in the Werner Icking Music Archive (WIMA) Free scores by Franz Liszt in the Choral Public Domain Library (ChoralWiki) Works by Franz Liszt (http://www.gutenberg.org/author/Franz+Liszt) at Project Gutenberg Works by or about Franz Liszt (http://worldcat.org/identities/lccn-n79-79048) in libraries (WorldCat catalog)

Franz Liszt The Mutopia Project has compositions by Franz Liszt (http://www.mutopiaproject.org/cgibin/make-table. cgi?Composer=LisztF) Printable scores by Franz Liszt (http://www.load.cd/sheetmusic/294_franz_liszt/) Lina Ramann's classical Liszt biography (http://www.zeno.org//Musik/M/Ramann,+Lina/Franz+Liszt) (in German) at Zeno.org (http://www.Zeno.org) The Students of Liszt on Record and Reproducing Piano Roll (http://home.earthlink.net/~marnest/discliszt. html) by Mark Arnest Franz Liszt (http://www.youtube.com/watch?v=PVni1vngD-c), written and directed by James a. Fitzpatrick; fictional 11-minute 1925 film short about Franz Liszt; Liszt's music performed by Nathaniel Shilkret's Orchestra. Complete recordings of Studies, Annes de Pelerinage, Valses oublies on klassik-resampled (http://klassik. s-fahl.de/index.php?option=com_content&view=section&id=10&Itemid=62&lang=en)

157

Eduard Marxsen
Eduard Marxsen (23 July 1806 18 November 1887) was a German pianist, composer and teacher. He was a pupil of Ignaz von Seyfried, Simon Sechter, Johann Heinrich Clasing, and Karl Maria von Bocklet. He wrote about 70 works, including an orchestral work named Beethovens Schatten, which was performed a number of times. His most famous student was Johannes Brahms, who dedicated his Piano Concerto No. 2 in B flat, Op. 83 to Marxsen.

Eduard Marxsen.

Robert Schumann

158

Robert Schumann
Robert Schumann,[1] sometimes known as Robert Alexander Schumann,[2] (8June 1810 29July 1856) was a German composer, aesthete and influential music critic. He is regarded as one of the greatest and most representative composers of the Romantic era. Schumann left the study of law to return to music, intending to pursue a career as a virtuoso pianist. He had been assured by his teacher Friedrich Wieck that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing. Schumann's published compositions were written exclusively for the piano until 1840; he later composed works for piano and orchestra; many Lieder (songs for voice and piano); four symphonies; an opera; and other orchestral, choral, and chamber works. His writings about music appeared mostly in the Neue Zeitschrift fr Musik (New Journal for Music), a Leipzig-based publication which he jointly founded. In 1840, Schumann married pianist Clara Wieck, daughter of his former teacher, when she legally came of age at 21. They no longer needed her father's consent, which had been the subject of a long and acrimonious legal battle. Clara also composed music and had a considerable concert career. For the last two years of his life, after an attempted suicide, Schumann was confined to a mental institution, at his own request.
Robert Schumann in an 1850 daguerreotype

Biography

Bust of Robert Schumann in the museum of Zwickau

Music room of Schumann

Robert Schumann

159 Schumann was born in Zwickau, Saxony, the fifth and last child of the family.[3] Schumann began to compose before the age of seven, but his boyhood was spent in the cultivation of literature as much as music undoubtedly influenced by his father, August Schumann, a bookseller, publisher, and novelist.[4]

Schumann began receiving general musical and piano instruction at the age of seven from Baccalaureus Kuntzsch, a teacher at the Zwickau high school. The boy immediately developed a love of music and worked at creating musical compositions himself, without the aid of House where Robert Schumann was born in 1810 Kuntzsch. Even though he often disregarded the principles of musical composition, he created works regarded as admirable for his age. The Universal Journal of Music 1850 supplement included a biographical sketch of Schumann that noted, "It has been related that Schumann, as a child, possessed rare taste and talent for portraying feelings and characteristic traits in melody,ay, he could sketch the different dispositions of his intimate friends by certain figures and passages on the piano so exactly and comically that every one burst into loud laughter at the similitude of the portrait." (W.J. von Wasielewski 1719) At age 14, Schumann wrote an essay on the aesthetics of music and also contributed to a volume, edited by his father, titled Portraits of Famous Men. While still at school in Zwickau, he read the works of the German poet-philosophers Friedrich Schiller and Johann Wolfgang von Goethe, as well as Byron and the Greek tragedians. His most powerful and permanent literary inspiration was Jean Paul, a German writer whose influence is seen in Schumann's youthful novels Juniusabende, completed in 1826, and Selene. Schumann's interest in music was sparked by seeing a performance of Ignaz Moscheles playing at Karlsbad, and he later developed an interest in the works of Ludwig van Beethoven, Franz Schubert and Felix Mendelssohn. His father, who had encouraged the boy's musical aspirations, died in 1826 when Schumann was 16. Neither his mother nor his guardian thereafter encouraged a career in music. In 1828 Schumann left school, and after a tour during which he met Heinrich Heine in Munich, he went to Leipzig to study law. In 1829 his law studies continued in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. (See also: Corps)

183034
During Eastertide 1830 he heard the Italian violinist, violist, guitarist, and composer Niccol Paganini play in Frankfurt. In July he wrote to his mother, "My whole life has been a struggle between Poetry and Prose, or call it Music and Law." By Christmas he was back in Leipzig, at age 20 taking piano lessons from his old master Frederich Wieck, who assured him that he would be a successful concert pianist after a few years' study with him. During his studies with Wieck, Schumann permanently injured his right hand. One suggested cause of this injury is that he damaged his finger by the use of a mechanical device designed to strengthen the weakest fingers, a device which held back one finger while he exercised the others. Another suggestion is that the injury was a side-effect of syphilis medication. A more dramatic suggestion is that in an attempt to increase the independence of his fourth finger, he may have undergone a surgical procedure to separate the tendons of the fourth finger from those of the third. The cause of the injury is not known, but Schumann abandoned ideas of a concert career and devoted himself instead to composition. To this end he began a study of music theory under Heinrich Dorn, a German composer six years his senior and, at that time, conductor of the Leipzig opera. About this time Schumann considered composing an opera on the subject of Hamlet.

Robert Schumann Papillons The fusion of literary ideas with musical ones known as Program Music may be said to have first taken shape in Papillons, Op. 2 (Butterflies), a musical portrayal of events in Jean Paul's novel Die Flegeljahre. In a letter from Leipzig dated April 1832, Schumann bids his brothers "read the last scene in Jean Paul's Flegeljahre as soon as possible, because the Papillons are intended as a musical representation of that masquerade." This inspiration is foreshadowed to some extent in his first written criticism, an 1831 essay on Frdric Chopin's variations on a theme from Mozart's Don Giovanni, published in the Allgemeine musikalische Zeitung. Here Chopin's work is discussed by imaginary characters created by Schumann himself: Florestan (the embodiment of Schumann's passionate, voluble side) and Eusebius (his dreamy, introspective side) the counterparts of Vult and Walt in Flegeljahre. A third, Meister Raro, is called upon for his opinion. Raro may represent either the composer himself, Wieck's daughter Clara, or the combination of the two (Clara + Robert). In the winter of 1832, Schumann, 22 at the time, visited relatives in Zwickau and Schneeberg, where he performed the first movement of his Symphony in G minor (without opus number, known as the "Zwickauer"). In Zwickau, the music was performed at a concert given by Clara Wieck, who was then just 13 years old. On this occasion Clara played bravura Variations by Henri Herz, a composer whom Schumann was already deriding as a philistine.[5] Schumann's mother said to Clara, "You must marry my Robert one day."[6] Although the Symphony in G minor was not published by Schumann during his lifetime, it has been played and recorded in recent times. The 1833 deaths of Schumann's brother Julius and his sister-in-law Rosalie in a worldwide cholera epidemic brought on a severe depressive episode. The composer made his first apparent attempt at suicide.
A youthful Robert Schumann

160

Die neue Zeitschrift fr Musik

By spring 1834, Schumann had sufficiently recovered to inaugurate Die Neue Zeitschrift fr Musik (New Journal for Music), first published on 3 April 1834. Schumann published most of his critical writings in the Journal, and often lambasted the popular taste for flashy technical displays from figures whom Schumann perceived as inferior composers. Schumann campaigned to revive interest in major composers of the past, including Mozart, Beethoven and Weber, while he also promoted the work of some contemporary composers, including Chopin (about whom Schumann famously wrote, "Hats off, Gentlemen! A genius!")[7] and Hector Berlioz, whom he praised for creating music of substance. On the other hand, Schumann disparaged the school of Franz Liszt and Richard Wagner. Among Schumann's associates at this time were composers Norbert Burgmller and Ludwig Schuncke (to whom Schumann's Toccata in C is dedicated). Schumann's editorial duties during the summer of 1834 were interrupted by his relations with 16-year-old Ernestine von Fricken the adopted daughter of a rich Bohemian-born noble to whom he became engaged. Schumann broke off that engagement due to his growing attraction to 15-year-old Clara Wieck. They made mutual declarations of love in December in Zwickau, where Clara appeared in concert. Having learned in August 1835 that Ernestine von Fricken was born illegitimate, which meant that she would have no dowry, and fearful that her limited means would force him to earn his living like a "day-labourer", Schumann made a complete break with her toward the end of the year. His budding romance with Clara was soon brought to an end when her father learned of their trysts during the Christmas holidays; he summarily forbade them further meetings and ordered all correspondence between them burnt.

Robert Schumann Carnaval Carnaval, Op. 9 (1834) is one of Schumann's most characteristic piano works. Schumann begins nearly every section of Carnaval with a musical cryptogram, the musical notes signified in German by the letters that spell Asch (A, E-flat, C, and B, or alternatively A-flat, C, and B; in German these are A, Es, C and H, and As C and H respectively), the Bohemian town in which Ernestine was born, and the notes are also the musical letters in Schumann's own name. Schumann named sections for both Ernestine ("Estrella") and Clara ("Chiarina"). Eusebius and Florestan, the imaginary figures appearing so often in his critical writings, also appear, alongside brilliant imitations of Chopin and Paganini. The work comes to a close with a march of the Davidsbndler the league of King David's men against the Philistines in which may be heard the clear accents of truth in contest with the Robert Schumann, lithograph by Josef Kriehuber, dull clamour of falsehood embodied in a quotation from the in 1839. seventeenth century Grandfather's Dance. The march, a step nearly always in duple meter, is here in 3/4 time (triple meter). The work ends in joy and a degree of mock-triumph. In Carnaval, Schumann went further than in Papillons, by conceiving the story as well as the musical representation (and also displaying a maturation of compositional resource).

161

183539
On 3 October 1835, Schumann met Felix Mendelssohn at Wieck's house in Leipzig, and his enthusiastic appreciation of that artist was shown with the same generous freedom that distinguished his acknowledgement of Chopin's greatness and most of his other colleagues, and which later prompted him to publicly pronounce the then-unknown Johannes Brahms a genius. Despite the opposition of Clara's father, she and Robert continued a clandestine relationship which matured into a full-blown romance. In 1837, he asked her father's consent to their marriage, but was refused. Wieck ridiculed his daughter's wish to "throw herself away on a penniless composer." In the series of piano pieces Fantasiestcke, Op. 12, Schumann expresses the fusion of literary and musical ideas as embodied conceptions in such pieces as "Warum" and "In der Nacht". After he had written the latter of these two, he detected in the music the fanciful suggestion of a series of episodes from the myth of Hero and Leander. The collection begins, in "Des Abends", with a notable example of Schumann's predilection for rhythmic ambiguity, as unrelieved syncopation plays heavily against the time signature, (leading to a feeling of 3/8 in a movement marked 2/8) somewhat analogous to that of the first movement of Faschingsschwank aus Wien. After a fable and the appropriately titled "Dream's Confusion" the collection ends on an introspective note in the

Clara Wieck in 1838

manner of Eusebius. In 1837 Schumann published his Symphonic Studies, a complex set of tude-like variations written in 18341835, which demanded a finished piano technique. These variations were based on a theme by the adoptive father of Ernestine von Fricken. The work described as "one of the peaks of the piano literature, lofty in conception and faultless in workmanship" [Hutcheson] was dedicated to the young English composer William Sterndale Bennett for whom Schumann had had a high regard when they worked together in Leipzig.

Robert Schumann The Davidsbndlertnze, Op.6, (also published in 1837 despite the low opus number) literally "Dances of the League of David", is an embodiment of the struggle between enlightened Romanticism and musical philistinism. Schumann credited the two sides of his character with the composition of the work (the more passionate numbers are signed F. (Florestan) and the more dreamy signed E. (Eusebius)). The work begins with the 'motto of C.W.' (Clara Wieck) denoting her support for the ideals of the Davidsbund The Bund was a work of Schumann's imagination, members of which were kindred spirits (as he saw them) such as Chopin, Paganini and Clara, as well as the personalized Florestan and Eusebius. Kinderszenen, Op. 15, completed in 1838 and a favourite of Schumann's piano works, depicts the innocence and playfulness of childhood. The "Trumerei", No. 7 of the set, is one of the most famous piano pieces ever written, which has been performed in myriad forms and transcriptions. It has been the favourite encore of several great pianists, including Vladimir Horowitz. Melodic and deceptively simple, the piece has been described as "complex" in its harmonic structure.[8] Kreisleriana (1838), considered one of Schumann's greatest works, carried his fantasy and emotional range deeper. Johannes Kreisler was the fictional poet created by poet E. T. A. Hoffmann, and characterized as a "romantic brought into contact with reality". Schumann used the figure to express emotional states in music that is "fantastic and mad." According to Hutcheson ("The Literature of the Piano"), this work is "among the finest efforts of Schumann's genius. He never surpassed the searching beauty of the slow movements (Nos. 2, 4, 6) or the urgent passion of others (Nos. 1, 3, 5, 7)...To appreciate it a high level of aesthetic intelligence is required...This is no facile music, there is severity alike in its beauty and its passion." The Fantasie in C, Op. 17, composed in the summer of 1836, is a work of passion and deep pathos, imbued with the spirit of the late Beethoven. Schumann intended to use proceeds from sales of the work toward the construction of a monument to Beethoven (who had died in 1827). The closing of the first movement of the Fantasie contains a musical quote from Beethoven's song cycle, An die ferne Geliebte, Op. 98 (at the Adagio coda, taken from the last song of the cycle). The original titles of the movements were to be "Ruins", "Triumphal Arch" and "The Starry Crown". According to Liszt,[9] who played the work for Schumann, and to whom it was dedicated, the Fantasie was apt to be played too heavily, and should have a dreamier (trumerisch) character than vigorous German pianists tended to impart. Liszt also said, "It is a noble work, worthy of Beethoven, whose career, by the way, it is supposed to represent."[10] Again according to Hutcheson: "No words can describe the Phantasie, no quotations set forth the majesty of its genius. It must suffice to say that it is Schumann's greatest work in large form for piano solo." After a visit to Vienna during which he discovered Franz Schubert's previously unknown Symphony No. 9 in C, in 1839 Schumann wrote the Faschingsschwank aus Wien (Carnival Prank from Vienna). Most of the joke is in the central section of the first movement, in which a thinly veiled reference is made to the "Marseillaise" (the song had been banned in Vienna due to harsh memories of Napoleon's invasion). The festive mood does not preclude moments of melancholic introspection in the Intermezzo. After a long and acrimonious legal battle with her father, Schumann married Clara Wieck on 12 September 1840, at Schnefeld. They finally resolved the battle by waiting until she was of legal age and no longer subject to her father's consent for marriage.

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Robert Schumann

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184049
In the years 18321839, Schumann had written almost exclusively for the piano, but in 1840 alone he wrote 168 songs. Indeed 1840 (referred to as the Liederjahr or year of song) is highly significant in Schumann's musical legacy despite his earlier deriding of works for piano and voice as inferior. Prior to the legal case and subsequent marriage, the lovers exchanged love letters and rendezvoused in secret. Robert would often wait in a cafe for hours in a nearby city just to see Clara for a few minutes after one of her concerts. The strain of this long courtship (they finally married in 1840), and of its consummation, led to this great outpouring of Lieder (vocal songs with piano accompaniment). This is evident in "Widmung", for example, where he uses the melody from Schubert's "Ave Maria" in the postludein homage to Clara. Schumann's biographers have attributed the sweetness, the doubt and the despair of these songs to the varying emotions aroused by his love for Clara and the uncertainties of their future together. Robert and Clara had eight children, Emil (who died in infancy in 1847); Marie (18411929); Elise (18431928); Julie (18451872); Ludwig (18481899); Ferdinand (18491891); Eugenie (18511938); and Felix (18541879). His chief song-cycles of this period were his settings of the Liederkreis of Joseph von Eichendorff, Op. 39 (depicting a series of moods relating to or inspired by nature); the Frauenliebe und -leben of Chamisso, Op. 42 (relating the tale of a woman's marriage, childbirth and widowhood); the Dichterliebe of Heine, Op. 48 (depicting a lover rejected, but coming to terms with his painful loss through renunciation and forgiveness); and Myrthen, a collection of songs, including poems by Goethe, Rckert, Heine, Byron, Burns and Moore. The songs Belsatzar, Op. 57 and Die beiden Grenadiere, Op. 49, both to Heine's words, show Schumann at his best as a ballad writer, although the dramatic ballad is less congenial to him than the introspective lyric. The Opp. 35, 40 and 98a sets (words by Justinus Kerner, Chamisso and Goethe respectively), although less well known, also contain songs of lyric and dramatic quality. Franz Grillparzer said, "He has made himself a new ideal world in which he moves almost as he wills." Despite his achievements, Schumann received few tokens of honour; he was awarded a doctoral degree by the University of Jena in 1840, and in 1843 a professorship in the Conservatory of Music, which Felix Mendelssohn had founded in Leipzig that same year. On one occasion, accompanying his wife on a concert tour in Russia, Schumann was asked whether 'he too was a musician'. He was to remain sensitive to his wife's greater international acclaim as a pianist. In 1841 he wrote two of his four symphonies, No. 1 in B flat, Op. 38, "Spring" and No. 4 in D minor, (first published in one movement, but later revised extensively and published as Op. 120 a work that is a pioneering essay in 'cyclic form'). He devoted 1842 to composing chamber music, including the Piano Quintet in E flat, Op. 44, now one of his best known and most admired works; the Piano Quartet and three string quartets. In 1843 he wrote Paradise and the Peri, his first essay at concerted vocal music, an oratorio style work based on Lalla-Rookh by Thomas Moore. After this, his compositions were not confined to any one form during any particular period. The stage in his life when he was deeply engaged in setting Goethe's Faust to music (184453) was a critical one for his health. He spent the first half of 1844 with Clara on tour in Russia. On returning to Germany, he abandoned his editorial work and left Leipzig for Dresden, where he suffered from persistent "nervous prostration". As soon as he began to work, he was seized with fits of shivering and an apprehension of death, experiencing an abhorrence for high places, for all metal instruments (even keys), and for drugs. Schumann's diaries also state that he suffered

Profiles of Clara and Robert Schumann

Robert Schumann perpetually from imagining that he had the note A5 sounding in his ears. His state of unease and neurasthenia is reflected in his Symphony in C, numbered second, but third in order of composition, in which the composer explores states of exhaustion, obsession and depression, culminating in Beethovenian spiritual triumph. Also published in 1845 was his Piano Concerto in A Minor, Op. 54, originally published as a one-movement Fantasy for Piano and Orchestra. It is one of the most popular and oft-recorded of all piano concertos; pace Hutcheson "Schumann achieved a masterly work and we inherited the finest piano concerto since Mozart and Beethoven". In 1846, he felt he had recovered. In the winter, the Schumanns revisited Vienna, traveling to Prague and Berlin in the spring of 1847 and in the summer to Zwickau, where he was received with enthusiasm. This pleased him, since at that time he was famous in only Dresden and Leipzig. His only opera, Genoveva, Op. 81, was written in 1848. In it, Schumann attempted to abolish recitative, which he regarded as an interruption to the musical flow (an influence on Richard Wagner; Schumann's consistently flowing melody can be seen as a forerunner to Wagner's Melos). The subject of Genovevabased on Ludwig Tieck and Christian Friedrich Hebbelwas not an ideal choice. The text is often considered to lack dramatic qualities; the work has not remained in the repertoire. As early as 1842 the possibilities of German opera had been keenly realized by Schumann, who wrote, "Do you know my prayer as an artist, night and morning? It is called 'German Opera.' Here is a real field for enterprise . . . something simple, profound, German." And in his notebook of suggestions for the text of operas are found amongst others: Nibelungen, Lohengrin and Till Eulenspiegel. The music to Byron's Manfred was written in 1849, the overture of which is one of Schumann's most frequently performed orchestral works. The insurrection of Dresden caused Schumann to move to Kreischa, a little village a few miles outside the city. In August 1849, on the occasion of the hundredth anniversary of Goethe's birth, such scenes of Schumann's Faust as were already completed were performed in Dresden, Leipzig and Weimar. Liszt gave him assistance and encouragement. The rest of the work was written later in 1849, and the overture (which Schumann described as "one of the sturdiest of [his] creations") in 1853.

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After 1850
From 1850 to 1854, Schumann composed in a wide variety of genres. Critics have disputed the quality of his work at this time; a widely held view has been that his music showed signs of mental breakdown and creative decay. More recently, critics have suggested that the changes in style may be explained by "lucid experimentation".[11] In 1850, Schumann succeeded Ferdinand Hiller as musical director at Dsseldorf, but he was a poor conductor and quickly aroused the opposition of the musicians. According to Schonberg (The Great Conductors) "The great composer was impossible on the platform...There is something heartrending about poor Schumann's epochal inefficiency as a conductor." His contract was eventually terminated. From 1851 to 1853 he visited Switzerland, Belgium and Leipzig. In 1851 he completed his Symphony No. 3, "Rhenish" (a work containing five movements and whose 4th movement is apparently intended to represent an episcopal coronation ceremony). He revised what would be published as his fourth symphony.

Grave of Robert and Clara Schumann at Bonn

On 30 September 1853, the 20-year-old composer Johannes Brahms knocked unannounced on the door of the Schumanns carrying a letter of introduction from

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violinist Joseph Joachim. (Schumann was not at home, and would not meet Brahms until the next day). Brahms amazed Clara and Robert with his music, stayed with them for several weeks, and became a close family friend. (He later worked closely with Clara to popularize Schumann's compositions during her long widowhood.) During this time Schumann, Brahms and Schumann's pupil Albert Dietrich collaborated on the composition of the F-A-E Sonata for Joachim; Schumann also published an article, "Neue Bahnen" ("New Paths") in the Neue Zeitschrift (his first article in many years), hailing the unknown young Brahms from Hamburg, a man who had published nothing, as "the Chosen One" who "was destined to give ideal expression to the times."[12] It was an extraordinary way to present Brahms to the musical world, setting up great expectations which he did not fulfill for many years.[13] In January 1854, Schumann went to Hanover, where he heard a performance of his Paradise and the Peri organized by Joachim and Brahms. Two years later at Schumann's request, the work received its first English performance conducted by William Sterndale Bennett.

Robert Schumann monument at his birthplace Zwickau, Germany

Schumann returned to Dsseldorf and began to edit his complete works and make an anthology on the subject of music. He suffered a renewal of the symptoms that had threatened him earlier. Besides the single note (possibly evidence of tinnitus), he imagined that voices sounded in his ear and he heard angelic music. One night he suddenly left his bed, having dreamt or imagined that a ghost (purportedly the spirit of either Schubert or Mendelssohn) had dictated a "spirit theme" to him. The theme was one he had used several times before: in his Second String Quartet, again in his Lieder-Album fr die Jugend, and finally in the slow movement of his Violin Concerto. In the days leading up to his suicide attempt, Schumann wrote five variations on this theme for the piano, his last published work.[14] Brahms published it in a supplementary volume to the complete edition of Schumann's piano music. In 1861 Brahms published his Variations for Piano Four Hands, Op. 23, based on this theme. In late February 1854, Schumann's symptoms increased, the angelic visions sometimes being replaced by demonic visions. He warned Clara that he feared he might do her harm. On 27 February 1854, he attempted suicide by throwing himself from a bridge into the Rhine River. Rescued by boatmen and taken home, he asked to be taken to an asylum for the insane. He entered Dr. Franz Richarz's sanatorium in Endenich, a quarter of Bonn, and remained there until his death on 29 July 1856. Given his reported symptoms, one modern view is that his death was a result of syphilis, which he may have contracted during his student days, and which would have remained latent during most of his marriage.[15] According to studies by the musicologist and literary scholar Eric Sams, Schumann's symptoms during his terminal illness and death appear consistent with those of mercury poisoning, mercury being a common treatment for syphilis and other conditions. Another possibility is that his neurological problems were the result of an intracranial mass. A report by Janisch and Nauhaus on Schumann's autopsy indicates that he had a "gelatinous" tumor at the base of the brain; it may have represented a colloid cyst, a craniopharyngioma, a chordoma, or a chordoid meningioma.[16] In particular, meningiomas are known to produce musical auditory hallucinations, such as Schumann reported.[17] Still other sources surmise that Schumann had bipolar disorder, citing his mood swings and changes in productivity.[18]
[19] [20]

From the time of her husband's death, Clara devoted herself to the performance and interpretation of her husband's works. In 1856, she first visited England, but the critics received Schumann's music coolly. Critics such as Henry Fothergill Chorley were particularly harsh in their disapproval. She returned to London in 1865 and made regular appearances there in later years. She became the authoritative editor of her husband's works for Breitkopf & Hrtel. It was rumoured that she and Brahms destroyed many of Schumann's later works, which they thought to be tainted by his madness. However, only the Five Pieces for Cello and Piano are known to have been destroyed. Most of

Robert Schumann Schumann's late works, particularly the Violin Concerto, the Fantasy for Violin and Orchestra and the Third Violin Sonata, all from 1853, have entered the repertoire.

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Legacy
Schumann had considerable influence in the nineteenth century and beyond, despite his adoption of more conservative modes of composition after his marriage. He left an array of acclaimed music in virtually all the forms then known. Partly through his protg Brahms, Schumann's ideals and musical vocabulary became widely disseminated. Composer Sir Edward Elgar called Schumann "my ideal." Schumann has not often been confused with Austrian composer Franz Schubert, but one well-known example occurred in 1956, when East Germany issued a pair of postage stamps featuring Schumann's picture against an open score that featured Schubert's music. The stamps were soon replaced by a pair featuring music written by Schumann.

Robert Schumann Birth House in Zwickau in 2005

Compositions
List of compositions by Robert Schumann Category:Compositions by Robert Schumann

Fictional portrayals
Song of Love was a 1947 film starring Paul Henreid as Schumann, Katharine Hepburn as Clara Wieck, Robert Walker as Johannes Brahms and Henry Daniell as Franz Liszt. Peter Schamoni's 1983 movie Frhlingssinfonie (Spring Symphony) tells the story of Robert and Clara's romance, against her father's opposition. Robert was played by Herbert Grnemeyer, Clara by Nastassja Kinski, and Clara's father by Rolf Hoppe. The role of Niccol Paganini was played by the violinist Gidon Kremer. The score was written by Grnemeyer and conducted by Wolfgang Sawallisch. The Andrew Crumey novel Mobius Dick has a chapter depicting Schumann at Endenich.

The Schumann/Schubert error stamps: Schubert's music is on the top stamp, and Schumann's on the bottom

Notes
[1] Daverio, Grove online. According to Daverio, there is no evidence of a middle name "Alexander" which is given in some sources. [2] Scholes, page 932. [3] Ostwald, page 11

1960 Soviet stamp marking the 150th anniversary of Schumann's birth.

[4] Robert Schumann (1982). Konrad Wolff. ed. On Music and Musicians. University of California Press. ISBN9780520046856. [5] Robert Schumann, musical Journal [6] Berthold Litzmann 1910

Robert Schumann
[7] Vladimir Ashkenazy's notes, Favourite Chopin [8] Alban Berg, replying to charges that modern music was overly complex, pointed out that Kinderszenen is constructed on a complex base. [9] Strelezki: Personal Recollections of Chats with Liszt [10] Anton Strelezki: Personal Recollections of Chats with Liszt. London, 1893. [11] Daverio, Grove online, 19 [12] Robert Schumann's "Artikel Neue Bahnen", 28 October 1853 [13] Brahms' A German Requiem, published in 1868, brought the first widespread recognition of his talent. [14] From All Music Guide, available at http:/ / www. answers. com/ topic/ variations-on-an-original-theme-for-piano-in-e-flat-major-geister-variationen-woo-24 [15] Reich, Nancy B., Clara Schumann: The Artist and the Woman, Cornell University Press, 1985, p. 151. [16] Jnisch W, Nauhaus G. "Autopsy report of the corpse of the composer Robert Schumann: publication and interpretation of a rediscovered document", Zentralbl Allg Pathol 1986; 132:129136. [17] Scott M. "Musical hallucinations from meningioma", JAMA 1979; 241:1683. [18] Evan Fairmont (7 July 2010). "Music and madness at Vail Symposium" (http:/ / www. vaildaily. com/ article/ 20100707/ AE/ 100709807/ 1078& ParentProfile=1062). . Retrieved 9 July 2010. [19] Marin Alsop (21 June 2008). "Robert Schumann: Music amid the Madness" (http:/ / www. npr. org/ templates/ story/ story. php?storyId=91707206). . Retrieved 9 July 2010. [20] Miranda Sawyer (8 February 2009). "Bipolar music and how to get the mood swinging on Today: Robert Winston's Musical Analysis, R4" (http:/ / www. guardian. co. uk/ culture/ 2009/ feb/ 08/ radio-4-winston-webb). The Observer. UK. . Retrieved 9 July 2010.

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References
Daverio, J, "Robert Schumann," Grove music online, L Macy (ed), accessed 24 June 2007 (subscription access) (http://www.grovemusic.com) Ostwald, Peter, Schumann The inner voices of a musical genius, Northeastern University Press, Boston, 1985 ISBN 1-55553-014-1. Scholes, Percy A, The Oxford Companion to Music, Tenth Edition, Oxford University Press, Oxford, 1970 ISBN 0-19-311306-61. Fuller-Maitland, John Alexander. (1884). Schumann. S. Low, Marston, Searle & Rivington (reissued by Cambridge University Press, 2009; ISBN 978-1-108-00481-7) Ostwald, Peter (1985). Schumann, The Inner Voices of a Musical Genius. Northeastern University Press. ISBN1-55553-014-1. Perrey, Beate (ed.) (2007). The Cambridge Companion to Schumann. Cambridge University Press. ISBN0521789508. Rice-See, Lynn (2008). The Piano Teaching of Walter Hautzig with 613 Examples from the Works of Beethoven, Schubert, Schumann, and Chopin, Edwin Mellen Press. ISBN 0773449817 Tunbridge, Laura (2007). Schumann's Late Style. Cambridge University Press. ISBN13: 9780521871686. Worthen, John (2007). Robert Schumann: Life and Death of a Musician. Yale University Press. ISBN0300111606.. The author argues that the composer was mentally normal all his life, until the sudden onset of insanity near the end resulting from tertiary syphilis.

External links
Life and works
(http://www.guitarpress.com/Schumann.html) More on Robert Schumann and his life Robert Schumann The World's Greatest Composer (http://robertschumann.es) A personal appreciation Complete list of works (http://www.classical.net/music/composer/works/schumann) Musical Rules at Home and in Life (http://www.everything2.com/index.pl?node_id=1368793) Text by Robert Schumann

Works by or about Robert Schumann (http://worldcat.org/identities/lccn-n50-565) in libraries (WorldCat catalog)

Robert Schumann German Label Troubadisc with SACD release and Biography of Robert Schumann (http://www.troubadisc.de/ templates/tyBA_standard.php?topic=Komponisten_Robert_Schumann) Schumann-Portal (http://www.robert-schumann.eu/redirect.html) Schsische Akademie der Wissenschaften zu Leipzig (http://www.saw-leipzig.de/forschung/projekte/ edition-der-briefe-robert-und-clara-schumanns-mit-freunden-und-kuenstlerkollegen.html): edition of all letters written by Robert and Clara Schumann The Lied and Art Song Texts Page Created and mantained from Emily Ezust (http://www.recmusic.org/ lieder/s/schumann.html) Texts of Schumann's Lieder with translations in various languages The city of Robert Schumann (http://www.schumannzwickau.de/en/default.asp) Listings of live performances at Bachtrack (http://www.bachtrack.com/find-a-concert/What/ composer=98-Schumann) Robert and Clara Schumann and their teacher, Johann Sebastian Bach (http://www.schillerinstitut.dk/drupal/ schumann)

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Sheet music
Printable Schumann's piano score in PDF (http://www.load.cd/sheetmusic/282_robert_schumann/) Free scores by Robert Schumann at the International Music Score Library Project Free scores by Robert Schumann in the Choral Public Domain Library (ChoralWiki) Schumann's Scores (http://www.mutopiaproject.org/cgibin/make-table.cgi?Composer=SchumannR& preview=1) by Mutopia Project Works by Robert Schumann (http://www.gutenberg.org/author/Robert+Schumann) at Project Gutenberg Free scores (http://icking-music-archive.org/ByComposer/Schumann.php) by Robert Schumann in the Werner Icking Music Archive (WIMA)

Recordings and MIDI

Schumann cylinder recordings (http://cylinders.library.ucsb.edu/search.php?query=schumann,+robert& queryType=@attr+1=1), from the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara Library. Recording of Kinderszenen (Scenes from Childhood) (http://innig.net/music/betts-innervoice/) Works for organ or pedal piano by Schumann played on a virtual organ (http://www.phantorg.net/schumann. htm) Selected Lieder (MIDI) (http://www.impresario.ch/karaoke/index.php?query=Schumann) Kunst der Fuge Robert Schumann MIDI files (http://www.kunstderfuge.com/schumann.htm) Herbert von Karajan / Vienna Philharmonic rehearse the 4th Symphony (http://www.youtube.com/ watch?v=Shc-4AZVaNk&feature=related) Yaroslav Senyshyn Live Performance of Robert Schumann (http://www.amazon.com/dp/B003ANGXRI): Papillons Op. 2

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Clara Schumann
Clara Schumann (ne Clara Josephine Wieck; 13 September 1819 20 May 1896) was a German musician and composer, considered one of the most distinguished pianists of the Romantic era. She exerted her influence over a 61-year concert career, changing the format and repertoire of the piano recital and the tastes of the listening public. Her husband was the composer Robert Schumann. She and her husband encouraged Johannes Brahms, and she was the first pianist to give public performances of some of Brahms' works, notably the Variations and Fugue on a Theme by Handel.

Sketch of Clara Wieck Schumann

Early life
Clara Josephine Wieck was born in Leipzig on 13 September 1819 to Friedrich and Marianne Wieck (ne Tromlitz).[1] Her parents divorced when she was four years old; Clara was raised by her father.[1] In March 1828, at the age of eight, the young Clara Wieck performed at the Leipzig home of Dr. Ernst Carus, director of a mental hospital at Colditz Castle, and met another gifted young pianist invited to the musical evening named Robert Schumann, nine years older than her. Schumann admired Clara's playing so much that he asked permission from his mother to discontinue his studies of the law, which had never interested him much, and take music lessons with Clara's father, Friedrich Wieck. While taking lessons, he took rooms in the Wieck household, staying about a year. In 1830, at the age of eleven, Clara left on a concert tour to Paris via other European cities, accompanied by her father. She gave her first solo concert at the Wombats. Leipzig Gewandhaus. In Weimar, she performed a bravura piece by Henri Herz for Goethe, who presented her with a medal with his portrait and a written note saying, "For the gifted artist Clara Wieck." During that tour, Niccol Paganini was in Paris, and he offered to appear with her.[2] However, her Paris recital was poorly attended as many people had fled the city due to an outbreak of cholera.[2]
Clara Wieck, from an 1835 lithograph

The appearance of this artist can be regarded as epoch-making.... In her creative hands, the most ordinary passage, the most routine motive acquires a significant meaning, a color, which only those with the most consummate artistry can give. An anonymous music critic, writing of Clara Wieck's 18371838 Vienna recitals
[3]

Clara Schumann At the age of 18, Clara Wieck performed a series of recitals in Vienna from December 1837 to April 1838.[3] Austria's leading dramatic poet, Franz Grillparzer, wrote a poem entitled "Clara Wieck and Beethoven" after hearing Wieck perform the Appassionata Sonata during one of these recitals.[3] Wieck performed to sell-out crowds and laudatory critical reviews; Benedict Randhartinger, a friend of Franz Schubert, gave Wieck an autograph copy of Schubert's Erlknig, inscribing it "To the celebrated artist, Clara Wieck."[3] Frdric Chopin described her playing to Franz Liszt, who came to hear one of Wieck's concerts and subsequently "praised her extravagantly in a letter that was published in the Parisian Revue et Gazette Musicale and later, in translation, in the Leipzig journal Neue Zeitschrift fr Musik."[4] On 15 March, Wieck was named a Knigliche und Kaiserliche Kammervirtuosin ("Royal and Imperial Chamber Virtuoso"), Austria's highest musical honor.[4] In her early years her repertoire, selected by her father, was showy and popular, in the style common to the time, with works by Kalkbrenner, Henselt, Thalberg, Herz, Pixis, Czerny, and her own compositions. As she matured, however, becoming more established and planning her own programs, she began to play works by the new Romantic composers, such as Chopin, Mendelssohn and, of course, Robert Schumann, as well as the great, less showy, more "difficult" composers of the past, such as Scarlatti, Bach, Mozart, Beethoven, and Schubert. She also frequently appeared in chamber music recitals of works by Haydn, Mozart, Beethoven, Mendelssohn, Schumann, and Brahms.[2]

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Marriage
Robert Schumann had been attracted to Clara since she was fifteen. By the time she was seventeen, Schumann was in love with her. The next year (1837), Schumann asked her father Friedrich for Clara's hand in marriage, but he refused. During the next year (Clara's nineteenth), Friedrich did everything he ever could to prevent her from marrying Schumann, forcing the lovers to take him to court. During this period Schumann, inspired by his love for Wieck, wrote many of his most famous lieder. They eventually married on September 12, 1840. She continued to perform and compose after the marriage even as she raised seven children, an eighth child having died in infancy. In the various tours on which she accompanied her husband, she extended her own reputation beyond Germany, and her efforts to promote his works gradually made his work accepted throughout Europe. In 1853, Johannes Brahms, aged twenty, met Clara and Robert in Dsseldorf and immediately impressed both of them with his talent.[5] Brahms became a lifelong friend to Clara, sustaining her through the illness of Robert, asking for her advice about new compositions, even caring for her young children while she went on tour. They remained good friends up until Clara's death; however, there is no historic evidence that their relationship was ever more than just friendship. Clara Schumann had eight children:[6] Marie (1841-1929), Elise (1843-1928), Julie (1845-1872), Emil (1846-1847), Ludwig (1848-1899), Ferdinand (1849-1891), Eugenie (1851-1938) and Felix (1854-1879).

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Later career
Clara Schumann's reputation brought her into contact with the leading musicians of the day, including Mendelssohn, Chopin, and Liszt. She also met violinist Joseph Joachim who became one of her frequent performance partners. Clara Schumann often took charge of the finances and general household affairs due to Robert's mental instability. Part of her responsibility included making money, which she did by giving concerts, although she continued to play throughout her life not only for the income, but because she was a concert artist by training and by nature. Robert, while admiring her talent, wanted a traditional wife to bear children and make a happy home, which in his eyes and the eyes of society were in direct conflict with the life of a performer. Furthermore, while she loved touring, Robert hated it. After Robert's death (July 29, 1856), Clara devoted herself principally to the interpretation of his works. But when she first visited England in 1856 largely through the good offices of William Sterndale Bennett, the English composer and friend of her late husband, the critics received Robert's music with a chorus of disapproval. She returned to London in 1865 and continued her visits annually, with the exception of four seasons, until 1882. She also appeared there each year from 1885 to 1888.

Clara Schumann, "One of the most soulful and famous pianists of the day," said Edvard Grieg.

She played a particular role in restoring Brahms's D minor concerto to the general repertory; it had fallen out of favour after its premiere, and was only rehabilitated in the 1870s, thanks mainly to the efforts of Clara Schumann and Brahms himself.[2] She was initially interested in the works of Liszt, but later developed an outright hostility to him. She ceased to play any of his works; she suppressed her husband's dedication to Liszt of his Fantasie in C major when she published Schumann's complete works; and she refused to attend a Beethoven centenary festival in Vienna in 1870 when she heard that Liszt and Richard Wagner would be participating.[2] She was particularly scathing of Wagner. Of Tannhuser, she said that he "wears himself out in atrocities"; she described Lohengrin as "horrible"; and she wrote that Tristan und Isolde was "the most repugnant thing I have ever seen or heard in all my life".[2] In 1878 she was appointed teacher of the piano at the Hoch Conservatory in Frankfurt am Main, a post she held until 1892, and in which she contributed greatly to the improvement of modern piano playing technique. She held Anton Bruckner, whose 7th Symphony she heard in 1885, in very low esteem. She wrote to Brahms, describing it as "a horrible piece". But she was more impressed with Richard Strauss's early Symphony in F minor in 1887.[2] Clara Schumann played her last public concert in Frankfurt on March 12, 1891. The last work she played was Brahms's Variations on a Theme by Haydn, in the piano-duet version. She suffered a stroke on March 26, 1896, dying on May 20, at age 76. She is buried at Bonn's Alter Friedhof (Old Cemetery) with her husband. She was portrayed onscreen by Katharine Hepburn in the 1947 film Song of Love, in which Paul Henreid played Robert Schumann and Robert Walker starred as a young Johannes Brahms.

Clara Schumann

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Legacy
Although for many years after her death Clara Schumann was not widely recognized as a composer, as a pianist she made an impression which lasts until today. She was one of the first pianists to perform from memory, making that the standard for concertizing. Trained by her father to play by ear and to memorize, she gave public performances from memory as early as age thirteen, a fact noted as something exceptional by her reviewers.[7] She was also instrumental in changing the kind of programs expected of concert pianists. In her early career, before her marriage to Robert, she played what was then customary, mainly bravura pieces designed to showcase the artist's technique, often in the form of arrangements or variations on popular themes from operas, written by virtuosos such as Thalberg, Herz, or Henselt. And, as it was also customary to play one's own compositions, she included at least one of her own works in every program, works such as her Variations on a Theme by Bellini (Op. 8) and her popular Scherzo (Op. 10). However, after settling into married life, probably under the influence of Robert, her performances focused almost exclusively on more serious music by Bach, Beethoven, Mozart, Schubert, Mendelssohn, Chopin, and Schumann.[8] Clara Schumann's influence has reached us as well through her teaching, which emphasized a singing tone and expression, with technique entirely subordinated to the intentions of the composer. One of her students, Mathilde Verne, carried her teaching to England where she taught, among others, Solomon; while another of her students, Carl Friedberg, carried the tradition to the Juilliard School in America, where his students included Malcolm Frager and Bruce Hungerford.[9] And, of course, Clara was instrumental in getting the works of Robert Schumann recognized, appreciated and added to the repertoire. She promoted him tirelessly, beginning when his music was unknown or disliked, when the only other important figure in music to play Schumann occasionally was Liszt, and continuing until the end of her long career.

Character
Clara Schumann was the main breadwinner for her family through giving concerts and teaching, and she did most of the work of organizing her own concert tours. She refused to accept charity when a group of musicians offered to put on a benefit concert for her. In addition to raising her own large family, when one of her children became incapacitated, she took on responsibility for raising her grandchildren. During the May Uprising in Dresden in 1849, she famously walked into the city through the front lines, defying a pack of armed men who confronted her, rescued her children, then walked back out of the city through the dangerous areas again. Her family life was punctuated by tragedy. Four of her eight children and her husband predeceased her, and her husband and one of her sons ended their lives in insane asylums. Her first son Emil died in 1847, aged only one. Her husband Robert had a mental collapse, attempted suicide in 1854, and was committed to an insane asylum for the last two years of his life. In 1872 her daughter Julie died, leaving two small children. In 1879, her son Felix, aged 25, died. Her son Ludwig suffered from mental illness, like his father, and, in her words, had to be "buried alive" in an institution. Her son Ferdinand died at the age of 43 and she was required to raise his children. She herself became deaf in later life and she often needed a wheelchair.[2] Clara's portrait was also used on a front of a 100DM bill.

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173

Music of Clara Schumann

As part of the broad musical education given her by her father, Clara Wieck learned to compose, and from childhood to middle age she produced a good body of work. At age fourteen she wrote her piano concerto, with some help from Robert Schumann, and performed it at age sixteen at the Leipzig Gewandhaus with Mendelssohn conducting. As she grew older, however, she lost confidence in herself as a composer, writing, "I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose there has never yet been one able to do it. Should I expect to be the one?" In fact, Wieck-Schumann composed nothing after the age of thirty-six. Today her compositions are increasingly performed and recorded. Her works include songs, piano pieces, a piano concerto, a piano trio, choral pieces, and three Romances for violin and piano. Inspired by her husband's birthday, the three Romances were composed in 1853 and dedicated to Joseph Joachim, who performed them for George V of Hanover. He declared them a "marvellous, heavenly pleasure." Wieck-Schumann was the authoritative editor of her husband's works for the publishing firm of Breitkopf & Hrtel.

Quotations
"Clara has composed a series of small pieces, which show a musical and tender ingenuity such as she has never attained before. But to have children, and a husband who is always living in the realm of imagination, does not go together with composing. She cannot work at it regularly, and I am often disturbed to think how many profound ideas are lost because she cannot work them out." Robert Schumann in the joint diary of Robert and Clara Schumann. "Composing gives me great pleasure...there is nothing that surpasses the joy of creation, if only because through it one wins hours of self-forgetfulness, when one lives in a world of sound." Clara Schumann.

Works
Clara Schumann's published works are listed below by date of publication. Twenty-five additional unpublished or lost works may be found in Reich, Nancy B., Clara Schumann, The Artist and The Woman, appendix. 1831 Quatre Polonaises pour le pianoforte, Op. 1. 1832 9 Caprices en forme de valse pour le piano, Op. 2. Dedicated to Madame Henriette Foerster, ne Weicke. 1833 Romance varie pour le piano, Op. 3 (C major). Dedicated to Monsieur Robert Schumann. 1834 Walzer fr Gesang und Klavier. Song with text by Johann Peter Lyser. Published in collection Lyser's Liedersammlung. 1835 Valses romantiques pour le piano, Op. 4. Dedicated to Madame Emma Eggers ne Garlichs. The Valses were orchestrated but none of the instrumental parts survive. 1835 Quatre pieces caractristiques, Op. 5 (1. Le Sabbat; 2. Caprice la Bolro; 3. Romance: 4. Ballet des Revenants). Dedicated to Mademoiselle Sophie Kaskel. 1836 6 Soires musicales, Op. 6 (1. Toccatina in A minor; 2. Nocturne in F Major; 3. Mazurka in G minor; 4. Ballade in D minor; 5. Mazurka in G major; 6. Polonaise in A minor). Dedicated to Madame Henriette Voigt. 1836 Piano Concerto in A minor, Op. 7: Premier concert pour le piano-forte avec accompagnement d'orchestre (ou de quintour). (1 Allegro maestoso; 2 Romanze. Andante non troppo con grazia; 3 Finale. Allegro non troppo; allegro molto). Dedicated to Monsieur Louis Spohr. A draft exists of the last movement, orchestrated by Robert Schumann and in Schumann's hand.

1837 Variations de concert pour le pianoforte, sur la Cavatine du Pirate, de Bellini, Op. 8. Dedicated to Monsieur Adolph Henselt. 1838 Impromptu in G major. Souvenir de Vienne.

Clara Schumann 1839 Scherzo No. 1 in D minor, Op. 10. 1840 Trois Romances pour le pianoforte, Op. 11 (1. E-flat minor, Andante; 2. G minor. Andante; 3. A major, Moderato). Dedicated to Monsieur Robert Schumann. 1841 Am Strande. Song with text by Robert Burns. Published in Neue Zeitung fr Musik, July 1841. 1841 3 songs: Zwlf Gedichte aus F. Rckert's Liebesfrling fr Gesang und pianoforte von Robert und Clara Schumann, Op. 12: 2. Er ist gekommen in Sturm und Regen; 4. Liebst du um Schnheit; 11. Warum willst du andre Fragen? (these were published as part of Robert Schumann's Gedichte aus Liebesfrhling, Op. 37) 1841 Die gute Nacht, die ich dir sage. 1842 Piano Sonata in G minor (1. Allegro; 2. Adagio con espressione e ben legato; 3. Scherzo; Trio; 4 Rondo). 1843 6 songs: Sechs lieder mit begleitung des pianoforte, Op. 13: 1. Ihr Bildnis. Ich stand in dunklen Trumen; 2. Sie liebten sich beide; 3. Liebeszauber; 4. Der Mond kommt still gegangen; 5. Ich habin deinem Auge; 6. Die stille Lotusblume. Dedicated to Queen Caroline Amalie of Denmark. 1843 O weh des Scheidens, das er tat. 1844 Impromptu in E major (published in Album du gaulois, 1885). 1845 Scherzo No. 2 in C minor, Op. 14: Deuxime scherzo pour le pianoforte, Op. 14. Dedicated to Madame Tutein ne Siboni. 1845 Quatre pices fugitives, Op. 15 (1. F major, Larghetto; 2. A minor, In poco agitato; 3. D major, Andante espressivo; 4. G major, Scherzo). Dedicated to Marie Wieck. Scherzo originally composed for unpublished Sonatine. 1845 3 Preludes and Fugues: III Praeludien und fugen fr das pianoforte, Op. 16: (1. B flat major; 2. B flat major; 3. D minor). 1847 Piano Trio in G minor: Trio fur pianoforte, violine und violoncello, Op. 17: (1. Allegro moderato; 2. Scherzo. Tempo di menuetto; 3. Andante; 4. Allegretto). Some emendations on autograph seem to be by Robert Schumann. 1848 Mein Stern ("O du mein Stern"). Song with text by Friederike Serre. 1854 Variations on a Theme of Robert Schumann: Variationen fr das pianoforte ber ein thema von Robert Schumann, Op. 20. Dedicated to Robert Schumann. 1855 Drei romanzen fr pianoforte, Op. 21. Dedicated to Johannes Brahms. 1855 Drei romanzen fr pianoforte und violine, Op. 22. Dedicated to Joseph Joachim. 1855 Sechs lieder aus jucunde von Hermann Rollet, Op. 23 (1. Was weinst du, Blmein?; 2. An einem lichten Morgen; 3. Geheimes Flstern; 4. Auf einem grnem Hgel; 5. Das ist ein tag; 6. O lust, O lust. Dedicated to Livia Frege. 1885 Impromptu. Published in Album du Galois. 1870 Cadenzas (2) for Beethoven Piano Concerto in G Major, op. 58. 1870 Cadenzas for Beethoven Piano Concerto in C Minor, op. 37. 1891 Cadenzas (2) for Mozart Piano Concerto in D Minor (K. 466). 1977 Romanze fr Clavier. Published in Clara Schumann, Romantische Klaviermusik, vol. 2.

174

Clara Schumann

175

Notes
[1] [2] [3] [4] [5] [6] [7] [8] [9] Hall. Joseph Braunstein, Liner notes for Michael Ponti's recording of Clara Schumann's Piano Concerto No. 1 in A minor, Op. 7 Reich (1986), 249. Reich (1986), 250. magazine-deutschland (http:/ / www. magazine-deutschland. de/ fr/ artikel-fr/ article/ article/ musik-zeitreise. html) Karen Allihn, "Musique au fil du temps" Reich, Clara Schumann, pp. 158-174. Reich, Nancy B., Clara Schumann, The Artist and The Woman. Revised edition. Ithaca, New York: Cornell University Press, 2001, pp. 271-2. ISBN 0801486378. Litzmann, Berthold, Clara Schumann: An Artist's Life Based on Material Found in Diaries and Letters, Vol. I, Litzmann Press, 2007, p.316, ISBN 1406759066, ISBN 978-1406759068. Reich, Nancy B., Clara Schumann, The Artist and The Woman. Revised edition. Ithaca, New York: Cornell University Press, 2001, pp. 254. ISBN 0801486378.

References
Bogousslavsky, J. and M. G. Hennerici, Bzner, H., Bassetti, C., Neurological disorders in famous artists, Part 3, Karger Publishers, 2010, pp. 101-118. Boyd, Melinda. "Gendered Voices: The 'Liebesfrling' Lieder of Robert and Clara Schumann." 19th-Century Music 23 (Autumn 1999): 145162. Gould, John. "What Did They Play? The Changing Repertoire of the Piano Recital from the Beginnings to 1980." The Musical Times 146 (Winter 2005): 6176. Hall, George. "Schumann, Clara (Josephine)." The Oxford Companion to Music [n.d.]. Accessed through Grove Music Online on 30 June 2009. Kopiez, Reinhard, Andreas C. Lehmann and Janina Klassen. "Clara Schumann's collection of playbills: A historiometric analysis of life-span development, mobility, and repertoire canonization." Poetics, Volume 37, Issue 1, February 2009: 5073. Litzmann, Berthold. Clara Schumann: An Artist's Life. New York: Da Capo Press, 1979. ISBN 0306795825. Burstein, L. Poundie. "Their Paths, Her Ways: Comparison of Text Settings by Clara Schumann and Other Composers." Women and Music A Journal of Gender and Culture 6 (2002): 11ff. Accessed through the International Index to Music Periodicals on 29 June 2009. Rattalino, Piero. Schumann. Robert & Clara. Varese: Zecchini Editore, 2002. ISBN 8887203148. Reich, Nancy B. "Clara Schumann." In Women Making Music: The Western Art Tradition, 11501950. Urbana and Chicago: University of Illinois Press, 1986. ISBN 025201246. Reich, Nancy B. Clara Schumann, The Artist and The Woman. Revised edition. Ithaca, New York: Cornell University Press, 2001. ISBN 0801486378. Reich, Susanna. Clara Schumann: Piano Virtuoso. 1999. Reprint. New York: Houghton Mifflin Harcourt, 2005. ISBN 0618551603.

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External links
Kreusch-sheet-music.net (http://kreusch-sheet-music.net/eng/?page=show&query=Clara Schumann& order=op) - Free Scores by Clara Schumann Free scores by Clara Schumann at the International Music Score Library Project Complete works of Clara Schumann-Wieck (http://members.chello.nl/c.vandervloed/Clara.htm). Goldenwattle.net (http://www.goldenwattle.net) - Play about Clara Schumann Clara Schumann: Impromptu op.9 "Soire de Vienne" (http://klassik.s-fahl.de/index. php?option=com_content&view=article&id=212:clara-schumann-impromptu&catid=15:19th-century& Itemid=39&lang=de) March in Es dur, for piano duet, Clara Schumann's last work in Youtube.com (http://www.youtube.com/ watch?v=h_nLQmdVsf8) Scherzo Nr.2 Op.14 Youtube.com (http://www.youtube.com/watch?v=wenyvveBvJE)

Richard Wagner
Wilhelm Richard Wagner ( /vnr/; German pronunciation: [iat van]; 22 May 1813 13 February 1883) was a German composer, conductor, theatre director, philosopher, music theorist, poet, essayist and writer primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Perhaps the two most well-known extracts from his works are the Ride of the Valkyries from the opera Die Walkre, and the Wedding March (Bridal Chorus) from the opera Lohengrin. Initially establishing his reputation as a composer of works such as The Flying Dutchman and Tannhuser which were in the romantic traditions of Weber and Meyerbeer, Wagner transformed operatic thought through his concept of the Gesamtkunstwerk ("total work of art"). This would achieve the synthesis of all the poetic, visual, musical and dramatic arts, and was announced in a series of essays between 1849 and 1852. Wagner realised this concept most fully in the first half of the monumental four-opera cycle Der Ring des Nibelungen. However, his thoughts on the relative importance of music and drama were to change again and he reintroduced some traditional operatic forms into his last few stage works including Die Meistersinger von Nrnberg.

Richard Wagner in 1871

Wagner pioneered advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, which greatly influenced the development of European classical music. His Tristan und Isolde is sometimes

Richard Wagner described as marking the start of modern music. Wagner's influence spread beyond music into philosophy, literature, the visual arts and theatre. He had his own opera house built, the Bayreuth Festspielhaus, which contained many novel design features. It was here that the Ring and Parsifal received their premieres and where his most important stage works continue to be performed today in an annual festival run by his descendants. Wagner's views on conducting were also highly influential. His extensive writings on music, drama and politics have all attracted extensive comment in recent decades, especially where they have antisemitic content. Wagner achieved all of this despite a life characterised, until his last decades, by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His pugnacious personality and often outspoken views on music, politics and society made him a controversial figure during his life, which he remains to this day. The impact of his ideas can be traced in many of the arts throughout the twentieth century.

177

Biography
Early years
Richard Wagner was born at No. 3 ('The House of the Red and White Lions'), the Brhl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service,[1] and his wife Johanna Rosine (ne Paetz), the daughter of a baker.[2] Wagner's father died of typhus six months after Richard's birth, following which Wagner's mother began living with the actor and playwright Ludwig Geyer, who had been a friend of Richard's father.[3] In August 1814 Johanna married Geyer, and moved with her family to his residence in Dresden. Until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly suspected that Geyer was his natural father.[4] Geyer's love of the theatre was shared by his stepson, and Wagner took part in his performances. In his autobiography, Wagner recalled once playing the part of an angel.[5] The boy Wagner was also hugely impressed by the Gothic elements of Weber's Der Freischtz. In late 1820, Wagner was enrolled at Pastor Wetzel's school at Possendorf, Wagner's birthplace, Brhl (Leipzig) near Dresden, where he received some piano instruction from his Latin [6] teacher. He could not manage a proper scale but preferred playing theatre overtures by ear. Geyer died in 1821, when Richard was eight. Subsequently, Wagner was sent to the Kreuz Grammar School in Dresden, paid for by Geyer's brother.[7] The young Wagner entertained ambitions as a playwright, his first creative effort (listed as 'WWV 1') being a tragedy, Leubald, begun at school in 1826, which was strongly influenced by Shakespeare and Goethe. Wagner was determined to set it to music; he persuaded his family to allow him music lessons.[8] By 1827, the family had moved back to Leipzig. Wagner's first lessons in harmony were taken in 18281831 with Christian Gottlieb Mller.[9] In January 1828 he first heard Beethoven's 7th Symphony and then, in March, Beethoven's 9th Symphony performed in the Gewandhaus. Beethoven became his inspiration, and Wagner wrote a piano transcription of the 9th Symphony.[10] He was also greatly impressed by a performance of Mozart's Requiem.[11] From this period date Wagner's early piano sonatas and his first attempts at orchestral overtures.[12] In 1829 he saw the dramatic soprano Wilhelmine Schrder-Devrient on stage, and she became his ideal of the fusion of drama and music in opera. In his autobiography, Wagner wrote, "If I look back on my life as a whole, I can find no event that produced so profound an impression upon me." Wagner claimed to have seen Schrder-Devrient in the

Richard Wagner title role of Fidelio; however, it seems more likely that he saw her performance as Romeo in Bellini's I Capuleti e i Montecchi.[13] He enrolled at the University of Leipzig in 1831 where he became a member of the Studentenverbindung Corps Saxonia Leipzig. He also took composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig.[14] Weinlig was so impressed with Wagner's musical ability that he refused any payment for his lessons, and arranged for Wagner's Piano Sonata in B flat (which was consequently dedicated to him) to be published as the composer's Op. 1. A year later, Wagner composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 [15] and at the Leipzig Gewandhaus in 1833.[16] He then began to work on an opera, Die Hochzeit (The Wedding), which he never completed.[17] In 1833, Wagner's older brother Karl Albert managed to obtain Richard a position as choir master in Wrzburg.[18] In the same year, at the age of 20, Wagner composed his first complete opera, Die Feen (The Wilhelmine "Minna" Planer (1835), by Alexander Fairies). This opera, which clearly imitated the style of Carl Maria von von Otterstedt Weber, would go unproduced until half a century later, when it was premiered in Munich shortly after the composer's death in 1883.[19] Meanwhile, Wagner held a brief appointment as musical director at the opera house in Magdeburg[20] during which he wrote Das Liebesverbot (The Ban on Love), based on Shakespeare's Measure for Measure. This was staged at Magdeburg in 1836, but closed before the second performance, leaving the composer (not for the last time) in serious financial difficulties.[21] In 1834 Wagner had fallen for the actress Christine Wilhelmine "Minna" Planer. After the disaster of Das Liebesverbot he followed her to Knigsberg where she helped him to get an engagement at the theatre.[22] The two married in Knigsberg on 24 November 1836.[23] In June 1837 Wagner moved to the city of Riga, then in the Russian Empire, where he became music director of the local opera.[24] Minna had recently left Wagner for another man[25] but Richard took her back;[26] this was but the first dbcle of a troubled marriage that would end in misery three decades later. By 1839, the couple had amassed such large debts that they fled Riga to escape from creditors;[27] debt would plague Wagner for most of his life.[28] During their flight, they and their Newfoundland dog, Robber, took a stormy sea passage to London,[29] from which Wagner drew the inspiration for The Flying Dutchman (with a story based on a sketch by Heinrich Heine).[30] The Wagners spent 1839 to 1842 in Paris, where Richard made a scant living writing articles and arranging operas by other composers, largely on behalf of the Schlesinger publishing house. However, he also completed his third and fourth operas Rienzi and The Flying Dutchman during this stay.[31] His relief on leaving Paris for Dresden was recorded in his "Autobiographic Sketch" of 1842 "For the first time I saw the Rhine with hot tears in my eyes, I, poor artist, swore eternal fidelity to my German fatherland." [32]

178

Dresden
Wagner had completed writing Rienzi in 1840. Largely through the strong support of Giacomo Meyerbeer,[33] it was accepted for performance by the Dresden Court Theatre (Hofoper) in the German state of Saxony. In 1842, Wagner moved to Dresden, where Rienzi was staged to considerable acclaim on 20 October.[34] Wagner lived in Dresden for the next six years, eventually being appointed the Royal Saxon Court Conductor.[35] During this period, he staged there The Flying Dutchman (2 January 1843)[36] and Tannhuser (19 October 1845),[37] the first two of his three middle-period operas. Wagner also mixed with artistic circles in Dresden, including the composer Ferdinand Hiller and the architect Gottfried Semper.[38]

Richard Wagner The Wagners' stay at Dresden was brought to an end by Richard's involvement in leftist politics. A nationalist movement was gaining force in the states of the German Confederation, calling for constitutional freedoms and the unification of Germany as one nation state. Richard Wagner played an enthusiastic role in the socialist wing of this movement, regularly receiving guests who included the radical editor August Rckel, and the Russian anarchist Mikhail Bakunin. He was also influenced by the ideas of Pierre-Joseph Proudhon.[39] Widespread discontent in Dresden came to a head in April 1849, when King Frederick Augustus II of Saxony rejected a new constitution. The May Uprising broke out, in which Wagner played a minor supporting role. The incipient revolution was quickly crushed by an allied force of Saxon and Prussian troops, and warrants were issued for the arrest of the revolutionaries. Wagner had to flee, first visiting Paris and then settling in Zurich.[40]

179

Exile, Schopenhauer and Mathilde Wesendonck

Wagner spent the next twelve years in exile. He had completed Lohengrin, the last of his middle-period operas before the Dresden uprising, and now wrote desperately to his friend Franz Liszt to have it staged in his absence. Liszt, who proved to be a true friend, eventually conducted the premiere in Weimar in August 1850.[41] Nevertheless, Wagner found himself in grim personal straits, isolated from the German musical world and without any income to speak of. Before leaving Dresden, he had drafted a scenario that would eventually become the four opera cycle Der Ring des Nibelungen. He initially wrote the libretto for a single opera, Siegfrieds Tod (Siegfried's Death) in 1848. After arriving in Zurich he expanded the story to include an opera Der junge Siegfried (Young Siegfried) exploring the hero's background. He completed the text of the cycle by writing the libretti for Die Walkre and Das Rheingold and revising the other libretti to agree with his new concept, completing them in 1852.[42] Meanwhile, his wife Minna, who had disliked the operas he had written after Rienzi, was falling into a deepening depression and then Wagner himself fell victim to ill-health, according to Ernest Newman "largely a matter of overwrought nerves", which made it difficult for him to continue writing.[43]

Portrait of Mathilde Wesendonck (1850) by Karl Ferdinand Sohn

Wagner's primary published output during his first years in Zurich was a set of notable essays: "The Art-Work of the Future" (1849), in which he described a vision of opera as Gesamtkunstwerk, or "total work of art", in which the various arts such as music, song, dance, poetry, visual arts, and stagecraft were unified; "Judaism in Music" (1850), a tract directed against Jewish composers; and "Opera and Drama" (1851), which described the aesthetics of drama which he was using to create the Ring operas. Wagner began composing Das Rheingold in November 1853, following it immediately with Die Walkre in 1854. He then began work on the third opera, now called Siegfried, in 1856 but finished only the first two acts before deciding to put the work aside to concentrate on a new idea: Tristan und Isolde.[44] Wagner had two independent sources of inspiration for Tristan und Isolde. The first came to him in 1854, when his poet friend Georg Herwegh introduced him to the works of the philosopher Arthur Schopenhauer. Wagner would later call this the most important event of his life.[45] His personal circumstances certainly made him an easy convert to what he understood to be Schopenhauer's philosophy, a deeply pessimistic view of the human condition. He would remain an adherent of Schopenhauer for the rest of his life, even after his fortunes improved.[46]

Richard Wagner

180 One of Schopenhauer's doctrines was that music held a supreme role amongst the arts. He claimed that music is the direct expression of the world's essence, which is blind, impulsive will.[47] Wagner quickly embraced this claim, which must have resonated strongly despite its contradiction of his previous view, expressed in "Opera and Drama", that the music in opera had to be subservient to the drama. Wagner scholars have since argued that this Schopenhauerian influence caused Wagner to assign a more commanding role to music in his later operas, including the latter half of the Ring cycle, which he had yet to compose.[48] Many aspects of Schopenhauerian doctrine undoubtedly found their way into Wagner's subsequent libretti. For example, the self-renouncing cobbler-poet Hans Sachs in Die Meistersinger von Nrnberg, generally considered Wagner's most sympathetic character, although based loosely on a historical person, is a quintessentially Schopenhauerian creation.[49]

Wagner's second source of inspiration was the poet-writer Mathilde Wesendonck, the wife of the silk merchant Otto Wesendonck. Wagner met the Wesendoncks in Zurich in 1852. Otto, a fan of Wagner's music, placed a cottage on his estate at Wagner's disposal.[50] During the course of the next five years, the composer was eventually to become infatuated with his patron's wife. Though Mathilde seems to have returned some of his affections, she had no intention of jeopardizing her marriage. Nevertheless, the affair inspired Wagner to put aside his work on the Ring cycle (which would not be resumed for the next twelve years) and began work on Tristan,[51] based on the Arthurian love story Tristan and Iseult. While planning the opera, Wagner composed the Wesendonck Lieder, five songs for voice and piano setting poems by Mathilde. Two of these settings are explicitly subtitled by Wagner as 'studies for Tristan und Isolde '.[52]
Photograph of Cosima Wagner, 1877

The uneasy affair collapsed in 1858, when Minna intercepted a letter from Wagner to Mathilde.[53] However, Wagner continued his correspondence with Mathilde and his friendship with (and support by) her husband Otto. After the resulting confrontation, Wagner left Zurich alone, bound for Venice, where he sojourned in the Palazzo Giustinian.[54] The following year, he once again moved to Paris to oversee production of a new revision of Tannhuser, staged thanks to the efforts of Princess Pauline von Metternich. The premiere of the Paris Tannhuser in 1861 was an utter fiasco, due to disturbances caused by members of the Jockey Club. Further performances were cancelled, and Wagner hurriedly left the city.[55] The political ban which had been placed on Wagner in Germany after he had fled Dresden was lifted in 1861. The composer settled in Biebrich in Prussia,[56] where he began work on Die Meistersinger von Nrnberg, the idea for which had come during a visit he had made to Venice with the Wesendoncks.[57] Despite the failure of Tannhuser in Paris, the possibility that Der Ring des Nibelungen would never be finished, and Wagner's unhappy personal life at the time of writing it, this opera is his only mature comedy. Between 1861 and 1864 Wagner tried to have Tristan und Isolde produced in Vienna.[58] Despite numerous rehearsals, the opera remained unperformed, and gained a reputation as being "impossible", which further added to Wagner's financial woes.[59] In 1862, Wagner finally parted from Minna,[60] though he (or at least his creditors) continued to support her financially until her death in 1866. He claimed to be unable to travel to her funeral due to an "inflamed finger".[61]

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Patronage of King Ludwig II

Wagner's fortunes took a dramatic upturn in 1864, when King Ludwig II succeeded to the throne of Bavaria at the age of 18. The young king, an ardent admirer of Wagner's operas since childhood, had the composer brought to Munich.[62] He settled Wagner's considerable debts,[63] and proposed to stage Tristan, Die Meistersinger, the Ring, and the other operas Wagner planned.[64] Wagner also began to dictate his autobiography, Mein Leben, at the King's request.[65] To Wagner, it seemed significant that his rescue by Ludwig coincided with his learning the news of the death of his supposed enemy Giacomo Meyerbeer, noting ungratefully that "this operatic master, who had done me so much harm, should not have lived to see this day".[66] After grave difficulties in rehearsal, Tristan und Isolde premiered at the National Theatre in Munich on 10 June 1865, the first Wagner premiere in almost 15 years. (The premiere had been scheduled for 15 May, but had been delayed by bailiffs acting for Wagner's creditors;[67] and also because the Isolde, Malvina Schnorr von Carolsfeld, was hoarse and needed time to recover). The conductor of this premiere was Hans von Blow, whose wife Cosima had given birth in April that year to a daughter, named Isolde, the child not of von Blow but of Wagner.[68]

Portrait of Ludwig II of Bavaria about the time when he first met Wagner, by Ferdinand von Piloty, 1865

Cosima was 24 years younger than Wagner and was herself illegitimate, the daughter of the Countess Marie d'Agoult, who had left her husband for Franz Liszt.[69] Liszt disapproved of his daughter seeing Wagner, though the two men were friends.[70] The indiscreet affair scandalized Munich, and to make matters worse, Wagner fell into disfavour among members of the court, who were suspicious of his influence on the king. In December 1865, Ludwig was finally forced to ask the composer to leave Munich.[71] He apparently also toyed with the idea of abdicating in order to follow his hero into exile, but Wagner quickly dissuaded him.[72] Ludwig installed Wagner at the Villa Tribschen, beside Switzerland's Lake Lucerne.[73] Die Meistersinger was completed at Tribschen in 1867, and premired in Munich on 21 June the following year.[74] In October, Cosima finally convinced Hans von Blow to grant her a divorce, but this did not materialize until after she had two more children with Wagner; another daughter, named Eva, after the heroine of Meistersinger, and a son Siegfried, named for the hero of the Ring. Minna Wagner had died the previous year and so Richard and Cosima were now able to marry. The wedding took place on 25 August 1870.[75] On Christmas Day of that year, Wagner arranged a surprise performance of the Siegfried Idyll for Cosima's birthday.[76] The marriage to Cosima lasted to the end of Wagner's life.

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Bayreuth
Wagner, settled into his newfound domesticity, turned his energies toward completing the Ring cycle. At Ludwig's insistence, "special previews" of the first two works of the cycle, Das Rheingold and Die Walkre, were performed at Munich in 1869 and 1870,[77] but Wagner wanted the complete cycle to be performed in a new, specially designed opera house. In 1871, he decided on the small town of Bayreuth as the location of his new opera house.[78] The Wagners moved there the following year, and the foundation stone for the Bayreuth Festspielhaus ("Festival Theatre") was laid.[79] In order to raise funds for the construction, Richard Wagner at Bayreuth. Liszt, who was also "Wagner Societies" were formed in several cities,[80] and Wagner his father-in-law, can be seen at the piano. himself began touring Germany conducting concerts.[81] However, sufficient funds were raised only after King Ludwig stepped in with another large grant in 1874.[82] Later that year, the Wagners moved into their permanent home at Bayreuth, a villa that Richard dubbed Wahnfried ("Peace/freedom from delusion/madness", in German).[83] The expenses of Bayreuth and of Wahnfried, however, meant that Wagner still sought other sources of income by conducting or taking on commissions like the Centennial March for America.[84] The Festspielhaus finally opened on 13 August 1876 with Das Rheingold, now taking its place as the first evening of the premiere of the complete Ring cycle,[85] and has continued to be the site of the Bayreuth Festival ever since; the Festival has been overseen since 1973 by the Richard-Wagner-Stiftung (Richard Wagner Foundation), the members of which include a number of Wagner's descendants.[86]

Last years
Following the first Bayreuth Festival, Wagner began work on Parsifal, his final opera. The composition took four years, much of which Wagner spent in Italy for health reasons.[87] During this period he also wrote a series of essays, including some reactionary writings on religion and art which recanted his earlier views. Many of theseincluding "Religion and Art" (1880) and "Hero-dom and Christendom" (1881)[88] appeared in the journal Bayreuther Bltter,[89] founded in 1880 by Wagner and Hans von Wolzogen for Wagnerite visitors to Bayreuth.[90] Wagner completed Parsifal in January 1882, and a second Bayreuth Festival was held for the new opera, which was premiered on 26 May.[91] Wagner was by this time extremely ill, having suffered through a series of increasingly severe angina attacks.[92] During the sixteenth and final performance of Parsifal on 29 August, he secretly entered the pit during Act III, took the baton from conductor Hermann Levi, and led the performance to its conclusion.[93]

Grave of Richard and Cosima Wagner in the garden of the Villa Wahnfried, Bayreuth

After the Festival, the Wagner family journeyed to Venice for the winter. Wagner died of a heart attack at the age of 69 on 13 February 1883 at Ca' Vendramin Calergi, a 16th century palazzo on the Grand Canal.[94] Franz Liszt's two pieces for piano solo entitled La lugubre gondola evoke the passing of a black-shrouded funerary gondola bearing Richard Wagner's remains over the Grand Canal.[95] Wagner was buried in the garden of the Villa Wahnfried in Bayreuth.[96]

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Works
Opera
Wagner's operatic works are his primary artistic legacy. Unlike other opera composers, who generally left the task of writing the libretto Leitmotif associated with the hero of Wagner's opera Siegfried (the text and lyrics) to others, Wagner wrote his own libretti, which he referred to as "poems".[97] Further, Wagner developed a compositional style in which the orchestra's role is equal to that of the singers. The orchestra's dramatic role, in the later operas, includes the use of leitmotivs, musical themes that can be interpreted as announcing specific characters, locales, and plot elements; their complex interweaving and evolution illuminates the progression of the drama.[98] Ultimately he urged a new concept of opera often referred to as "music drama", (although he did not use or sanction this term himself)[99] in which all musical poetic and dramatic elements were to be fused togetherthe Gesamtkunstwerk.[100] Wagner's operas are typically characterized as belonging to three chronological periods. Early stage (to 1842) Wagner's first attempt at an opera, at the age of 17, was Die Laune des Verliebten.[17] This was abandoned at an early stage of composition, as was Die Hochzeit (The Wedding), on which Wagner worked in 1832.[17] Wagner then completed Die Feen (The Fairies, 1833, unperformed in the composer's lifetime)[19] and Das Liebesverbot (The Ban on Love, 1836, taken off after its first performance),[21] before working on the aborted singspiel Mnnerlist grsser als Frauenlist (Men's cunning greater than women's).[17] This was followed by Rienzi (1842), Wagner's first opera to be successfully staged.[101] The compositional style of these early works was conventionalthe relatively more sophisticated Rienzi showing the clear influence of Meyerbeerean Grand Operaand did not exhibit the innovations that would mark Wagner's place in musical history. Later in life, Wagner said that he did not consider these immature works to be part of his oeuvre, and none of them have ever been performed at the Wagnerian Bayreuth Festival.[102] These works have been only rarely revived in the last hundred years, although the overture to Rienzi is an occasional concert piece. Middle stage (1843 51) Wagner's middle stage output begins to show the deepening of his powers as a dramatist and composer. This period began with Der fliegende Hollnder (1843) (The Flying Dutchman), followed by Tannhuser (1845) and Lohengrin (1850). These three operas reinforced the reputation among the public in Germany and beyond that Wagner had begun to establish for himself with Rienzi. However, during his exile following the 1849 May Uprising in Dresden he began to reconsider his entire concept of opera and eventually decided, as explained during a series of essays between 1849 and 1852, that these operas did not represent what he hoped to achieve.[103] In his essay A Communication to My Friends (1851), intended as a preface to the printed libretti of the Dutchman, Tannhuser and Lohengrin, Wagner (to the confusion of many of his friends, since at that time Lohengrin had not even been staged) effectively disowned these operas and declared his intention to strike out in new directions. I shall never write an Opera more. As I have no wish to invent an arbitrary title for my works, I will call them Dramas [...] I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude (Vorspiel). [...] At a specially-appointed Festival, I propose, some future time, to produce those three Dramas with their Prelude, in the course of three days and a fore-evening. The object of this production I shall consider

Richard Wagner thoroughly attained, if I and my artistic comrades, the actual performers, shall within these four evenings succeed in artistically conveying my purpose to the true Emotional (not the Critical) Understanding of spectators who shall have gathered together expressly to learn it. [...][104] Wagner later reconciled himself to the works of this period, though he reworked both Dutchman and Tannhuser on several occasions.[105] The three operas are the earliest works included into the Bayreuth canon, the list of mature operas which Cosima put on at the Bayreuth Festival after Wagner's death in accordance with his wishes.[106] They continue to be regularly performed today and have been frequently recorded. They show increasing mastery in stagecraft, orchestration and atmosphere.[107] Late stage (1851 1882) Starting the Ring Main articles: Der Ring des Nibelungen, Der Ring des Nibelungen: Composition of the music and Der Ring des Nibelungen: Composition of the poem Wagner's late dramas are considered his masterpieces. Der Ring des Nibelungen, commonly referred to as the Ring cycle, is a set of four operas based loosely on figures and elements of Germanic mythologyparticularly from the later Norse mythologynotably the Old Norse Poetic Edda and Volsunga Saga, and the Middle High German Nibelungenlied.[108] They were also influenced by Wagner's concepts of ancient Greek drama, in which tetralogies were a component of Athenian festivals, and which he had amply discussed in his essay "Oper und Drama"[109] The first two components of the Ring cycle were Das Rheingold (The Rhinegold) (completed 1854) and Die Walkre (The Valkyrie) (completed 1856). In Das Rheingold, with its "relentlessly talky "realism" [and] the absence of lyrical "numbers" ",[110] Wagner came very close to the pure musical ideals of his 1849 51 essays. Die Brnnhilde the Valkyrie, as illustrated by Arthur Walkre, with Siegmund's almost full-blown aria (Winterstrme) in the Rackham (1910) first act, and the quasi-choral appearance of the Valkyries themselves, shows more 'operatic' traits, but has been assessed as "the music drama that most satisfactorily embodies the theoretical principles of "Oper und Drama". A thoroughgoing synthesis of poetry and music is achieved without any notable sacrifice in musical expression".[111] Tristan und Isolde and Die Meistersinger While still composing the Ring, (leaving the third Ring opera Siegfried uncompleted for the while), Wagner paused between 1857 and 1864 to compose the tragic love story Tristan und Isolde and his only mature comedy Die Meistersinger von Nrnberg (The Mastersingers of Nuremberg), two works which are also part of the regular operatic canon.[112] Tristan und Isolde uses a story line deriving from the poem Tristan und Isolt by the 13th century poet Gottfried von Strassburg. Wagner noted that "its all-pervading tragedy [] impressed me so deeply that I felt convinced it should stand out in bold relief, regardless of minor details." This impact, together with his discovery of the philosophy of Schopenhauer in October 1854, led Wagner to find himself in a "serious mood created by Schopenhauer, which was trying to find ecstatic expression. It was some such mood that inspired the conception of a Tristan und Isolde."[113] Wagner half-parodied the powerful erotic atmosphere of the opera in a letter to Mathilde Wesendonck:

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Richard Wagner Child! This Tristan is turning into something terrible. This final act!!! I fear the opera will be banned [] only mediocre performances can save me! Perfectly good ones will be bound to drive people mad.[114] The work was first performed in Munich on 10 June 1865, conducted by Hans von Blow. Tristan is often granted a special place in musical history. It has been described as "fifty years ahead of its time" because of its chromaticism, long-held discords, unusual orchestral colouring and harmony, and use of polyphony.[115] Wagner himself felt that his musico-dramatical theories were most perfectly realised in this work with its use of "the art of transition" between dramatic elements and the balance achieved between vocal and orchestral lines.[115] Die Meistersinger was originally conceived by Wagner in 1845 as a sort of comic pendant to Tannhuser.[116] It was first performed in Munich, again under the baton of Blow, on 21 June 1868, its accessibility making it an immediate success. It is "a rich, perceptive music drama widely admired for its warm humanity";[117] but because of its strong German nationalist overtones, it is also held up by some as an example of Wagner's reactionary politics and antisemitism.[118] Completing the Ring When Wagner returned, with the added experience of composing Tristan and Die Meistersinger, to write the music for the last act of Siegfried and for Gtterdmmerung (Twilight of the Gods), as the final part of the Ring was eventually called, his style had changed once again to one more recognisable as 'operatic' (though thoroughly stamped with his own originality as a composer, and suffused with leitmotivs) than the aural world of Rheingold and Walkre.[119] This was in part because the libretti of the four 'Ring' operas had been written in reverse order, so that the book for Gtterdmmerung was conceived more 'traditionally' than that of Rheingold;[120] still, the self-imposed strictures of the Gesamtkunstwerk had become relaxed. As George Bernard Shaw sardonically (and slightly unfairly)[121] noted, And now, O Nibelungen Spectator, pluck up; for all allegories come to an end somewhere[...] The rest of what you are going to see is opera, and nothing but opera. Before many bars have been played, Siegfried and the wakened Brynhild, newly become tenor and soprano, will sing a concerted cadenza; plunge on from that to a magnificent love duet[...]The work which follows, entitled Night Falls On The Gods [Shaw's translation of Gtterdmmerung], is a thorough grand opera.[122] However, the differences are also because of Wagner's development as a composer during the period in which he composed Tristan, Meistersinger and also the Paris version of Tannhuser.[123] From Act III of Siegfried onwards, the Ring becomes chromatic, and both harmonically more complex and more developmental in its treatment of leitmotifs.[124] Having taken 26 years from the first draft of a libretto in 1848 until the completion of Gtterdmmerung in 1874, the Ring represents in all about 15 hours of performance, the only undertaking of such size to be regularly represented on the world's stages.[125] Parsifal Wagner's final opera, Parsifal (1882), which was his only work written especially for his Festspielhaus in Bayreuth and which is described in the score as a "Bhnenweihfestspiel" (festival play for the consecration of the stage), has a storyline suggested by elements of the legend of the Holy Grail. It also however carries elements of Buddhist renunciation suggested by Wagner's readings of Schopenhauer.[126] Wagner described it to Cosima as his "last card".[127] The composer's treatment of Christianity in the opera, its eroticism, and its supposed relationship to ideas of German nationalism (and of antisemitism) have continued to render it controversial for non-musical reasons.[128] However, musically it has been held to represent a continuing development of the composer's style, with "a diaphanous score of unearthly beauty and refinement".[129]

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Non-operatic music
Apart from his operas, Wagner composed relatively few pieces of music. These include a single symphony (written at the age of 19), a Faust Overture (the only completed part of an intended symphony on the subject), and some overtures, choral and piano pieces.[130] His most commonly performed work not drawn from an opera is the Siegfried Idyll, a piece for chamber orchestra written for the birthday of his second wife, Cosima. The Idyll draws on several motifs from the Ring cycle, though it is not part of the Ring.[131] Also performed are the Wesendonck Lieder for voice and piano, properly known as Five Songs for a Female Voice, which were composed for Mathilde Wesendonck while Wagner was working on Tristan.[52] An oddity is the American Centennial March of 1876, commissioned by the city of Philadelphia (on the recommendation of conductor Theodore Thomas, who was subsequently very disappointed with the work when it arrived) for the opening of the Centennial Exposition, for which Wagner was paid $5,000.[132]
Andr Gill suggesting that Wagner's music was The rarely performed Das Liebesmahl der Apostel (The Love Feast of ear-splitting. Cover of L'Eclipse 18 April 1869 the Apostles) is a piece for male choruses and orchestra, composed in 1843. Wagner, who had been elected at the beginning of the year to the committee of a cultural association in the city of Dresden, received a commission to evoke the theme of Pentecost. The premiere took place at the Dresdner Frauenkirche on 6 July 1843, and was performed by around a hundred musicians and almost 1,200 singers. The concert was very well received.[133]

After completing Parsifal, Wagner expressed an intention to turn to the writing of symphonies. However, no sketches for such works have survived, if indeed they were undertaken.[134] The overtures and orchestral passages from Wagner's middle and late-stage operas are commonly played as concert pieces. For most of these, Wagner wrote short passages to conclude the excerpt so that it does not end abruptly. Another familiar extract is the "Bridal Chorus" from Lohengrin, frequently played as the bride's processional wedding march in English-speaking countries.[135]

Writings
Wagner was an extremely prolific writer, authoring hundreds of books, poems, and articles, as well as voluminous correspondence, throughout his life. His writings covered a wide range of topics, including politics, philosophy, and detailed analyses of his own operas. Essays of note include "Art and Revolution" (1849), "Opera and Drama" (1851), an essay on the theory of opera, and "Das Judenthum in der Musik" ("Jewishness in Music", 1850), a polemic directed against Jewish composers in general, and Giacomo Meyerbeer in particular. He also wrote various autobiographical works, including "My Life" (1880). In his later years Wagner became a vociferous opponent of experimentation on animals and in 1879 he published an open letter, "Against Vivisection", in support of the animal rights activist Ernst von Weber.[136] There have been several editions of Wagner's writings, including a centennial edition in German edited by Dieter Borchmeyer (which however omitted the essay "Das Judenthum in der Musik")[137] The English translations of Wagner's prose in 8 volumes by W. Ashton Ellis, (1892 99), are still in print and commonly used, despite their deficiencies.[138] A complete edition of Wagner's correspondence, (estimated to amount to between 10,000 and 12,000 surviving items), of which the first volume appeared in 1967, is still under way.[139]

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Influence and legacy

Influence on music
Wagner's later musical style, with its unprecedented exploration of emotional expression, introduced new ideas in harmony, melodic process (leitmotiv) and operatic structure. Notably from Tristan und Isolde onwards, he explored the limits of the traditional tonal system that gave keys and chords their identity, pointing the way to atonality in the 20th century. Some music historians date the beginning of modern classical music to the first notes of Tristan, the so-called Tristan chord.[140] [141]

In his lifetime, and for some years after, Wagner inspired fanatical devotion. For a long period, many composers were inclined to align themselves with or against Wagner's music. Anton Bruckner and Hugo Wolf were indebted to him especially, as were Csar Franck, Henri Duparc, Ernest Chausson, Jules Massenet, Alexander von Zemlinsky, Hans Pfitzner and dozens of others.[142] Gustav Mahler said, "There was only Beethoven and Richard [Wagner] and after them, nobody". The twentieth century harmonic revolutions of Claude Debussy and Arnold Schoenberg (tonal and atonal modernism, respectively) have often been traced back to Tristan and Parsifal.[143] The Italian form of operatic realism known as verismo owed much to Wagnerian reconstruction of musical form.[144] Wagner made a major contribution to the principles and practice of conducting. His essay "About Conducting" (1869)[145] advanced the earlier work of Hector Berlioz and proposed that conducting was a means by which a musical work could be re-interpreted, rather than simply a mechanism for achieving orchestral unison. He exemplified this approach in his own conducting, which was significantly more flexible than the disciplined approach of Mendelssohn; in his view this also justified practices which would today be frowned upon, such as the rewriting of scores.[146] Wilhelm Furtwngler felt that Wagner and von Blow, through their interpretative approach, inspired a whole new generation of conductors (including Furtwngler himself).[147]

Wagner's bust by Arno Breker in "Festspielpark Bayreuth"

Influence on literature, philosophy and the visual arts

Wagner's influence on literature and philosophy is significant. [Wagner's] protean abundance meant that he could inspire the use of literary motif in many a novel employing interior monologue; [...] the Symbolists saw him as a mystic hierophant; the Decadents found many a frisson in his work.[148] Friedrich Nietzsche was part of Wagner's inner circle during the early 1870s, and his first published work The Birth of Tragedy proposed Memorial bust of Richard Wagner in Venice Wagner's music as the Dionysian rebirth of European culture in opposition to Apollonian rationalist decadence. Nietzsche broke with Wagner following the first Bayreuth Festival, believing that Wagner's final phase represented a pandering to Christian pieties and a surrender to the new German Reich. Nietzsche expressed his displeasure with the later Wagner in "The Case of Wagner" and "Nietzsche contra Wagner".[149] Charles Baudelaire, Stphane Mallarm and Paul Verlaine worshipped Wagner.[150] Edouard Dujardin, whose influential novel Les lauriers sont coups is in the form of an interior monologue inspired by Wagnerian music, founded a journal dedicated to Wagner, La Revue Wagnrienne, to which J. K. Huysmans and Todor de Wyzewa

Richard Wagner contributed.[151] In the twentieth century, W. H. Auden once called Wagner "perhaps the greatest genius that ever lived",[152] while Thomas Mann[149] and Marcel Proust[153] were heavily influenced by him and discussed Wagner in their novels. He is discussed in some of the works of James Joyce.[154] Wagnerian themes inhabit T. S. Eliot's The Waste Land, which contains lines from Tristan und Isolde and Gtterdmmerung and Verlaine's poem on Parsifal.[155] Many of the Wagner's concepts, including his speculation about dreams, predated their investigation by Sigmund Freud.[156] In a long list of other major cultural figures influenced by Wagner, Bryan Magee includes D. H. Lawrence, Aubrey Beardsley, Romain Rolland, Grard de Nerval, Pierre-Auguste Renoir, Rainer Maria Rilke and numerous others.[157]

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Opponents and supporters

Not all reaction to Wagner was positive. For a time, German musical life divided into two factions, Wagner's supporters and those of Johannes Brahms; the latter, with the support of the powerful critic Eduard Hanslick (of whom Beckmesser in Meistersinger is in part a caricature) championed traditional forms and led the conservative front against Wagnerian innovations.[158] They were supported by the conservative leanings of some German music schools, including the Conservatory at Leipzig under Ignaz Moscheles and that at Cologne under the direction of Ferdinand Hiller.[159] Even those who, like Debussy, opposed him ("that old poisoner") could not deny Wagner's influence. Indeed, Debussy was one of many composers, including Tchaikovsky, who felt the need to break with Wagner precisely because his influence was so unmistakable and overwhelming. 'Golliwogg's Cakewalk' from Debussy's Children's Corner piano suite contains a deliberately tongue-in-cheek quotation from the opening bars of Tristan. Others who resisted Wagner's attraction included Gioachino Rossini ("Wagner has wonderful moments, and dreadful quarters of an hour").[160] In the 20th century Wagner's music was parodied by, amongst others Paul Hindemith and Hans Eisler.[161] Wagner's followers (known as Wagnerians or Wagnerites)[162] have formed many Societies dedicated to the life, works, and operas of Wagner. Societies include: The Toronto Wagner Society [163], the Wagner Society of New York [164], the Wagner Society of the United Kingdom [165], The Wagner Society of New Zealand [166], The Wagner Society of Northern California [167], etc.

Theatre design and practice

Wagner was responsible for several theatrical innovations developed at the Bayreuth Festspielhaus (for the design of which he appropriated some of the ideas of his former colleague, Gottfried Semper, which he had solicited for a proposed new opera house at Munich).[168] These innovations include darkening the auditorium during performances, and placing the orchestra in a pit out of view of the audience.[169]

Influence on film
The Bayreuth Festspielhaus, venue for the first Wagner's concept of the use of leitmotifs and integrated musical complete performances of the Ring and Parsifal. expression has been an influence on many 20th and 21st century film scores. The critic Theodor Adorno has noted that the Wagnerian leitmotiv "leads directly to cinema music where the sole function of the leitmotiv is to announce heroes or situations so as to allow the audience to orient itself more easily".[170] Some film scores have used Wagnerian themes (e.g. Francis Ford Coppola's Apocalypse Now which features a version of the Ride of the Valkyrie). Most of Trevor Jones's soundtrack to John Boorman's Arthurian film Excalibur is from Wagner's operas.[171]

Wagner has also been the subject of many biographical films. (See article List of films about Richard Wagner).

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Influence on popular music

The rock composer Jim Steinman created what he called Wagnerian Rock. Heavy metal music is also said by some to show the influence of Wagner (as well as other classical composers). In Germany Rammstein and Joachim Witt who has named three of his albums Bayreuth, claim inspiration from Wagner's music. German electronic composer Klaus Schulze dedicated his 1975 album Timewind to Wagner's death (two 30-min tracks, "Bayreuth Return" and "Wahnfried 1883"). He also used the alias Richard Wahnfried for a part of his discography. Slovenian avant-garde group Laibach created the sonic suite VolksWagner in 2009 in collaboration with the Slovenian Radio Symphony Orchestra and composer-conductor Izidor Leitinger, using material from Tannhuser, the Siegfried Idyll and The Ride of the Valkyries. Phil Spector's wall of sound recording technique was heavily influenced by Wagner.[172]

Film portrayals
There have been a number of film portrayals of Richard Wagner, including: Alan Badel in Magic Fire (1955) Lyndon Brook in Song Without End (1960) Trevor Howard in Ludwig (1972) Paul Nicholas in Lisztomania (1975)

Richard Burton in Wagner (1983)

Controversies
Wagner's operas, writings, his politics, beliefs and unorthodox lifestyle made him a controversial figure during his lifetime. Following Wagner's death, the debate about his ideas and their interpretation, particularly in Germany during the 20th century, continued to make him politically and socially controversial in a way that other great composers are not. Much heat is generated by Wagner's comments on Jews, which continue to influence the way that his works are regarded, and by the essays he wrote on the nature of race from 1850 onwards, and their putative influence on the antisemitism of Adolf Hitler.

Racism and antisemitism

Richard Wagner Wagner's writings on race and his antisemitism[173] reflected some trends of thought in Germany during the 19th century. Under a pseudonym in the Neue Zeitschrift fr Musik, Wagner published the essay "Das Judenthum in der Musik" in 1850 (originally translated as "Judaism in Music", by which name it is still known, but better rendered as "Jewishness in Music.") The essay attacked Jewish contemporaries (and rivals) Felix Mendelssohn and Giacomo Meyerbeer, and accused Jews of being a harmful and alien element in German culture. Wagner stated the German people were repelled by Jews' alien appearance and behaviour: "with all our speaking and writing in favour of the Jews' emancipation, we always felt instinctively repelled by any actual, operative contact with them." He argued that because Jews had no connection to the German spirit, Jewish musicians were only capable of producing shallow and artificial Caricature of Wagner by Karl Clic in the music. They therefore composed music to achieve popularity and, Viennese satirical magazine, Humoristische thereby, financial success, as opposed to creating genuine works of Bltter (1873). The exaggerated features refer to art.[174] Wagner republished the pamphlet under his own name in rumours of Wagner's Jewish ancestry 1869, with an extended introduction, leading to several public protests at the first performances of Die Meistersinger. He repeated similar views in later articles, such as "What is German?" (1878, but based on a draft written in the 1860s).[175] Some biographers[176] have suggested that antisemitic stereotypes are also represented in Wagner's operas. The characters of Mime in the Ring, Sixtus Beckmesser in Die Meistersinger, and Klingsor in Parsifal are sometimes claimed as Jewish representations, though they are not explicitly identified as such in the libretto. Moreover, in all of Wagner's many writings about his works, there is no mention of an intention to caricature Jews in his operas; nor does any such notion appear in the diaries written by Cosima Wagner, which record his views on a daily basis over a period of eight years.[177] Despite his very public views on Jews, throughout his life Wagner had Jewish friends, colleagues and supporters.[178] In his autobiography, Mein Leben, Wagner mentions many friendships with Jews, referring to that with Samuel Lehrs in Paris as "one of the most beautiful friendships of my life."[179] The topic of Wagner and the Jews is further complicated by allegations, which may have been credited by Wagner himself, that he himself was of Jewish ancestry, via his supposed father Geyer.[180] In reality, Geyer was not of Jewish descent, nor were either of Wagner's official parents. References to Wagner's supposed 'Jewishness' were made frequently in cartoons of the composer in the 1870s and 1880s, and more explicitly by Friedrich Nietzsche in his essay "The Wagner Case", where he wrote "a Geyer (vulture) is almost an Adler (eagle)".[181] (Both 'Geyer' and 'Adler' were common Jewish surnames.) Some biographers have asserted that Wagner in his final years came to believe in the racialist philosophy of Arthur de Gobineau, and according to Robert Gutman, this is reflected in the opera Parsifal.[182] Other biographers such as Lucy Beckett[183] believe that this is not true. Wagner showed no significant interest in Gobineau until 1880, when he read Gobineau's "An Essay on the Inequality of the Human Races".[184] Wagner had completed the libretto for Parsifal by 1877, and the original drafts of the story date back to 1857. Wagner's writings of his last years indicate some interest in Gobineau's idea that Western society was doomed because of miscegenation between "superior" and "inferior" races.[185]

190

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191

Other interpretations
Wagner's ideas were amenable to socialist interpretations, which is not surprising given the composer's revolutionary inclinations in the 1840s, when many of his ideas on art were being formulated. Thus for example, George Bernard Shaw wrote in The Perfect Wagnerite (1883): [Wagner's] picture of Niblunghome [Shaw's anglicization of Nibelheim, the empire of Alberich in the Ring Cycle] under the reign of Alberic is a poetic vision of unregulated industrial capitalism as it was made known in Germany in the middle of the nineteenth century by Engels's Condition of the Laboring Classes in England [186] Left-wing interpretations of Wagner also inform the writings of Theodor Adorno amongst other Wagner critics.[187] Walter Benjamin gave Wagner as an example of "bourgeois false consciousness", alienating art from its social context.[188] The writer Robert Donington has produced a detailed, if controversial, Jungian interpretation of the Ring cycle. Others have also applied psychoanalytical techniques to Wagner's life and works.[189] Others have sought to place Wagner's work in a more generalised sociohistoric framework. For example, Ehrhard Bahr comments 'Wagner provided the middle class with a medium to transfer its familial and political conflicts into a myth of supposedly common Germanic past'.[190]

Nazi appropriation
Adolf Hitler was an admirer of Wagner's music and saw in his operas an embodiment of his own vision of the German nation. There continues to be debate about the extent to which Wagner's views might have influenced Nazi thinking.[191] The Nazis used those parts of Wagner's thought that were useful for propaganda and ignored or suppressed the rest.[192] Although Hitler himself was an ardent fan of "the Master", many in the Nazi hierarchy were not and, according to the historian Richard Carr, resented attending these lengthy epics at Hitler's insistence.[193] There is evidence that music of Wagner was used at the Dachau concentration camp in 1933/4 to 'reeducate' political prisoners by exposure to 'national music'.[194] However there seems to be no evidence to support claims, sometimes made,[195] that his music was played at Nazi death camps during the Second World War.[196] Because of the associations of Wagner with antisemitism and Nazism, the performance of his music in the State of Israel has been a source of controversy.[197]

References
Notes
[1] Wagner (1992) 3 [2] Newman (1976) I, 12 [3] Newman (1976) I, 6 [4] Newman (1976) I, 9 [5] Wagner (1992) 5 [6] Newman (1976) I, 32 33 [7] Newman (1976) I, 45 55 [8] Wagner (1992) 25 27. This sketch is referred to alternatively as Leubald und Adelaide. [9] Newman (1976) I, 63, 71 [10] Wagner (1992) 35 36 [11] Newman (1976) I, 62 [12] Newman (1976) I, 76 77 [13] Millington (1992) 133 [14] Newman (1976) I, 85 86 [15] Millington (1992) 309 [16] Newman (1976) I, 95 [17] Millington (1992) 321

Richard Wagner
[18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39] Newman (1976) I, 98 Millington (1992) 271 273 Newman (1976) I, 173 Millington (1992) 273 274 Newman (1976) I, 212 Newman (1976) I, 214 Newman (1976) I, 226 227 Newman (1976) I, 217 Newman (1976) I, 229 Newman (1976) I, 242 243 Millington (1992) 116 118 Newamn (1976) I, 249 250 Millington (1992) 277 Newman (1976) I, 268 324 Wagner (1994c) 19 Newman (1976) I, 316 Millington (1992) 274 Newman (1976) I, 325 509 Millington (1992) 276 Millington (1992) 279 Millington (1992) 31 Millington (1992) 140

192

[40] Wagner (1992) 417 420. Rckel and Bakunin failed to escape and endured long terms of imprisonment. [41] Wagner (1987) 199 Letter of 21 April 1850 [42] Millington (1992) 297 [43] Newman (1976) II, 137 138. Gutman records him as suffering from constipation and shingles (Gutman (1990) 142). [44] Millington (1992) 289, 294, 300 [45] Wagner (1992) 508 510. Others agree on the profound importance of this work to Wagner see Magee (2000) 133 134. [46] See e.g. Magee (2000) 276 278. [47] Magee (1988) 77 78 [48] See e.g. Dahlhaus (1979). [49] Magee (2000) 251 253. Schopenhauer asserted that goodness and salvation result from renunciation of the world and turning against and denying one's own will. [50] Gutman (1990) 168 169 [51] Millington (undated a) [52] Millington (1992) 318 [53] Newman (1976) II, 540 542. [54] Newman (1976) II, 559 567 [55] Gregor-Dellin (1983) 315 320 [56] Gregor-Dellin (1983) 293 303 [57] Wagner (1992) 667 [58] Gregor-Dellin (1983) 321 330 [59] Newman (1976) III, 147 148 [60] Gutman (1990) 215 216 [61] Gutman (1990) 262 [62] Newman (1976) III, 212 220 [63] Gregor-Dellin (1983) 339 [64] Gregor-Dellin (1983) 346 [65] Wagner (1992) 741 [66] Wagner (1992) 739 [67] Gregor-Dellin (1983) 354 [68] Newman (1976) III, 366 [69] Millington (1992) 32 33 [70] Newman (1976) III, 530 [71] Newman (1976) III, 499 501 [72] Newman (1976) III, 538 539 [73] Newman (1976) III, 518 519 [74] Millington (1992) 301 [75] Millington (1992) 17

Richard Wagner
[76] Millington (1992) 311; Cosima's birthday was 24 December, but she usually celebrated it on Christmas Day [77] Millington (1992) 287, 290 [78] Gregor-Dellin (1983) 400 [79] Gregor-Dellin (1983) 411 [80] Newman (1976) IV, 392 393 [81] Gregor-Dellin (1983) 409 418 [82] Gregor-Dellin (1983) 418 419 [83] Gregor-Dellin (1983) 419 [84] Gregor-Dellin (1983) 422 [85] Millington (1992) 287 [86] Statutes of the Foundation (in German) (http:/ / www. bayreuther-festspiele. de/ rechtsform_und_finanzierung/ stiftungsurkunde_143. html) at Bayreuth Festival website. [87] Millington (1992) 18 [88] Wagner (1994a) 211 273, 274 284 [89] Millington (1992) 331 332 [90] Millington (1992) 409 [91] Millington (1992) 19 [92] Gutman (1990) 414 417 [93] Newman (1976) IV, 692 [94] Newman (1976) IV, 697, 711 712 [95] Walker (1996) 496 498 [96] Newman (1976) IV, 714 716 [97] Millington (1992) 264 268 [98] Millington (1992) 234 235 [99] Millington (1992) 236 237 [100] In his 1872 essay 'On the Designation 'Music Drama', he criticizes the term "music drama" suggesting instead the phrase "deeds of music made visible" (Wagner (1995b) 299 304). [101] Millington (1992) 274 276 [102] Magee (1988) 26 [103] Westernhagen (1980) 111 [104] Wagner (1994c) 391 and n. [105] For the reworking of Dutchman, see Deathridge (1982) 13, 25; for that of Tannhuser, see Ashman (1988) 78. [106] Skelton (2002) [107] Westernhagen (1980) 106 107 [108] See Millington (1992) 286; Donnington (1979) 128 130, 141, 210 212. [109] Millington (2008) 74 [110] Grey (2008) 86 [111] Millington (undated b) [112] Millington (1992) 294, 300, 304 [113] Wagner (2004) Vol.2 Part III: 1850 1861 (no page numbers) [114] Letter of April 1859, quoted Daverio (208) 116 [115] Rose (1981) 15 [116] McClatchie (2008) 134 [117] Millington (undated c) [118] See e.g. Weiner (1997) 66 72. [119] Millington (1992) 294 295 [120] Millington (1992) 286 [121] Millington (2008) 80 [122] Shaw (1898) section: "Back to Opera Again" [123] Puffett (1984) 43 [124] Puffett (1984) 48 49 [125] Millington (1982) 285 [126] Millington (1992) 308 [127] Cosima Wagner, 28 March 1881 [128] Stanley (2008) 169 175 [129] Millington (undated d) [130] von Westernhagen (1980) 138 [131] Millington (1992) 311 312 [132] Overvold (1976) 179 180, 183

193

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[133] Millington (1992) 314 [134] von Westernhagen (1980) 111 [135] Kennedy (1980) 701, Wedding March [136] Millington (1992) 174177 [137] Wagner (1983) [138] Treadwell (2008), 191 [139] Millington (1982) 190, 412 [140] Deathridge (2008) 114 [141] Magee (2000) 208-209 [142] See articles on these composers in Grove Dictionary of Music and Musicians; also Grey (2008) 222 229 and Deathridge (2008) 231 232. [143] Magee (1988) 54; Grey (2008) 228 229 [144] Grey (2008) 226 [145] Wagner (1995a) 289 364 [146] Westrup (1980) 645. See for example Wagner's proposals for the rescoring of Beethoven's Ninth Symphony in his essay on that work (Wagner (1995b) 231 253). [147] von Westernhagen (1980) 113 [148] Millington (1992) 396 [149] Magee (1988) 52 [150] Magee (1988) 49 50 [151] Grey (2009) 372 387 [152] Cited in Magee (1988) 48. Magee however does not cite Auden's further reference to Wagner as 'an absolute shit' (Ross (1998)). [153] [154] [155] [156] [157] [158] [159] [160] [161] [162] [163] [164] [165] [166] [167] [168] [169] [170] [171] [172] [173] [174] [175] [176] [177] [178] [179] [180] [181] [182] [183] [184] [185] [186] Painter (1983) 163 Martin (1992) passim Magee (1988) 47 Horton (1999) Magee (1988) 47 56 Millington (1992) 26. See also New German School and War of the Romantics Sietz & Wiegandt (undated) Letter to Emile Naumann, April 1867, quoted in E. Naumann, Italienische Tondichter (1883) IV, 5. Deathridge (2008) 228 cf. Shaw (1898) http:/ / www. torontowagner. org/ http:/ / www. wagnersocietyny. org/ http:/ / www. wagnersociety. org/ http:/ / www. wagnersociety. org. nz/ http:/ / www. wagnersf. org/ Spotts (1994) 40 Spotts (1994) 11 Adorno (205), 3436 Grant (1999) Michael Long, Beautiful monsters: imagining the classic in musical media, University of California Press, 2008. p.114. See e.g. Katz (1986) and Rose (1996) passim. See also article Wagner controversies. Wagner (1894) Wagner (1995a) 149 170 Gutman, Robert (1990) See, however, Weiner (1997) for very detailed allegations of anti-Semitism in Wagner's music and characterisations. Millington, Barry (Ed.) (1992) 164 Wagner (1992) 171 Conway (2002) Nietzsche (1967) 182 Gutman, Robert (1990) 418 ff Beckett (1981) Gutman (1990) 406 Everett (2008) Shaw (1998) Introduction

194

[187] See iek (2009) viii: '[In this book] for the first time the Marxist reading of a musical work of art [...] was combined with the highest musicological analysis'. [188] Millington (2008) 81

Richard Wagner
[189] Donington (1979); Millington (2008) 82 83 [190] (http:/ / books. google. fi/ books?id=0BhJr1QJqtMC& printsec=frontcover& dq=A+ companion+ to+ the+ works+ of+ Thomas+ Mann& hl=fi& ei=RqquTuzwL7Ta4QTG2lk& sa=X& oi=book_result& ct=result& resnum=1& ved=0CCwQ6AEwAA#v=onepage& q=germanic past& f=false) Bahr, Ehrhard. "Art and Society in Mann's early novellas" in A companion to the works of Thomas Mann, ed. Prof. Herbert Lehnert, Prof. Eva Wessell: p. 55 [191] The story that Hitler claimed that, after seeing a performance as a young man of Rienzi, "it all began", has been exposed as "fanciful". See Kershaw (1999) 610. [192] However, the story that the Nazis banned Parsifal because of its supposed pacifist qualities is completely without foundation. See Deathridge (2008) 173 174. [193] "According to Jonathan Carr, author of the forthcoming book The Wagner Clan, Hitler himself was obsessed by "the Master". But the party faithful were not and had to be dragged to performances at Hitler's insistence" (Higgins (2007)). [194] Fackler (2007). See also the Music and the Holocaust (http:/ / holocaustmusic. ort. org/ places/ camps/ ) website. [195] For example, in Walsh (1992). [196] See e.g. John (2004) for a detailed essay on music in the Nazi death camps, which however nowhere mentions Wagner. See also Potter (2008) 244: "We know from testimonies that concentration camp orchestras played [all sorts of] music [...] but that Wagner was explicitly off-limits. However, after the war, unsubstantiated claims that Wagner's music accompanied Jews to their death took on momentum". [197] See Bruen (1993).

195

Sources and further reading

Prose works by Wagner
Wagner, Richard, (ed. Dieter Borchmeyer) (1983) Richard Wagner Dichtungen und Schriften, 10 vols. Frankfurt am Main. Wagner, Richard (ed. and trans. Stewart Spencer and Barry Millington) (1987) Selected Letters of Richard Wagner, Dent. ISBN 0460046438; W. W. Norton and Company ISBN 978-0393025002. Wagner, Richard (trans. Andrew Gray) (1992) My Life, Da Capo Press. ISBN 978-0306804816 Wagner's sometimes unreliable autobiography, covering his life to 1864, written between 1865 and 1880 and first published privately in German in a small edition between 1870 and 1880. The first (edited) public edition appeared in 1911. Gray's translation is the most comprehensive available. Wagner, Richard: Collected Prose Works. tr. W. Ashton Ellis Wagner, Richard (1994c) Vol. 1 The Artwork of the Future and Other Works, University of Nebraska Press, Lincoln and London. ISBN 9780803297524 Wagner, Richard (1995d) Vol. 2 Opera and Drama, University of Nebraska Press, Lincoln and London. 1995. ISBN 0803297653 Wagner, Richard (1995c) Vol. 3 Judaism in Music and Other Essays, University of Nebraska Press, Lincoln and London. ISBN 9780803297661 Wagner, Richard (1995a) Vol. 4 Art and Politics, University of Nebraska Press, Lincoln and London. ISBN 9780803297746 Wagner, Richard (1995b) Vol. 5 Actors and Singers, University of Nebraska Press, Lincoln and London. ISBN 9780803297739 Wagner, Richard (1994a) Vol. 6 Religion and Art , University of Nebraska Press, Lincoln and London. ISBN 9780803297645 Wagner, Richard (1994b) Vol. 7 Pilgrimage to Beethoven and Other Essays, University of Nebraska Press, Lincoln and London. ISBN 9780803297630 Wagner, Richard (1995c) Vol. 8 Jesus of Nazareth and Other Writings, University of Nebraska Press, Lincoln and London. ISBN 9780803297807

Richard Wagner

196

Other sources
Adorno, Theodor (trans. Rodney Livingstone) (2009) In Search of Wagner Verso Books, London. ISBN 9781844673445 Ashman, Mike (1982) "Tannhuser an obsession" in: John, Nicholas (Series Editor) English National Opera/The Royal Opera House Opera Guide 12: Der Fliegende Hollnder/The Flying Dutchman, London, John Calder, ISBN 0714539201. pp.715. Beckett, Lucy (1981) Richard Wagner: Parsifal, Cambridge University Press. Borchmeyer, Dieter (2003) "Drama and the World of Richard Wagner", Princeton University Press. ISBN 978-0691114972 Bruen, Hanan (1993) Wagner in Israel: A conflict among Aesthetic, Historical, Psychological and Social Considerations, Journal of Aesthetic Education, vol. 27 no. 1 (Spring 1993), pp.99103 Burbidge, Peter and Sutton, Richard (eds.) (1979) "The Wagner Companion", Cambridge University Press. ISBN 978-0521296571 Dahlhaus, Carl (trans. Mary Whittall) (1979) Richard Wagner's Music Dramas, Cambridge University Press. ISBN 978-0521223973 Conway, David (2002) " 'A Vulture is Almost an Eagle'......The Jewishness of Richard Wagner (http://www. smerus.pwp.blueyonder.co.uk/vulture_.htm)", Jewry in Music, accessed 23 July 2010. Dallas, Ian (1990) The New Wagnerian, Freiburg Books. ISBN 978-8440474759 Daverio, John (2008) Tristan und Isolde: essence and appearance, in Grey (2008) 115 133 Deathridge, John (1982) "An Introduction to The Flying Dutchman" in John, Nicholas (Series Editor) English National Opera/The Royal Opera House Opera Guide 12: Der Fliegende Hollnder/The Flying Dutchman, London, John Calder, ISBN 0714539201 pp.1326. Deathridge, John (2008) Wagner Beyond Good and Evil, Berkeley ISBN 9780520254534 Donnington, Robert (1979) Wagner's 'Ring' and its Symbols Faber Paperbacks London ISBN 0571 04818 8 Everett, Derrick (2008) " Wagner, Gobineau and Parsifal: Gobineau as the inspiration for Parsifal (http://www. monsalvat.no/racism.htm#Gobineau)", http://www.monsalvat.no'', version of 26 June 2008, accessed 27 July 2010. Fackler, Guido (tr. Peter Logan) (2007) " Music in Concentration Camps 19331945 (http://www.music.ucsb. edu/projects/musicandpolitics/archive/2007-1/fackler.html)", Music and Politics, Volume I, Number 1, (Winter 2007). Grant, John (1999) "Excalibur: US movie" in John Clute & John Grant (Eds.) The Encyclopedia of Fantasy, Orbit p.324. ISBN 1-85723-893-1 Gregor-Dellin, Martin (1983) Richard Wagner His Life, His Work, His Century, Harcourt. ISBN 978-0151771516 Grey, Thomas S. (ed.) (2008) The Cambridge Companion to Wagner, Cambridge University Press. ISBN 978-0521644396 Gutman, Robert W. (1990) Wagner The Man, His Mind and His Music, Harvest Books. ISBN 978-0156776158 Higgins, Charlotte (2007) How the Nazis took flight from Valkyries and Rhinemaidens (http://www.guardian. co.uk/secondworldwar/story/0,,2117058,00.html), The Guardian, 3 July 2007, accessed 28 December 2008. Horton, Paul C. (1999) Review of Psychoanalytic Explorations in Music: Second Series ed. Stuart Feder (http:// ajp.psychiatryonline.org/cgi/content/full/156/7/1109a), American Journal of Psychiatry vol. 156 pp.11091110, July 1999, consulted 8 July 2010 John, Eckhardt (2004) La musique dans la systme concentrationnaire nazi, in Le troisime Reich et al. Musique, ed. Pascal Huynh, Paris ISBN 2213621357 Katz, Jacob (1986) The Darker Side of Genius: Richard Wagner's Anti-Semitism, Hanover and London. ISBN 0874513685 Kennedy, Michael (1980) The Concise Oxford Dictionary of Music, Oxford ISBN 9780193113206

Richard Wagner Kershaw, Ian (1999) Hitler 1889 1936: Hubris, Penguin. ISBN 0140288988 Laibach (undated) " Laibach presents VolksWagner (http://www.laibach.nsk.si/volkswagner/)", www.laibach.nsk.si. (Accessed 23 July 2010) Lee, M. Owen (1998) Wagner: The Terrible Man and His Truthful Art, University of Toronto Press. ISBN 978-0802047212 Magee, Bryan (2001) The Tristan Chord: Wagner and Philosophy, Metropolitan Books. ISBN 978-0805071894 Magee, Bryan (1988) Aspects of Wagner, Oxford University Press. ISBN 978-0192840127 Magic Circle Music (undated) " Artist biography: Manowar (http://www.magiccirclemusic.com/ artists_manowar.html)", maciccirclemusic.com, accessed 23 July 2010. May, Thomas (2004) Decoding Wagner, Amadeus Press. ISBN 978-1574670974 Martin, T. P. (1992) Joyce and Wagner: A Study in Influence, Cambridge , 1992. ISBN 978-0521394871 McClatchie, Stephen (2008) Performing Germany in Wagner's 'Die Meistersinger von Nrnberg' ,in Grwy (2008) pp.134150 Millington, Barry (Ed.) (1992) The Wagner Compendium: A Guide to Wagner's Life and Music. Thames and Hudson Ltd., London. ISBN 0028713591 Millington, Barry (2008) Der Ring des Nibelungen: conception and interpretation in Grey (2008), 74 84 Millington, Barry (undated a) " Wesendonck, Mathilde (http://www.oxfordmusiconline.com/subscriber/ article/grove/music/30144)" in Grove Music Online. Oxford Music Online. (Subscription only, accessed 20 July 2010). Millington, Barry (undated b) "Walkre, Die." In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/ music/O003661 (Subscription only, accessed 23 July 2010). Millington, Barry (undated c) "Meistersinger von Nrnberg, Die." In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/ article/grove/music/O003512 (Subscription only, accessed 23 July 2010). Millington, Barry (undated d) "Parsifal." In The New Grove Dictionary of Opera, edited by Stanley Sadie. Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/ O002803 (Subscription only, accessed 23 July 2010). Newman, Ernest (1933) The Life of Richard Wagner, 4 vols. ISBN 978-0685148242 (the classic biography, superseded by newer research but still full of many valuable insights) Nicholson, Christopher (2007) "Richard and Adolf: Did Richard Wagner incite Adolf Hitler to commit the Holocaust?", Gefen Publishing House. ISBN 978-9652293602 Nietzsche, Friedrich (trans. Walter Kaufmann) (1967) The Case of Wagner in Nietsche (trans. Kaufmann) The Birth of Tragedy and The Case of Wagner, Random House. ISBN 394 70369-3. Overvold, Liselotte Z. (1976) Wagner's American Centennial March: Genesis and Reception, Monatshefte (Univ.of Wisconsin),Vol.68 no.2 (Summer 1976), pp.179187 Painter, George D. (1983) Marcel Proust. Penguin, Harmondsworth ISBN0140065121 Potter, Pamela R. (2008) Wagner and the Third Reich: myths and realities, in The Cambridge Companion to Wagner, ed. Thomas S. Grey, Cambridge University Press. ISBN 978-0521644396 Puffett, Derrick (1984) "Siegfried in the Context of Wagner's Operatic Writing", in Siegfried: Opera Guide 28 series ed. Nicholas John, John Calder (Publishers) Ltd. ISBN 0 7145 4040 4 Rose, John Luke (1981) "A Landmark in Musical History" in Nicholas John (series ed.) Tristan and Isolde: English National Opera Guide 6, John Calder Publisher's Ltd. ISBN 0 7145 3849 3 Rose, Paul Lawrence (1996) Wagner:Race and Revolution, London ISBN 057117888X Ross, Alex (1998) The Unforgiven: Wagner and Hitler" (http://www.therestisnoise.com/2004/05/wagner. html) in The New Yorker, 10 August 1998. Copy on author's website used. Link accessed 10 July 2010. Runciman, J.F. (1913) Wagner, Project Gutenberg edition. here (http://www.gutenberg.org/etext/14441).

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Richard Wagner Salmi, Hannu (2005) Wagner and Wagnerism in Nineteenth-Century Sweden, Finland, and the Baltic Provinces: Reception, Enthusiasm, Cult, Eastman Studies in Music. University of Rochester Press. ISBN 978-1580462075 Salmi, Hannu (2000) Imagined Germany. Richard Wagner's National Utopia, Peter Lang Publishing. ISBN 978-0820444161 Scruton, Roger (2003) Death-Devoted Heart: Sex and the Sacred in Wagner's 'Tristan and Isolde', Oxford University Press. ISBN 9780195166910 Shaw, George Bernard (1898) The Perfect Wagnerite. Online version at http://www.gutenberg.org/files/1487/ 1487-h/1487-h.htm#2H_4_0011 accessed 20 July 2010. Sietz, Reinhold and Wiegandt, Matthias (undated) "Hiller, Ferdinand." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/13041 (Subscription only, accessed 23 July 2010). Skelton, Geoffrey (2002) "Bayreuth" in Grove Music Online, Oxford Music Online. Version dated 28 February 2002, accessed 20 December 2009. Spencer, Stewart (2000) Wagner Remembered, Faber and Faber. ISBN 978-0571196531 Spiro, Jonathan Peter (2008) Defending the master race: conservation, eugenics, and the legacy of Madison Grant, UPNE. ISBN 978 1 58465 715 5. Spotts, Frederic (1994) Bayreuth: A History of the Wagner Festival, New Haven and London ISBN 9780300066654 Tanner, M. (1995) Wagner, Princeton University Press. ISBN 978-0691102900 Treadwell, James (2008) The Urge to Communicatein Grey (2008), pp.179191 von Westernhagen, Kurt (1980) (Wilhelm) Richard Wagner in vol. 20 of Grove Dictionary of Music and Musicians, ed. S. Sadie, London 1980 Wagner, Cosima (trans. Geoffrey Skelton) (1978) Diaries, 2 vols. ISBN 978-0151226351 Walker, Alan (1996) Franz Liszt: The Final Years, New York. ISBN 9780394525426 Walsh, Michael (1992) The Case of Wagner Again (http://www.time.com/time/magazine/article/ 0,9171,974661,00.html), Time, 13 January 1992, consulted online 17 July 2010 Wapnewski, Peter (1992) Wagner's Musical Influence, in The Wagner Handbook Weiner, Marc A. (1997) Richard Wagner and the Anti-Semitic Imagination, Lincoln and London. ISBN 9780803297920 Westrup, Jack (1980) Conducting, in vol. 4 of Grove Dictionary of Music and Musicians, ed. S. Sadie, London 1980 iek, Slavoj (2009) "Foreword: Why is Wagner Worth Saving" in Adorno (2009) viii xxvii.

198

External links
Operas Richard Wagner Opera (http://www.wagneropera.net), Richard Wagner operas, Wagner interviews, CDs, DVDs, Wagner calendar, Bayreuth Festival Wagner Operas (http://www.wagneroperas.com), site featuring photographs, video, MIDI files, scores, libretti, and commentary RWagner.net (http://www.rwagner.net/), contains libretti of his operas, with English translations Wagner website (http://www.trell.org/wagner/), assortment of articles on Wagner and his operas Photo of Wagner's manuscript for the Bridal Chorus (http://www.rain.org/~karpeles/wedmch.html) The Wagnerian Romances (http://www.gutenberg.org/etext/27265) by Gertrude Hall Writings The Wagner Library (http://users.belgacom.net/wagnerlibrary/). English translations of Wagner's prose works, including some of Wagner's more notable essays.

Richard Wagner Works by Richard Wagner (http://www.gutenberg.org/author/Richard+Wagner) at Project Gutenberg Works by or about Richard Wagner (http://worldcat.org/identities/lccn-n79-89831) in libraries (WorldCat catalog) Pictures The Richard Wagner Postcard-Gallery (http://www.richard-wagner-postkarten.de/), a gallery of historic postcards with motives from Richard Wagner's operas. gallica.bnf.fr (http://gallica.bnf.fr/) Pictures of Richard Wagner (http://gallica.bnf.fr/scripts/ ConsultationTout.exe?O=07722511) and his family (http://gallica.bnf.fr/scripts/ConsultationTout. exe?O=07722510). Scores Free scores by Richard Wagner in the Choral Public Domain Library (ChoralWiki) Free scores by Wagner at the International Music Score Library Project Free scores (http://icking-music-archive.org/ByComposer/Wagner.php) by Richard Wagner in the Werner Icking Music Archive (WIMA) Other BBC audio file (http://www.bbc.co.uk/programmes/p00548gv). Discussion of Wagner on Radio 4 programme In our time. Bayreuth Festival (http://www.bayreuther-festspiele.de/) The National Archive (http://www.wahnfried.de/_engl/archiv/index.html) of the Richard Wagner Foundation The humanities.music.composers.wagner FAQ (http://www.faqs.org/faqs/music/wagner/general-faq/ preamble.html). Richard Wagner Museum (http://www.richard-wagner-museum.ch/en/index/index.php) in the country manor Triebschen beside Lucerne, Switzerland where he and Cosima lived and worked from 1866 to 1872. The Wagner Tuba (http://www.wagner-tuba.com)

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Related articles
Romantic music
Romantic music is a term describing a style of Western classical music that existed roughly from 1810 to 1900. It formed part and parcel of Romanticism, the artistic and literary movement that arose in the second half of the 18th century in Europe. Romantic music as a movement evolved from the formats, genres and musical ideas established in earlier periods, such as the classical period, and went further in the name of expression and syncretism of different art-forms with music. Romanticism does not necessarily refer to romantic love, though that theme was prevalent in many works composed during this time period, both in literature, painting, or music. Romanticism followed a path that led to the expansion of formal structures for a composition set down or at least created in their general outlines in earlier periods, and the end-result is that the pieces are "understood" to be more passionate and expressive, both by 19th century and today's audiences. Because of the expansion of form (those elements pertaining to form, key, instrumentation and the like) within a typical composition, and the growing idiosyncrasies and expressiveness of the new composers from the new century, it thus became easier to identify an artist based on his work or style. Romantic music attempted to increase emotional expression and power to describe deeper truths or human feelings, while preserving but in many cases extending the formal structures from the classical period, in others, creating new forms that were deemed better suited to the new subject matter. The subject matter in the new music was now not only purely abstract, but also frequently drawn from other art-form sources such as literature, or history (historical figures) or nature itself.

Trends of the 19th century

Musical language
The term Romanticism, when applied to music, can be viewed as an artistic response to social, cultural, economic and political influences that had their beginning in the late eighteenth century and lasted through the nineteenth century. German music critic E.T.A. Hoffmanns 1810 review of Beethoven is considered the first use of Romantic as a musicological term. Composers of the Romantic period sought to fuse the large structural harmonic planning demonstrated by earlier masters such as Haydn and Mozart with further chromatic innovations, in order to achieve greater fluidity and contrast, and to meet the needs of longer works or serve the expression that struggled to emerge. Chromaticism grew more varied, as did dissonances and their resolution. Composers modulated to increasingly remote keys, and their music often prepared the listener less for these modulations than the music of the classical era. The properties of the diminished 7th and related chords, which facilitate modulation to many keys, were also extensively exploited. Composers such as Beethoven, and later Richard Wagner, expanded the harmonic language with previously-unused chords, or innovative chord progressions. The greater harmonic elusiveness and fluidity, the longer melodies, poesis as the basis of expression, and the use of literary inspirations were all present prior to this period. However, some composers of the Romantic period adopted them as the central pursuit of music itself. Composers were also influenced by technological advances, including an increase in the range and power of the piano and the improved chromatic abilities and greater projection of the instruments of the symphony orchestra.

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Non-musical influences
During the 1830s, Hector Berlioz's Symphonie Fantastique, which was presented with an extensive program text, caused many critics and academics to rise against the new music, in fact against Romanticism that had been a rising wave of artistic expression since the beginning of the century. Examples of music inspired by literary / artistic sources include Liszt's Faust Symphony, Dante Symphony, his symphonic poems and his Annees de Pelerinage, Tchaikovsky's Manfred Symphony, Mahler's First Symphony, the piano cycles of Robert Schumann and the tone poems of Richard Strauss. Schubert included material from his lieder in some of his extended works, and others, such as Liszt, transcribed opera arias and songs for solo instrumental performance. Events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music. For example, the Industrial Revolution was in full effect by the late 18th century and early 19th century. This event had a very profound effect on music: there were major improvements in the mechanical valves, and keys that most woodwinds and brass instruments depend on. The new and innovative instruments could be played with more ease and they were more reliable (Schmidt-Jones & Jones 2004, 3). The new instruments often had a bigger, fuller, better-tuned sound. Orchestras grew larger from the days of Beethoven onwards, and were on their way to professionalization . Another development that had an effect on music was the rise of the middle class. Composers before this period lived on the patronage of the aristocracy (Schmidt-Jones 3). Many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music (Schmidt-Jones & Jones 2004, 3). The Romantic composers, on the other hand, often wrote for public concerts and festivals, with large audiences of paying customers, who had not necessarily had any music lessons (Schmidt-Jones & Jones 2004, 3). Composers of the Romantic Era, like Elgar, showed the world that there should be "no segregation of musical tastes" (Young 1967, 525) and that the "purpose was to write music that was to be heard" (Young 1967, 527).

19th-century opera
In opera, the forms for individual numbers that had been established in classical and baroque opera were more loosely used. By the time Wagner's operas were performed, arias, choruses, recitatives and ensemble pieces often cannot easily be distinguished from each other in the continuous, through-composed music. Towards the end of the Romantic period, verismo opera became popular, particularly in Italy. It depicted realistic, rather than historical or mythological, subjects.

Nationalism
The increasing importance of nationalism as a political and cultural force in the 19th century was mirrored in music and the other arts. Many composers expressed their nationalism by incorporating elements unique to their native cultures, such as folk song, dances, and legendary histories. In addition to these exterior elements, there was an increasing diversification of musical language, as composers used elements of rhythm, melody, and modality characteristic of their respective nations. Many composers wrote nationalist music, especially towards the middle and end of the 19th century. Mikhail Glinka's operas, for example, are on specifically Russian subjects, while Bedich Smetana and Antonn Dvok both used rhythms and themes from Czech folk dances and songs. Late in the 19th century, Jean Sibelius wrote music based on the Finnish epic, the Kalevala, and his piece 'Finlandia' became a symbol of Finnish nationalism. Frdric Chopin wrote in forms such as the polonaise and mazurka which were derived from Polish folk music. Many Russian composers, for example Balakirev, Cui, Borodin, Mussorgsky, Rimsky-Korsakov, and later Nikolai Medtner shared the common dream to write music that was inspired by Russian folk music.

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The main characteristics of Romantic music

A freedom in form and design; a more intense personal expression of emotion in which fantasy, imagination and a quest for adventure play an important part. Emphasis on lyrical, songlike melodies; adventurous modulation; richer harmonies, often chromatic, with striking use of discords. Greater sense of ambiguity: especially in tonality or harmonic function, but also in rhythm or meter. Denser, weightier textures with bold dramatic contrasts, exploring a wider range of pitch, dynamics and tone-colours. Expansion of the orchestra, sometimes to gigantic proportions; the invention of the valve system leads to development of the brass section whose weight and power often dominate the texture. Rich variety of types of piece, ranging from songs and fairly short piano pieces to huge musical canvasses with lengthy time-span structures with spectacular, dramatic, and dynamic climaxes. Closer links with other arts lead to a keener interest in programme music (programme symphony, symphonic poem, concert overture). Shape and unity brought to lengthy works by use of recurring themes (sometimes transformed/developed): ide fixe (Berlioz), thematic transformations (Liszt), Leitmotif (Wagner), motto theme. Greater technical virtuosity especially from pianists, violinists and flautists. The idea of instrumental music composed without reference to anything other than itself. The elevation of the performer as genius as demonstrated through the virtuosity of Paganini and Liszt.

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Chronology
Early Romantic (18001850)
Beethoven's First Symphony and especially his fourth piano sonata, all published in the early 19th century marked a definite beginning of the new wave of music that would continue for at least a century. Beethoven's impact influenced and inspired composers in the following generations such as his fellow Vienna citizens Schubert, Berlioz, Mendelssohn, Bruckner, Liszt and Wagner. By the second decade of the 19th century, the shift towards new sources of musical inspiration, along with an increasing chromaticism in melody and more expressive harmony, became a palpable stylistic shift. A new generation of composers emerged in post-Napoleonic Europe, among whom were Beethoven, Ludwig Spohr, E.T.A. Hoffmann, Carl Maria von Weber and Franz Schubert. These composers grew up amidst the dramatic expansion of public concert life during the late 18th century and early 19th century, which partly shaped their subsequent styles and expectations. Works of this group of early Romantics include the song cycles and later symphonies of Franz Schubert, and the operas of Weber, particularly Oberon, Der Freischtz and Euryanthe. Schubert's work found limited contemporary audiences, and only gradually had a wider impact.

Early Romantic composers of a slightly later generation included Franz Liszt, Felix Mendelssohn, Frdric Chopin, and Hector Berlioz. All were born in the 19th century, and produced works of lasting value early in their careers. Mendelssohn was particularly precocious, and wrote two string quartets, a string octet, and orchestral music before even leaving his teens. Chopin was similarly precocious, his famous Op. 10 tudes being written while still a teen, although he focused on compositions for the piano. Berlioz broke new ground in his orchestration, and with his programatic symphonies Symphonie Fantastique and Harold in Italy, the latter based on Byron's Childe Harold's Pilgrimage. What is now labelled "Romantic Opera" became established at around this time, with a strong connection between Paris and northern Italy. The work of Bellini and Donizetti was immensely popular at this time. Virtuoso concerts remained as popular as a century earlier and became more 'democratic'. The virtuoso piano recital became particularly popular, and often included improvisations on popular themes, and the performance of shorter compositions as well as longer works such as the sonatas of Beethoven and Mozart. One of the most prominent exponents of Beethoven was Clara Wieck, who later married Robert Schumann. The increase in travel, facilitated by rail and later by steamship, created international audiences for touring virtuosi such as Paganini, Liszt, Chopin and Thalberg. Concerts and recitals were promoted as significant events. Such was also the case with instruments other than the violin or the piano, such as the harp.

Manuscript sketch for Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro), in Ludwig van Beethoven's handwriting. Composed in 1816, this is the first piano sonata from Beethoven's late period.

Romantic music The music of Robert Schumann, Giacomo Meyerbeer and the young Giuseppe Verdi continued the trends. "Romanticism" was not, however, the only, or even the dominant, style of music making at the time. A post-classical style, as well as court music, still dominated concert programs. This began to change with the rise of performing institutions, along the lines of the Philharmonic Society of London founded in 1813. Such institutions often promoted regular concert seasons, a trend promoted by Felix Mendelssohn among others. Listening to music came to be accepted as a life-enhancing, almost religious, experience. Also in the 1830s and 1840s Richard Wagner produced his first successful operas. A man who described himself as a revolutionary, and who was in constant trouble with creditors and the authorities, he began gathering around him a body of like-minded musicians, including Franz Liszt, who dedicated themselves to making the "Music of the Future." Literary Romanticism and the first stage of Romanticism in music ended in 1848, with the revolutions of that year marking a turning point in the mood of Europe and its artists.

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Late Romantic Era (18501900)

As the 19th century moved into its second half, many social, political and economic changes set in motion in the post-Napoleonic period became entrenched. Railways and the electric telegraph bound the European world ever closer together. The nationalism that had been an important strain of early 19th century Romantic music became formalized by political and linguistic means. The dramatic increase in musical education brought a still wider sophisticated audience, and many composers took advantage of the greater regularity of concert life, and the greater financial and technical resources available. These changes brought an expansion in the sheer number of symphonies, concertos and "tone poems" which were composed, and the number of performances in the opera seasons in Paris, London and Italy. During this period, some composers created styles and forms associated with their national folk cultures. The notion that there were "German" and "Italian" styles had long been established in writing on music, but the late 19th century saw the rise of a nationalist Russian style (Glinka, Mussorgsky, Rimsky-Korsakov, Tchaikovsky and Borodin), and also Czech, Finnish and French nationalist styles of composition. Some composers were expressly nationalistic in their objectives, seeking to rediscover their country's national identity in the face of occupation or oppression, as did for example the Bohemians Bedich Smetana and Antonn Dvok, and the Finn Jean Sibelius. Johannes Brahms used an advanced form of Beethoven's motivic development that accommodated not only the formal frameworks of the Baroque era, but a rich and expressive vocabulary that focused on arpeggiation, rhythmic obfuscation, and advanced harmonies rivaled only by Wagner.

References
Schmidt-Jones, Catherine, and Russell Jones. 2004. Introduction to Music Theory. [Houston, TX]: Connexions Project. ISBN 1-4116-5030-1 Young, Percy Marshall. 1967. A History of British Music. London: Benn. Beard, David and Kenneth Gloag. Musicology: The Key Concepts. Cornwall: Routledge, 2005.

Further reading
Cavalletti, Carlo. 2000. Chopin and Romantic Music, translated by Anna Maria Salmeri Pherson. Hauppauge, NY: Barron's Educational Series. (Hardcover) ISBN 0-7641-5136-3 ; ISBN 978-0-7641-5136-1 Dahlhaus, Carl. 1979. "Neo-Romanticism". 19th-Century Music 3, no. 2 (November): 97105. Plantinga, Leon. 1984. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. A Norton Introduction to Music History. New York: W. W. Norton. ISBN 0-393-95196-0 ; ISBN 978-0-393-95196-7

Romantic music Samson, Jim. 2001. "Romanticism". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.

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External links
Music of the Romantic Era [1] The Romantic Era [2] Era on line [3]

References
[1] http:/ / www. wsu. edu:8080/ ~brians/ hum_303/ romantic. html [2] http:/ / library. thinkquest. org/ 15413/ history/ history-rom. htm [3] http:/ / www. essentialsofmusic. com/ eras/ romantic. html

War of the Romantics

The War of the Romantics is a term used by music historians to describe the aesthetic schism among prominent musicians in the second half of the 19th century. Musical structure, the limits of chromatic harmony, and program music versus absolute music were the principal areas of contention. The opposing parties crystallized during the 1850s. The conservative circle, based in Berlin and Leipzig, centered around Johannes Brahms and Clara Schumann, and the Leipzig Conservatoire which had been founded by Felix Mendelssohn. Their opponents, the radical progressives in Weimar, were represented by Franz Liszt and the members of the so-called New German School ("Neudeutsche Schule"), and by Richard Wagner. The controversy was German and Central European in origin; musicians from France, Italy, and Russia were only marginally involved. Composers from both sides looked back on Beethoven as their spiritual and artistic hero; the conservatives seeing him as an unsurpassable peak, the progressives as a new beginning in music.

The Leipzig conservatives

Clara Schumann, Joseph Joachim and Johannes Brahms were early key members of a conservative Leipzig-based group of musicians. This core of supporters maintained the artistic legacy of Robert Schumann who had died in 1856. Joachim was a professor at the Leipzig Conservatoire founded by Mendelssohn, at which Robert Schumann had also been a teacher. Robert Schumann was both an enthusiastic admirer and occasional critic of Liszt and Wagner. Schumann had been a progressive critic and editor of the influential music periodical Neue Zeitschrift fr Musik, which he founded in 1834. Schumann maintained exceptionally enthusiastic and artistically fruitful friendships with the emerging vanguard of radical romantics Liszt in particular as well as with musical conservatives such as Mendelssohn and Gade. However, after Schumann sold the Neue Zeitschrift fr Musik to Franz Brendel it became an enthusiastic supporter of Liszt and his circle. Clara Schumann had long been the more conservative aesthete in the Schumann marriage. She perceived the change as a slight against her husbands legacy. The young Brahms, who had been very close to the Schumanns during Roberts decline, also took up the cause. The conservative critic Eduard Hanslick was very influential on their behalf. Associated with them at one time or another were Heinrich von Herzogenberg, Friedrich Gernsheim, Robert Fuchs, and Karl Goldmark, among others.

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Liszt and his followers

The key figure on the Weimar ("New German") side was Franz Liszt. Richard Wagner was frequently invoked by both sides as a hero or an enemy but he personally preferred to keep above the fray. Other notable figures siding with Liszt were the critic Richard Pohl and composers Felix Draeseke, Julius Reubke, Karl Klindworth, Hans von Blow, William Mason and Peter Cornelius. There were several attempts, centering around Liszt, to create a lasting and formal society. The Neu-Weimar-Verein was one attempt to form a club. It lasted a few years and published minutes of their meetings. The Tonknstler-Versammlung (Congress of Musical Artists), which first met in Leipzig in June 1859, was a more successful attempt at forming an organization. (See New German School). It eventually led to the founding in 1861 of the Allgemeine Deutsche Musikverein (ADMV)(q.v.), the 'United German Musical Union', which espoused Liszt's musical enthusiasms.

Main disagreements
A central point of disagreement between these two groups of musicians was between traditional and new musical forms. Liszt and his circle favored new styles in writing and forms. The Leipzig/Berlin school championed the forms used by the classic masters, forms codified by musicologists such as Adolf Bernhard Marx of the early 19th century. The Weimar school increasingly used various kinds of program music (explicitly pictorial and suggestive). Liszt developed the symphonic poem. "New wine required new bottles" was his motto. In reaction to Liszt's first symphonic poems and later by the Faust Symphony, Hanslick published a statement of principles, (On the Beautiful in Music, 1854) asserting that music in itself did not and could not represent anything explicit. It could however be used to suggest realistic impressions in the manner of Hector Berlioz, as well as impressions and feelings, such as those represented by the movement headings in the score of Beethoven's Sixth Symphony. Wagner believed that this attitude was closer to Liszt's intentions than any attempts at exact pictorial representation.[1]

The conservatives' manifesto

One significant event out of many was the signing of a Manifesto against the perceived bias of the Neue Zeitschrift fr Musik. This effort, whose author was almost certainly Brahms, received at first four signatures among them those of Brahms and Joachim, though more were canvassed and eventually more were obtained. Before the later signatories could put their names to the document, however, it found its way into the editorial offices of the Berliner Musik-Zeitung Echo, and from there was leaked to the Neue Zeitschrift itself, which parodied it on May 4, 1860. Two days later [2] it made its official appearance also in the Berliner Musik-Zeitung Echo with more than twenty signatures, including Woldemar Bargiel, Albert Dietrich, Carl Reinecke, and Ferdinand Hiller. The manifesto read: The undersigned have long followed with regret the pursuits of a certain party, whose organ is Brendel's "Zeitschrift fr Musik". The above journal continually spreads the view that musicians of more serious endeavour are fundamentally in accord with the tendencies it represents, that they recognize in the compositions of the leaders of this group works of artistic value, and that altogether, and especially in northern Germany, the contentions for and against the so-called Music of the Future are concluded, and the dispute settled in its favour. To protest against such misinterpretation of facts is regarded as their duty by the undersigned, and they declare that, so far at least as they are concerned, the principles stated by Brendel's journal are not recognized, and that they regard the productions of the leaders and pupils of the so-called New German School, which in part simply reinforce these principles in practice and in part again enforce new and unheard-of theories, as contrary to the innermost spirit of music, strongly to be deplored and condemned.[3]

War of the Romantics Signing the manifesto cost Joachim some heartache. Joachim had himself been member of Liszt's circle at Weimar. He had left since he no longer wanted to support Liszt's artistic ideals; however, he still felt friendly towards him.

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The war
The 'war' was carried out through compositions, words, and even with scenes such as staged catcalls at a concert to show dislike of the musical programme or conductor. Reputations were at stake and partisans sought to embarrass their adversaries with public slights; the Weimar school held an anniversary celebration of the Neue Zeitschrift in Schumann's birthplace Zwickau and conspicuously neglected to invite members of the opposing party (including Clara Schumann). Musicians on one side saw the dispute as pitting Brahms's effective and economical sonata and classical forms against some of Liszt's works which appeared in comparison almost formless. Those on the other saw, on the Lisztian side, musical form best fitting musical content, pitted against works reusing old forms without any feeling for their growth and reason. Wagner poked fun at the conservative side in his essay On Conducting, when he portrayed them as 'a musical temperance society' awaiting a Messiah. The attitudes of the Weimar side were also often inconsistent. By 1859 Liszt himself was becoming more interested in writing church music and toeing the conservative lines of the Catholic Church. He retained a fascination with the music of Meyerbeer (having composed piano transcriptions of music from his operas), a composer despised by both the New German School and by Wagner (whose 1850 essay Jewishness in Music, reprinted and extended in 1868, is a vicious anti-Meyerbeer diatribe). Moreover, Liszt's concepts of programme music, (e.g. in his symphonic poems), were diametrically opposed to Wagner's ideals of music drama as expressed in the latter's essay The Artwork of the Future. Although actual hostility between the two sides was to subside over the years, the 'war' was a clear demarcation between what was seen to be 'classical music' and 'modern music', categories which still persist (although differently defined) to the present day.

References
Thorpe-Davie, Cedric. Musical Structure and Design, Dover Publications, 1995, ISBN 0-486-21629-2. Walker, Alan. Franz Liszt: The Weimar Years , Cornell University Press 1993, ISBN 0-8014-9721-3. pp.338 367 is entitled and covers specifically The War of the Romantics, but it is a theme elsewhere.

Notes
[1] See Wagner's "Open Letter on Liszt's Symphonic Poems", 1857, Neue Zeitschrift fur Musik April 10, 1857, which originated as a letter, Feb 15 1857 to Princess Marie von Sayn-Wittgenstein (see Walker, p 231 note, paperback edition). Liszt's prefaces to the works also seem to back up this view. [2] (Walker, p 350) [3] Quoted after the translation from German in: Walker: Weimar Years, p.349.

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Three Bs
"The Three Bs" is an English-language phrase derived from an expression coined by Peter Cornelius in 1854, which added Hector Berlioz as the third B to occupy the heights already occupied by Johann Sebastian Bach and Ludwig van Beethoven. Later in the century, the famous conductor Hans von Blow would substitute Johannes Brahms for Berlioz. The phrase is generally used in discussions of classical music to refer to the supposed primacy of Bach, Beethoven, and Brahms in the field.

Origins
In an article in the Berliner Allgemeine Musikalische Zeitung, Cornelius introduces Berlioz as the third B, concluding his article with the cheer, Bach, Beethoven, Berlioz![1] Decades later, Blow composed the following pun to a friend. Mein musikalisches Glaubensbekenntniss steht in Es dur, mit drei B-en in der Vorzeichnung: Bach, Beethoven, und Brahms![2] "B", in German, stands for the key of B-flat; because the flat symbol resembles a lower-case "b", it may also refer to any flat. Consequently, the remark may be translated, roughly, as My musical creed is in the key of E-flat major, and contains three flats in its key signature: Bach, Beethoven, and Brahms! Blow had been attracted to the idea of a sort of Holy Trinity of classical music for a number of years, writing in the 1880s, I believe in Bach, the Father, Beethoven, the Son, and Brahms, the Holy Ghost of music.[2] He further linked Beethoven and Brahms by referring to the latter's First Symphony as Beethoven's Tenth. Curiously enough, Nicol Paganini had even earlier (1838) identified Berlioz as the worthy successor of Beethoven. Indeed, Hans von Blow, two years before Cornelius' article, had himself called Berlioz "the immediate and most energetic successor of Beethoven".[3] Richard Wagner once proposed an alternate candidate for the third of the three Bs; this was Anton Bruckner, a devoted Wagnerian. That appellation never took, and few remember that Berlioz was the original third B.

Usage
Although the phrase "the three Bs" is generally associated with classical music, it may be found in the vocabulary of other disciplines as well. There are, for instance, three Bs of bass fishing,[4] the three Bs of the Hattrick federation "The Alliance", and three Bs of learning.[5] Generally speaking, however, the three Bs of music are the most frequently cited.

In popular culture
In a Peanuts strip (published February 22, 1952), when Schroeder begins playing the piano, Charlie Brown says "You've heard of Bach, Brahms, and Beethoven, right? Well from now on it's going to be Schubert, Schumann, and Schroeder." There are now a few more common usages of "the 3 B's": 1) a reference to the Houston Astros baseball team's top players - Jeff Bagwell, Craig Biggio, and Lance Berkman. 2) a reference to common components of a night out in the French Quarter of New Orleans, LA - Beads, Balconies, and (mechanical) Bull-riding.

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Notes and references

[1] [2] [3] [4] [5] Barzun, p. 76 Slonimsky, p. 99 Comini, p. 249 http:/ / www. bassdozer. com/ articles/ three-b. shtml Welcome to Sophomore Initiatives (http:/ / www. loyola. edu/ campuslife/ sophomoreinitiative/ three_b)

Jacques Barzun, Hector Berlioz and the Romantic Century, Vol. II, New York: Columbia University Press, 1969. Nicolas Slonimsky, Slonimsky's Book of Musical Anecdotes. New York; Schirmer Books, 1998. Alessandra Comini, The Changing Image of Beethoven, Santa Fe: Sunstone Press, 2008.

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Article Sources and Contributors

Johannes Brahms Source: http://en.wikipedia.org/w/index.php?oldid=464197669 Contributors: 28bytes, 4meter4, Abhijitsathe, Academic Challenger, Access Denied, Accipitres, Adam Krellenstein, Addshore, Adrian.benko, AdventurousSquirrel, Ahoerstemeier, Aidensmiths, Aitias, Al tally, Alan Millar, Alasdair, Ale jrb, Alegreen, Alex Middleton, Alex.mccarthy, Alexrexpvt, All Hallow's Wraith, Amillar, Andycjp, AngelOfSadness, Anglius, Angr, Antandrus, Arcadian, Arthena, ArtibellaNick, Astorknlam, Atavi, Attilios, Aussie Ausborn, Azuris, BazookaJoe, Bellyfuzz, Ben Tibbetts, Bender235, Bleh fu, Blehfu, Bmschmidt, Bobo192, Boguslavmandzyuk, Bookofjude, Brahmsianrigor, Bratsche, Brilliburger, Brozhnik, Budhen, CLC Editorial, Camembert, Can't sleep, clown will eat me, CaritasUbi, Cenedi, Centrx, CenturionZ 1, Ceoil, Charles01, CharlotteWebb, Chaser, Chavo gribower, Chovain, Chrisrick, Christian List, Chubbles, Classefail, Clavecin, Cmdrjameson, CommonsDelinker, Conversion script, Cosprings, Crevox, Crochet, Crystallina, Curtangel, Czolgolz, D6, DARTH SIDIOUS 2, DC, Daderot, Danmuz, Dannyc77, Darvas, David Underdown, Davidevanthomas, Davidkazuhiro, Debresser, Defrosted, Dekimasu, Derekwfranklin, Dforest, Dirac1933, Discospinster, Dispenser, Dkusic1, Doc Strange, Dr who1975, Dr. Blofeld, Dr. Dan, Draphae, Drestros power, Drhoehl, Drunkenmonkey, Dsp13, Duncan.france, Dwsolo, Dysprosia, ESkog, Eastfrisian, Eatabullet, Ehelling, ElKevbo, Engineer Bob, Enichi, Epipelagic, Eritain, Eurystheus, Everyking, Ewulp, Eyeresist, Feldmahler, Flamurai, Foggg, Foil Fencer, FourthAve, FraKctured, Frochtrup, Fumitol, GCarty, Gaius Cornelius, Gareth E Kegg, Gerhard51, Gholam, Gidip, Gillaw, Gingermint, Glass Sword, Gogo Dodo, Golbez, Good Intentions, Graham87, Grenavitar, Grisunge, Grunty Thraveswain, Gurch, Gus, Hadal, HammerFilmFan, Hart2520, Herschelkrustofsky, Hhanke, Homagetocatalonia, Hu12, Husnock, Hyacinth, Ianleow7, Imkat, Iml, Iohannes Animosus, Ioscius, Iridescent, Itoldalthea, J Lorraine, J M Rice, J. Van Meter, J.delanoy, JForget, JackofOz, Jakegrucci, James086, James470, Jauhienij, Jcw69, Jjjsixsix, Jmanigold, Jmlk17, Joffrey, Jonathan.s.kt, Jpressler, Juliowolfgang, Jumponmeramsballs, Jusdafax, Juzeris, Jvbishop, JzG, K. Lastochka, Kane5187, Karafias, Karlhenning, Karljoos, Katieh5584, Kbdank71, Keilana, KenBentubo, Kerrio, Kibitz, Kipala, Kleinzach, KlingsorOfOz, KnowledgeOfSelf, Kpbalfe, Kubigula, Kukini, Kusma, La Pianista, Leithp, Leonard Vertighel, Lfh, Lilaznpookid, Linuxlad, Lir, Lisa Rowe, Loopy1894, Lopez124, Lost on belmont, Lupin, MYXOMOPbI4, Maarten van Vliet, Macaco386, Mackan79, Maduskis, Male1979, Marcus2, Marcuskreusch, Mariuscipolla, Markjoseph125, Markjp99, Maroux, MartinHarper, Matt Gies, Matthead, Mav, Mayooranathan, Mcmax77, Melicans, Melkom, Melodia, Memu, Merchbow, Methcub, Michael Bednarek, Michaeldsuarez, Mike Christie, MikeCapone, Mindspillage, Missmarple, Misza13, Mitteldorf, Miwasatoshi, Mlet, Modernist, Moreschi, Mozzy45, MrOllie, MrRyanEinfeldt, Mrchops10, Musicaline, Myrvin, Mysloop, Neilc, NightCrawler, Nixeagle, Noetica, Nousernamesleft, NuclearWarfare, Ocean Shores, Ogg, Ohconfucius, Olessi, Omicronpersei8, Onorem, Opus33, Orphic, OttawaAC, Oxymoron83, PBasquin, Palosirkka, Passionatecellist, Paul Erik, Pdcook, Pedant29, Peter Deer, Pfistermeister, Pharaoh of the Wizards, Philip Trueman, Phuzion, Pigsonthewing, Pit, Pkatuf, Pladask, Plasticup, Pokrajac, Polisher of Cobwebs, Printer222, Profoss, Psy guy, Qaz234, Qero, Quadalpha, Quelcrime, R, RA0808, Rainwarrior, Ranveig, Raul654, Ravn, Ravpapa, Rayismrmusic, Razorflame, Reccmo, RedRollerskate, Redfarmer, Redlentil, Rentaferret, Revan ltrl, RexNL, Richard David Ramsey, Rigaudon, Rizzleboffin, Rjeffcoat, Rjwilmsi, Robert Merkel, RobertG, Robertgreer, Rodri316, Roffel, Romanm, Rothorpe, Rparucci, Rrburke, Sallyrob, Salmar, Sasajid, Savidan, Sba2, Schissel, Schroederrt, Schweiwikist, Sciurin, Seba5618, Sebastian scha., Semperf, Sentra246, Ser Amantio di Nicolao, Seraphim, Shadowblade, Shanel, Sharkface217, Shinoko, Singularity, Sj, Sketchee, Slicity7, Smeira, Smerus, Snoyes, Soler97, Spitfire, Spot87, Springeragh, Spyroninja, Stahlbrand, Starnestommy, Stemonitis, Stephane.magnenat, Stephen Burnett, Sterio, Steven Zhang, THD3, Tachyon01, Tassedethe, Tatiana24, Tatianamc, Taubblindheit, Tbone13619, Tchlouis, Tetratek, The Thing That Should Not Be, TheMaestro, TheVOC, Thedarkestclear, Themanwithoutapast, Themfromspace, Thingg, Thorwald, Tide rolls, Timneu22, Tnxman307, Tomaxer, Tommy2010, Tony1, Tpbradbury, Tree Biting Conspiracy, Triona, Triwbe, UninvitedCompany, Uogl, Uri, User2004, Violncello, Voracious boar, Vsb, Vssun, W.M. O'Quinlan, Wackywace, Wik, Wiki alf, WikiPuppies, Wikitoddia, Wilberfalse, Willguy7, William Avery, Willking1979, Wimt, Wknight94, Womble, Woodsstock, Woody, Xezbeth, Xgretsch, Yamamoto Ichiro, Yorkmackem, Young Kreisler, Zarbi1, Zeisseng, , 859 anonymous edits List of compositions by Johannes Brahms Source: http://en.wikipedia.org/w/index.php?oldid=461125738 Contributors: Alan Liefting, Alegreen, Anderfreude, Antandrus, Apau98, Arcyqwerty, Asmeurer, BCable, Beetstra, Bleh fu, Bugulugu5, CLW, Camembert, CaritasUbi, CenturionZ 1, Danij84, DavidRF, Defrosted, Doctorfluffy, FordPrefect42, Gdr, Graham87, Greenwoodtree, Gus, Headbomb, JackofOz, Japanese Searobin, Jaxl, Jcdyer, Jdiazch, Jesta, K. Lastochka, Kalimac, KnightRider, Labrynthia9856, Matt Gies, Michael Bednarek, Missmarple, Monxton, Moonbeams, Mordant21, Mst, Peter cohen, Phthoggos, Raul654, Rigaudon, Rjwilmsi, Rolf-Peter Wille, Schissel, Shanes, Sparafucil, Standells, Stephen B Streater, Tchlouis, TheodorVonAschenbach, Thomas Blomberg, Timneu22, Tobias Bergemann, Vasi, Xionbox, 83 anonymous edits List of solo piano compositions by Johannes Brahms Source: http://en.wikipedia.org/w/index.php?oldid=457648975 Contributors: Gus, Josh3580, Op47, 3 anonymous edits Serenades No. 1 & 2 Source: http://en.wikipedia.org/w/index.php?oldid=412250679 Contributors: Anna Rundell, Blehfu, CaritasUbi, Classickol, DavidRF, Defrosted, JackofOz, Jdiazch, Rich Farmbrough, Rrburke, Rt66lt, Schissel, Solti, 7 anonymous edits Variations on a Theme by Haydn Source: http://en.wikipedia.org/w/index.php?oldid=459581828 Contributors: Capricorn42, Corksmusic, Darev, Dkusic1, Dr. Friendly, Epbr123, Gglockner, Graham87, IthacaMusicoloist, JackofOz, Japanese Searobin, Leonard Vertighel, Maestro Fermat, Mahlerlover1, Missmarple, Mnd, Opus131, Opus33, Rmhermen, Roachgod, Robertwalton, Schiano, Schweiwikist, Seth Ilys, Sketchee, Solti, SummerWithMorons, TBHecht, TheMaestro, Voceditenore, 11 anonymous edits Symphony No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=463558604 Contributors: Addaick, Burdfield, CenturionZ 1, Crochet, DavidBrooks, DavidRF, Deefreed, Doady, Donarreiskoffer, Engineer Bob, Flyguy649, Friera, Giraffedata, Gmazeroff, Graham87, Hapless Hero, Headbomb, ILike2BeAnonymous, J.delanoy, JackofOz, Jindichv Smith, Justoys, Kazawolf, Krankenhaus, Labrynthia9856, Lazinov, Leonard Vertighel, Lord British, Lrkleine, MUSIKVEREIN, Marcus2, Marvin01, Mikeblas, Nymaestro, Ocean Shores, RobertG, Schissel, Solti, Springeragh, TNeloms, Trut-h-urts man, Vivacissamamente, Volunteer Sibelius Salesman, Woyzzeck, Xtfcr7, 30 anonymous edits Symphony No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=463558659 Contributors: ActivExpression, Addaick, Andy M. Wang, Arthur Oon, Blehfu, Calaka, Chris the speller, Continental738, Crochet, Darev, DavidRF, Defrosted, Donarreiskoffer, Eusebeus, Finchbeak, Flautist, Graham87, ILike2BeAnonymous, JackofOz, Jindichv Smith, Jorispet, Leonard Vertighel, LexingtonWells, Mahlerlover1, Marcus2, Mark K. Jensen, Marvin01, Michael Bednarek, Missmarple, Mozi17, MrPPH, Rackabello, RobertG, Schissel, Scutter7282, Seadog365, Solti, TJRC, Tea with toast, TheMaestro, Trjumpet, Woyzzeck, 47 anonymous edits Academic Festival Overture Source: http://en.wikipedia.org/w/index.php?oldid=464155195 Contributors: Addaick, Alfa, Crochet, Darev, Defrosted, Epbr123, Graham87, J.delanoy, JackofOz, Jclemens, Leonard Vertighel, Louvain, Missmarple, Nnh, Possum, Rigadoun, Rjwilmsi, Rossination, Schissel, Solti, TSP, TheMaestro, Tjmayerinsf, Wetman, 20 anonymous edits Tragic Overture Source: http://en.wikipedia.org/w/index.php?oldid=452611123 Contributors: Alfa, BashBrannigan, Darev, Defrosted, JackofOz, Japanese Searobin, Jetman, Johnfkoen, Killerofgoodliterature, Korinth111, Leonard Vertighel, Louvain, Mnd, Obelix83, Rvodden, Slysplace, Solti, Wetman, Willi Gers07, 11 anonymous edits Symphony No. 3 Source: http://en.wikipedia.org/w/index.php?oldid=463558726 Contributors: Addaick, Belovedfreak, Black and White, Blehfu, Bunnyhop11, CenturionZ 1, Chrisbushel, Crochet, Darev, DavidRF, Defrosted, Dmitri Nikolaj, Donarreiskoffer, Engineer Bob, Getmoreatp, Gmazeroff, Hyacinth, JackofOz, Jindichv Smith, Labrynthia9856, Leonard Vertighel, Marcus2, Marvin01, Mephistophelian, Missmarple, Ocean Shores, OlEnglish, Snunupy, Solti, Springeragh, The Fat Man Who Never Came Back, Tony1, Varlaam, Wasell, Woyzzeck, 32 anonymous edits Symphony No. 4 Source: http://en.wikipedia.org/w/index.php?oldid=463558779 Contributors: Addaick, Alfietucker, Antandrus, Arthur Oon, Atavi, Camembert, CenturionZ 1, Ciceronl, Crochet, DJRafe, Darev, DavidRF, Dconofrey, Donarreiskoffer, Gerda Arendt, Gmaxwell, Grover cleveland, Headbomb, Herbee, ILike2BeAnonymous, JackofOz, Jaknouse, Jdiazch, Jetman, Jindichv Smith, JonathanDP81, Labrynthia9856, Leonard Vertighel, LoopZilla, Marcus2, Marvin01, Mcoverdale, Missmarple, Mr. Frank, NeverWorker, Ocean Shores, PeterJM, Schissel, Schweiwikist, Sketchee, Solti, Springeragh, Tjmayerinsf, Varlaam, Woyzzeck, Ziga, 26 anonymous edits Piano Concerto No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=456425099 Contributors: AkiStuart, Asmacdo, Asmeurer, Aztec07, Camembert, CenturionZ 1, Cgingold, Chancemill, Contrapuntal, DTOx, Darev, Davemck, DavidRF, Deskford, Dysprosia, Everyking, Evgeny Lykhin, Genuinecontributor, Graham87, Headbomb, Hyacinth, JackofOz, Japanese Searobin, Jdiazch, Jonyungk, KDesk, Katalogo Kochela, Kelovy, Kordian, La Pianista, Leonard Vertighel, Leonardo Teixeira de Oliveira, Lexor, Lichengyuan, Mathpianist93, Missmarple, Momeiyo7, Mordant21, Neutrinoman, Niall Guinan, Polly, RobertG, Schissel, Ser Amantio di Nicolao, SimonP, Sketchee, Solti, Springeragh, THD3, TripMills, Violncello, Xbxb, Yip1982, , 60 anonymous edits Violin Concerto Source: http://en.wikipedia.org/w/index.php?oldid=459761359 Contributors: Addaick, Anomalocaris, Antandrus, B.wilson, Bdesham, Blah28948, Camembert, CenturionZ 1, DavidRF, Diggers2004, Diwas, Ed Halter, Georgearison, Headbomb, Hrdinsk, Intheeventofstructuralfailure, Jetman, Joepnl, Jonyungk, Katalogo Kochela, Kelovy, Leonard Vertighel, Mathpianist93, MikeCapone, Missmarple, Nicholasaw, Ocean Shores, Opus33, PawelQ, Qmwne235, Quadalpha, Rachel1, Robert Happelberg, Schissel, Singingdaisies, Sketchee, Sluzzelin, Slysplace, Solti, Springeragh, Squids and Chips, Temporaluser, Thinking of England, VinceBowdren, Wetman, Whatfg, Willi Gers07, WolfmanSF, Yip1982, 59 anonymous edits Piano Concerto No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=450357155 Contributors: Al Pereira, AlexChao, Alfietucker, AnAj, Barkeep, Blehfu, Camembert, Contrapuntal, Darev, DavidRF, Ddlamb, Dirkmuon, Etincelles, Great composer, Gregorik, Gyan, Headbomb, Helical gear, Hyacinth, Imattheclub, Itamarro, JackofOz, Jdiazch, Jetman, Joffrey, Jordanelliottkamnitzer, KDesk, Katalogo Kochela, Kvng, LDGE, Leonard Vertighel, Mathpianist93, Missmarple, Mordant21, Neutrinoman, Pnorcks, RobertG, Schissel, Scutter7282, Shiosake, SimonP, Sketchee, Slrubenstein, Slysplace, Solti, Springeragh, THD3, TJRC, Yip1982, , 66 anonymous edits Double Concerto Source: http://en.wikipedia.org/w/index.php?oldid=463121888 Contributors: Blehfu, Camembert, Casadesus, ColoradoSprings, DJRafe, DTOx, DavidRF, Eebahgum, Etoilebleu06, Graham87, Grm wnr, Headbomb, Hyacinth, JackofOz, Japanese Searobin, Jetman, Jro571, Leonard Vertighel, Lilac Soul, P Ingerson, Rjwilmsi, RobertG, Schissel, Scutter7282,

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Shiftworker, Sketchee, Solti, Springeragh, SteveJothen, Swanstone, Szalax, TJRC, Tassedethe, Tomkeene, Wetman, Wired361, Zapane, 10 anonymous edits A German Requiem Source: http://en.wikipedia.org/w/index.php?oldid=464376442 Contributors: Addaick, Alexhard, Andymarczak, Angr, Antandrus, Arcanewaif, Atavi, Baltazar1, BaronLarf, Batonpower, Bobnotts, Brambleclawx, Breezereef, Brenont, Bryce, Camembert, Cgingold, Charles01, Charvex, Cnoel77, Colonies Chris, Crochet, DMAMaster, DTOx, Danmuz, Darev, DavidRF, DeadlyAssassin, Deb, Dewet, Dkusic1, Dozols, Dpbsmith, Eusebeus, Flauto Dolce, FordPrefect42, Frederick.ding, Gcdea, Gerda Arendt, Graham87, Headbomb, Henrickson, Hitlerdog, Interpretix, JRBC1, JackofOz, James470, Jan1nad, Jdvcmu, Jevansen, Johannes Rohr, JukoFF, Katalogo Kochela, Kenatipo, Kleinzach, L Kensington, Ladelfa, Leonard Vertighel, Liftarn, LilHelpa, Linuxlad, Lucky 6.9, MDCollins, MUSIKVEREIN, MarkBuckles, Mehrfar123, Michael Bednarek, Michael Hardy, MidnightMarauder, Mion, Myshka spasayet lva, NeverWorker, Nostrada, Ohrwurm, Ornes, Pbro, Percus, Pkeets, Polla ta deina, Raul654, Rjwilmsi, Robert A West, RobertG, Schissel, Schroederrt, Ser Amantio di Nicolao, SingingZombie, Singingdaisies, Sketchee, SotoVoce84, Sparafucil, Springeragh, SupaStarGirl, Szalax, Tesscass, Thomas Gebhardt, Tibradden, Tompw, Trisdee, TrustTruth, Tryksdad, Tvidinli, Vckeating, Vilcxjo, Violncello, Wanderer57, Yip1982, 113 anonymous edits Rinaldo Source: http://en.wikipedia.org/w/index.php?oldid=439980873 Contributors: Blehfu, Cenedi, David Sneek, JackofOz, Rich Farmbrough, Roscelese, Schissel, Ser Amantio di Nicolao, Solti, SteinbDJ, 1 anonymous edits Alto Rhapsody Source: http://en.wikipedia.org/w/index.php?oldid=461624469 Contributors: Crochet, Graham87, JackofOz, Jetman, Mighty Antar, NeverWorker, Noelypole, Novello1, PKT, Paranoidhuman, Rgbrasher72903, Rich Farmbrough, Solti, Ssilvers, Tesscass, Tim riley, Woohookitty, 9 anonymous edits Schicksalslied Source: http://en.wikipedia.org/w/index.php?oldid=449336346 Contributors: Barticus88, Blehfu, Cenedi, DTOx, David Sneek, Graham87, Kdau, Lsommerer, Qwyrxian, Rjwilmsi, Ser Amantio di Nicolao, Solti, SteinbDJ, Trappist the monk, 3 anonymous edits Nnie Source: http://en.wikipedia.org/w/index.php?oldid=462796449 Contributors: Blehfu, DavidRF, Jon Harald Sby, Krk487, Lesgles, Matt Gies, Maybedave, Neddyseagoon, Phthoggos, Solti, Stemonitis, 4 anonymous edits Gesang der Parzen Source: http://en.wikipedia.org/w/index.php?oldid=358594313 Contributors: Camembert, JackofOz, R'n'B, Rich Farmbrough, WereSpielChequers Piano Trio No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=452633207 Contributors: Davehi1, DavidRF, Graham87, Greenwoodtree, Katalogo Kochela, Rigaudon, Solti, Woohookitty, 6 anonymous edits String Sextet No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=452454069 Contributors: Cgingold, DTOx, DavidRF, Graham87, Headbomb, Jro571, Kromholz, Loodog, Schissel, Selavy68, Solti, Torqueing, 5 anonymous edits Piano Quartet No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=454545305 Contributors: Davehi1, DavidRF, Graham87, Greenwoodtree, Headbomb, Pascal666, Solti, Tijd-jp, 4 anonymous edits Piano Quintet Source: http://en.wikipedia.org/w/index.php?oldid=445997225 Contributors: Caitlin Rix, Camembert, Carkuni, Celloville, Cflm001, Davemck, DavidRF, Dr. Friendly, Dserafin, Fratrep, Gidip, Graham87, Greenwoodtree, Headbomb, Katalogo Kochela, Leonard Vertighel, Lir, Mais oui!, Missmarple, Pbryant7, Ronnie268, Schissel, Solti, Springeragh, Tableto, Thecopybook, Xtfcr7, 44 anonymous edits String Sextet No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=452454086 Contributors: CaritasUbi, Cgingold, Graham87, Headbomb, Schissel, Solti Cello Sonata No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=452514142 Contributors: Andres, Arcadian, BaronLarf, Blehfu, CenturionZ 1, Danielbaer, DavidRF, Dr. Friendly, Graham87, Greenwoodtree, JackofOz, Keinstein, Mantra002, Missmarple, NBeale, Opus33, Robert Happelberg, Schissel, Simon12, Solti, Spangineer, Wetman, WolfmanSF, 13 anonymous edits Trio for Horn, Violin and Piano Source: http://en.wikipedia.org/w/index.php?oldid=452574199 Contributors: Boalades, DavidRF, EoAaa, GAVVA23212, Graham87, Greenwoodtree, Horndude77, Jerome Kohl, Joshuagarrett, Katalogo Kochela, Martin451, PyromaniacTom, Schissel, Solti, Tkv435, Ugen64, 7 anonymous edits Piano Quartet No. 3 Source: http://en.wikipedia.org/w/index.php?oldid=452522413 Contributors: AkiStuart, Crochet, DavidRF, Graham87, Greenwoodtree, Headbomb, JackofOz, 3 anonymous edits String Quartet No. 3 Source: http://en.wikipedia.org/w/index.php?oldid=452685765 Contributors: CaritasUbi, Fetchcomms, FordPrefect42, Graham87, Headbomb, Schissel, Solti, Tsuk, 3 anonymous edits Violin Sonata No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=461875354 Contributors: Bearcat, Bugulugu5, JamesBWatson, Kostaki mou, Michael Bednarek, Nonopoly, Tijd-jp, Wildbill hitchcock, 5 anonymous edits Piano Trio No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=454545021 Contributors: DavidRF, Graham87, Greenwoodtree, Grobbinspiano, Headbomb, P0mbal, Pascal666, R'n'B, Solti, Tijd-jp, Ulric1313, 1 anonymous edits String Quintet No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=454544476 Contributors: Adam Cuerden, Gerda Arendt, Graham87, Headbomb, Limeginger, P0mbal, Tijd-jp Cello Sonata No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=452546941 Contributors: Crochet, DavidRF, Jcdyer, Schissel, Ser Amantio di Nicolao, Solti, 3 anonymous edits Piano Trio No. 3 Source: http://en.wikipedia.org/w/index.php?oldid=441555025 Contributors: DavidRF, Graham87, Greenwoodtree, Headbomb, IvyGold, Milkunderwood, Solti, 1 anonymous edits Violin Sonata No. 3 Source: http://en.wikipedia.org/w/index.php?oldid=443850492 Contributors: Biruitorul, CenturionZ 1, Chris Capoccia, Graham87, Greenwoodtree, Headbomb, Iridescent, K. Lastochka, Katzenfrucht, Nonopoly, PigFlu Oink, Solti, Springeragh, 5 anonymous edits String Quintet No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=454544627 Contributors: Crochet, Headbomb, JackofOz, Stephen B Streater, Tijd-jp, 5 anonymous edits Clarinet Quintet Source: http://en.wikipedia.org/w/index.php?oldid=451949675 Contributors: Allegroamabile, Atavi, DavidRF, Graham87, Greenwoodtree, Jordanelliottkamnitzer, Korinth111, NeverWorker, Rjwilmsi, Schissel, Scoty6776, Solti, Theo10011, Woohookitty, 52 anonymous edits Two Clarinet Sonatas Source: http://en.wikipedia.org/w/index.php?oldid=459551667 Contributors: Atavi, Blehfu, Bobrock, DavidRF, Gabbe, Greenwoodtree, Headbomb, John Barley, Jon Stockton, Kiwa, Lrkleine, LtPowers, MangoC, Missmarple, Mnd, Musikfabrik, Nerdypoo, Rjwilmsi, Rsholmes, Sketchee, Solti, Tobias Bergemann, 13 anonymous edits Piano Sonata No. 1 Source: http://en.wikipedia.org/w/index.php?oldid=463919059 Contributors: Dtrebbien, Graham87, JackofOz, Schissel, Solti, Xanthoxyl, 8 anonymous edits Piano Sonata No. 2 Source: http://en.wikipedia.org/w/index.php?oldid=463919063 Contributors: Dtrebbien, Graham87, Headbomb, JackofOz, Schissel, Solti, Xanthoxyl, 22 anonymous edits Piano Sonata No. 3 Source: http://en.wikipedia.org/w/index.php?oldid=463919065 Contributors: Addaick, Belovedfreak, Blehfu, BlueDevil, Chimin 07, DavidRF, Diannaa, Giraffedata, Graham87, JackofOz, Kulturtrager, Leonard Vertighel, LilHelpa, Liszter, Pegship, Pmolinak, Schissel, Ser Amantio di Nicolao, Solti, Springeragh, 62 anonymous edits Four Ballades Source: http://en.wikipedia.org/w/index.php?oldid=434983652 Contributors: Chimin 07, Chubbles, Defrosted, Goldfritha, JackofOz, Kulturtrager, Leonard Vertighel, Solti, 21 anonymous edits Variations and Fugue on a Theme by Handel Source: http://en.wikipedia.org/w/index.php?oldid=459731598 Contributors: Blehfu, BrokenSegue, Cgingold, Crownheightser, DavidRF, Defrosted, Deschreiber, GoingBatty, Graham87, Headbomb, JackofOz, Leonard Vertighel, Missmarple, Solti, Squeemu, Stephenb, Tesscass, Woohookitty, Yamibakuragod, 28 anonymous edits Variations on a Theme of Paganini Source: http://en.wikipedia.org/w/index.php?oldid=445301353 Contributors: Arcadian, Clementi, Dysprosia, Ganymead, Gregory of nyssa, Grm wnr, JackMcJiggins, JackofOz, Leonard Vertighel, Mathpianist93, Michaeln, Missmarple, Mnd, Robbiethemann, RobertG, Sketchee, Sparkzy, Weregerbil, , 7 anonymous edits Sixteen Waltzes for piano, four hands Source: http://en.wikipedia.org/w/index.php?oldid=401007469 Contributors: Clarin, Classickol, CommonsDelinker, DavidRF, Dr. Friendly, Ianleow7, Iudaeus, JackofOz, Jeodesic, Kleinzach, Leonard Vertighel, Michael Bednarek, NuncAutNunquam, Raul654, Rigaudon, Solti, 5 anonymous edits Rhapsodies Source: http://en.wikipedia.org/w/index.php?oldid=446659117 Contributors: Bjankuloski06en, Defrosted, Graham87, JackofOz, Kostaki mou, Leonard Vertighel, Missmarple, Peterbispham, Solti, 8 anonymous edits

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Smith, Fintor, J Milburn, J.delanoy, JackofOz, Jerressy44, JerryFriedman, JoelDick, Jonyungk, Jovianeye, Joyous!, Julesd, Kameou, Komischn, Lisiate, MDfoo, Marcus Cyron, Max24, Melchoir, Melodia, Michael Bednarek, Miriam1979, Nicolmc22, NuclearWarfare, Rigadoun, Schissel, Smerus, Spleek, Statler&Waldorf, Swampy3, TheAstonishingBadger, TheMaestro, Tigerjojo98, Tikitike, UnicornTapestry, Valrith, Vstrad7, Wave632002, 83 anonymous edits F-A-E Sonata Source: http://en.wikipedia.org/w/index.php?oldid=463135788 Contributors: Cenedi, David Sneek, Finell, FordPrefect42, Gogo Dodo, Hyacinth, JaGa, JackofOz, Kleinzach, Marinatomich, Missmarple, Mnd, Panapp, Rodhullandemu, Schissel, Solti, Squeemu, Stephenjh, 15 anonymous edits Hungarian Dances Source: http://en.wikipedia.org/w/index.php?oldid=462354089 Contributors: Absurdist1968, Antandrus, Balloonguy, Bdodo1992, Beau99, Belovedfreak, Brambleclawx, Burntsauce, Cat's Tuxedo, Chemicalrubber, Commasalot, CryptoDerk, D6, DJ-Studd, Darev, DarkProdigy, DavidRF, Doc, Dqeswn, Dr. Friendly, Elektrik Shoos, Equazcion, FV alternate, FayssalF, FelineAvenger, Fibonacci, FordPrefect42, Galmy, Graham87, Gus, Headbomb, Hermione1980, Insomniac By Choice, JackofOz, James470, Jdiazch, Karol Langner, Kdkeller, Kostaki mou, Kratos 84, Kurykh, Leonard Vertighel, Libido, MYXOMOPbI4, Mbakkel2, Michael Bednarek, Mitteldorf, Mnd, Mordant21, Muulix, Nanami Kamimura, Navica, NickPenguin, Outriggr, Pavel Vozenilek, Pengo, Pigoutgirl8, Pimlottc, Pokrajac, Redvers, Richard David Ramsey, Rigadoun, SPUI, SeuLunga, Sheynhertz-Unbayg, Sketchee, Struway, Tintin1107, VasilievVV, Violncello, Vsmith, 88 anonymous edits BrahmsSchoenberg Quartet Source: http://en.wikipedia.org/w/index.php?oldid=461064421 Contributors: Equilibrial, Koavf, Malcolmxl5, Ohconfucius, Robertgreer, Schissel, Tassedethe Liebeslieder Walzer Source: http://en.wikipedia.org/w/index.php?oldid=456366741 Contributors: Equilibrial, FordPrefect42, Headbomb, Mayalld, Ohconfucius, Robertgreer, Tassedethe, 1 anonymous edits Brahms/Handel Source: http://en.wikipedia.org/w/index.php?oldid=451524307 Contributors: Graham87, Headbomb, Mayalld, Mercurywoodrose, Ohconfucius, Robertgreer Joseph Joachim Source: http://en.wikipedia.org/w/index.php?oldid=464124161 Contributors: 4meter4, Alanmaher, Alevtina27, All Hallow's Wraith, Arnie587, Atavi, Attilios, Avaya1, Avraham, Badagnani, Biglovinb, Brandon97, Camembert, Cenedi, Cgingold, Chase me ladies, I'm the Cavalry, Cribcracker, D6, Davidwinter, Defrosted, Delirium, Docu, DynamoDegsy, Ebrownless, Eduardo Antico, Eugene-elgato, Fayenatic london, Florestanova, FordPrefect42, Frochtrup, Galoubet, Gareth E Kegg, Gerda Arendt, Goethicus, Graham87, Headbomb, Hoary, HotFXMan, Hrdinsk, Hyacinth, JackofOz, Jaxl, Juro, K. Lastochka, Karljoos, Kbdank71, Kenshin, Kittybrewster, Kwamikagami, Leolsc, Leonard Vertighel, Lotje, M A Mason, Magnus Manske, MaxEnt, Mceder, Metebelis, Missmarple, MollyTheCat, Moyshe L., Neurolysis, Nono64, Noq, Nurdug, Oliver Mundy, Open2universe, Paradiso, PeterJM, Philip Cross, Piccadilly, Plusboats, Pylambert, Quentin X, Rcbutcher, Rfsmit, RichardVeryard, Rjwilmsi, RobertG, Sbarthelmes, Schissel, Seneca 2007, Shaul, Smerus, Spyroninja, Ssilvers, TBHecht, Tagishsimon, Ted Wilkes, TheodorVonAschenbach, Tjako, Toddsch, Tony1, Ulflarsen, Ulmanor, Uponeeds, Violncello, WolfmanSF, Woohookitty, Yid613, Yngvadottir, Zalejx, Zarafa, 107 anonymous edits Franz Liszt Source: http://en.wikipedia.org/w/index.php?oldid=464677412 Contributors: (jarbarf), 1122mmg, 2, 4meter4, 88keys4me, 9876543210KAK, A4, ACSE, AKGhetto, Abrech, Acdx, Adam78, AgentCDE, Aguado13, Ahoerstemeier, Ahunt, Aidensmiths, Ajd, Akivawolf, Alai, AlanUS, Alanasings, Alansohn, Alegreen, Alensha, AlexParis75, Alexander Doria, AlexiusHoratius, Alfion, Almitydave, Alsandro, Alton, Android Mouse, Angusmclellan, AnnaKucsma, Antandrus, Anthropocentrism, Antidote, Antipodean Contributor, Anton Mravcek, AntonioBecerraPiano, Anubis3, Aoi, Arcadian, Arcot, Aristote33, Arknascar44, Arniep, Art LaPella, Asmadeus, Attilios, Avenged Eightfold, B.wilson, Ballard leslie, Baroque4lyfe, Baxter9, Bbb23, Beardless, Ben Kidwell, Bender235, Bercziszani, Bettia, Bhugh, Bilbobee, Biruitorul, Bkonrad, Blackfield, BlueMoon6, Bmclaughlin9, Bob Burkhardt, Bobnotts, Bogdangiusca, Bonadea, Bongwarrior, BorgQueen, Brandon97, Brandy132, Brequinda, Bstct, Btball, Byrial, Cactus.man, CallidusUlixes, Calliopejen1, Calmer Waters, Camembert, Can't sleep, clown will eat me, Candyquasar, Captain-tucker, Caracaskid, Carlinhos1976, Cassan, Ccady, Ceoil, Cfailde, Cflm001, Cgingold, Chanlyn, Charmii, Chase me ladies, I'm the Cavalry, Chavo gribower, Chicheley, Chris the speller, Chun-hian, CillanXC, Clavecin, Closedmouth, Cokoforcoccopuffs, Connormah, Corixidae, Cornflowerprincesscandy, Courcelles, Cribananda, CyberSkull, CyrilleDunant, D6, DLand, DVed, DabMachine, Danmuz, Danny, Darklilac, Darth Panda, Darthur, DaveFoster110@hotmail.com, David Newton, Davidrobertevans, DeathlikeSilence07, Deb, Defrosted, Deor, Dewet, Dirac1933, Discospinster, DjKrisz, Djdoobwah, Dkg, Doc glasgow, Dogbertd, DotKuro, Download, Dr. Blofeld, Dr. Dan, Dr. Friendly, Drpainosaurus, Drrngrvy, Dsp13, Dysprosia, Ean5533, Eastfrisian, Editor2020, Edward, Egospark, El C, Elindstr, Emerson7, Emj999, EmmDoubleEw, Entroppie, Equendil, Ericoides, Etincelles, Euphorion, Eve Noah, Ewulp, Excirial, Exor674, Extransit, FRM SYD, Fahl5, Falcon8765, Fanghong, FarnhamJ, Feldmahler, Fieldday-sunday, Finbar Canavan, FisherQueen, Flamurai, Floccinauccinihilipilificationist, Florestanova, Flying tiger, Frankenpuppy, Frankgasse, Franz Michaelis, Fredrik, Frglz, Frosty0814snowman, Frymaster, Funper, Furry, Gabbe, Gaius Cornelius, Gareth E Kegg, Gargaj, Garli, Gata de los canales, Gatokid, Gene Ward Smith, Gerda Arendt, Ghirlandajo, Ginsengbomb, Giraffedata, Gjd001, Glingo, Globalhelper, Globalization, Gogo Dodo, Goodmorningworld, Gordonf238, Goudzovski, Graham87, Grantsky, Grayknight15, GreenZeb, Grin, Guitargary75, Gurch, Gustav von Humpelschmumpel, Gymnopedist, HalfShadow, HammerFilmFan, Hans Dunkelberg, Harangutan, Harry, Headbomb, Henry Lind, Hhielscher, Himasaram, Hobartimus, Hollomis, Holtatatis, Home Row Keysplurge, Hooperbloob, Hu12, HughRB, Hujaza, Hyacinth, II MusLiM HyBRiD II, Iamunknown, Iapetus, Icarus48, Ice Cold Beer, Iceberg3k, Iggy402, Ilubsweetbean, Ilva, Immunize, Infrogmation, Inks.LWC, Iridescent, Irishguy, IronGargoyle, J.delanoy, JASpencer, JForget, Jack1956, JackofOz, Jake Wartenberg, Jan1nad, Jauhienij, Jaxl, Jebba, Jeff G., Jeremiahkjones, Jesse.bye, JesseW, Jimqbob, Jkisch, Jmchugh, Jnar7, Jni, John Kjos, John.n-irl, Johngribben, Johnwhite79, Jonyungk, Joy, Jsmorrell123, Jwoodger, K. 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Anthony, TCO, TOO, Tabletop, TamsinAF1975, Tatiana24, Tazmaniacs, Tbone13619, Tedneeman, Terence75, The Nanto, The Utahraptor, The wub, Theonethatgotaway, Thirdeyeopen33, Tiddly Tom, Tide rolls, Tikiwont, Tim Ross, Tobulax, Todeswalzer, Toki, Tomaxer, Tomi, Tommy2010, Tony1, Toroko, Tpbradbury, Trivia23, Trou, UDScott, Ugen64, UkPaolo, Uncle Dick, UninvitedCompany, Unschool, Uponeeds, Urbanguy1, Uuslllk, Valentinian, Valvin, Vargasv, Versus22, Viajero, Violncello, Vladmirfish, WaldiR, Wanderer57, Wannabecrystal, Wavelength, Wellington, Wetman, WhisperToMe, Wifione, Wiki alf, WikiClef, WikiHatch, Wikibout, Wikieditor06, Wikilptico, Wikipelli, Wikista, Willashland, Wilt, Wimt, Wizzard, WolfgangFaber, Woohookitty, Wprlh, WylieMaercklein, XJamRastafire, Xezbeth, Xolorixo, Yamamoto Ichiro, Yancybox, YellowMonkey, Yms, Yosmil, Zerotta, Zhek, Zielonkers, Zoicon5, 1359 anonymous edits Eduard Marxsen Source: http://en.wikipedia.org/w/index.php?oldid=457217035 Contributors: Acjelen, Asparagus, Atavi, Bearcat, Boleyn, Drhoehl, FeanorStar7, Headbomb, JackofOz, Jetman, Ksnow, Magnus Manske, Marek69, Nishkid64, Ohconfucius, Salad Days, Skapur, Triquetra, Waacstats, Waleedbakr, 5 anonymous edits Robert Schumann Source: http://en.wikipedia.org/w/index.php?oldid=464489752 Contributors: !melquiades, 2D, Abductive, Across.The.Synapse, Adambiswanger1, Addaick, Afiqa1985, Ahoerstemeier, Aidensmiths, Ajraddatz, Akdoganerkan, Alansohn, Albyselkie, Alegreen, Aleksd, Alpha Quadrant (alt), Amaelus, Amillar, Andres, Andrewlp1991, Anglius, Angr, AnonGuy, Antandrus, ApolloCreed, Arcadian, Arjun01, Arnowaschk, Arthena, Atril, Atta T., Attilios, Avoided, BanjoNed, Beetstra, Bemoeial, Bentogoa, Billnot, Blackjack48, Bleh fu, Blehfu, Bob Burkhardt, Bobnotts, Bobo192, Bongbang, Brenont, Brettferrara286, Brothomeethees, BrownHairedGirl, Bsbennett, Btouburg, Byebyelove, CDutcher, CLC Editorial, CTZMSC3, Camembert,

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Edolardo, Edward, Edzk, Elassint, Emales, Epbr123, Erik9, Etincelles, Evaunit666, Everyking, EvilReborn, Ewangowan, FF2010, Fatedtoloveyou31, Favonian, Flewis, FlyingToaster, FoeNyx, Funandtrvl, F, GFlusitania, Gadfium, Gail, Galaxy250, Gavank, Geogre, Gidonb, Goatasaur, Graham87, GreatWhiteNortherner, GregAsche, Gscshoyru, Guanaco, Gujuguy, Gwalla, Gyrofrog, Gz33, HDL2010, HGB, Half Sarah, Hede2000, Heimstern, Hikitsurisan, Hmains, Huon, Husond, Hyacinth, II MusLiM HyBRiD II, Ianblair23, Igbob, Ihcoyc, Infrogmation, Insilentwonder, Irishguy, J.delanoy, JForget, JaGa, Jaksmata, Jamesooders, Janderk, Jdiazch, Jeff G., Jerome Kohl, Jivecat, Jmeppley, John254, Johnleemk, Jojhutton, JonBroxton, Jorcoga, Josh3580, Jotunn, Joyous!, Jtle515, Juliancolton, Junglecat, Jyril, Kelson, King of Hearts, Kingpin13, Kku, Kl711, Kleinzach, Korinth111, Kwiki, Labrynthia9856, Le Anh-Huy, LeaveSleaves, Lelepat, Leonard^Bloom, Lethaniol, Lilac Soul, Lildrummergirl930, Loren.wilton, Luna Santin, MASQUERAID, MER-C, Mackeriv, Maestroso simplo, Magister Mathematicae, Malbi, Malo, Mandarax, Marcus2, Matt Deres, Maxim, Maxkorah, Mboverload, Mentifisto, Mikeo, Mini-Geek, Minimac, Minimac's Clone, Missmarple, Modernist, Monty845, Mosi10, Munci, Mynameisnotpj, NSR77, Netoholic, Nevilley, Nilmerg, NuclearWarfare, Oda Mari, OldakQuill, OllieFury, Opus33, Orange Suede Sofa, Oreo Priest, Oxymoron83, Pascal666, Pavel Vozenilek, Pb30, Pdiffenderfer, Pedro, Pegasus1138, Phaedriel, Philip Trueman, Piano non troppo, Pilotguy, Pjoef, Pladask, Plasticspork, Precore19, PseudoSudo, Qertis, R9tgokunks, RaCha'ar, Ranveig, RazorICE, Rigaudon, Rjd0060, RobertG, Rod Corkin, Ronhjones, Rrburke, Saga City, Sam Hocevar, SarekOfVulcan, Sawta, Scewing, Scholiastes, Sdurrant, Securiger, Semimartingale, Shanes, Shlomke, Sho Uemura, Shoemaker's Holiday, Siddharth468, Sintaku, Sketchee, Smerus, SmilesALot, Snigbrook, Snowolf, Snowolfd4, SoSaysChappy, Soandos, Someguy1221, Springeragh, Ste900R, Steinsky, Steven Zhang, Stevertigo, Stevouk, Stirling Newberry, Stwalkerster, Sunshine4921, Syrthiss, TFOWR, Tayste, Telos, Template namespace initialisation script, Tempodivalse, Tetracube, The Thing That Should Not Be, The mantrainer, The monkeyhate, TheJazzDalek, Themfromspace, ThiagoRuiz, Think outside the box, TiMike, Tiddly Tom, Tiuks, Tkynerd, Tnxman307, Tomdobb, Tornvmax, Treun, Trusilver, Truthanado, Viajero, Vibup1, Violncello, Vitalyb, Viva-Verdi, Voceditenore, W.M. O'Quinlan, Waggers, Wayne Slam, White Trillium, Whjayg, Wik, Wikid77, Willking1979, Wolf530, Woohookitty, X!, Xp54321, 834 anonymous edits War of the Romantics Source: http://en.wikipedia.org/w/index.php?oldid=439150175 Contributors: Academic Challenger, Acegikmo1, Ankur, Brennan Milligan, Calor, Ceoil, CharlesGillingham, Headbomb, Jdiazch, Jonathan.s.kt, Jonyungk, Katieh5584, Kerowyn, Maestro893, Modonnel, NothingMuch, Pearle, Qmwne235, Schissel, Smerus, Tomaxer, Violncello, 23 anonymous edits Three Bs Source: http://en.wikipedia.org/w/index.php?oldid=430088528 Contributors: Alexander Doria, Barras, Bearcat, Dudesleeper, Edwin Editor, GTBacchus, GregorB, Headbomb, Noetica, Pldubuc, Redheylin, Rjwilmsi, Ser Amantio di Nicolao, Skarebo, Technopat, Unimath, 21 anonymous edits

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Image Sources, Licenses and Contributors

File:JohannesBrahms.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JohannesBrahms.jpg License: Public Domain Contributors: C. Brasch, Berlin File:Brahms geburtshaus in Hamburg.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Brahms_geburtshaus_in_Hamburg.jpg License: Public Domain Contributors: Original uploader was Sba2 at en.wikipedia File:Johannes Brahms 1853.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Johannes_Brahms_1853.jpg License: Public Domain Contributors: Kiwa, Mau db, Meister Raro, Palamde, 2 anonymous edits File:Zentralfriedhof Vienna - Brahms.JPG Source: http://en.wikipedia.org/w/index.php?title=File:Zentralfriedhof_Vienna_-_Brahms.JPG License: GNU Free Documentation License Contributors: Original uploader was Daderot at en.wikipedia File:Johannes Brahms portrait .jpg Source: http://en.wikipedia.org/w/index.php?title=File:Johannes_Brahms_portrait_.jpg License: Public Domain Contributors: Density, Martin H., Michael Bednarek, OttawaAC File:Johann Strauss and Brahms in Vienna.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Johann_Strauss_and_Brahms_in_Vienna.jpg License: Public Domain Contributors: Original uploader was Sba2 at en.wikipedia File:Brahms 1-III theme a.png Source: http://en.wikipedia.org/w/index.php?title=File:Brahms_1-III_theme_a.png License: Public Domain Contributors: Lrkleine File:Brahms 1-III theme b.png Source: http://en.wikipedia.org/w/index.php?title=File:Brahms_1-III_theme_b.png License: Public Domain Contributors: Lrkleine File:Brahms 1-III trio theme.png Source: http://en.wikipedia.org/w/index.php?title=File:Brahms_1-III_trio_theme.png License: Public Domain Contributors: Lrkleine File:JBrahms.jpg Source: http://en.wikipedia.org/w/index.php?title=File:JBrahms.jpg License: Public Domain Contributors: unknown, upload by Adrian Michael File:Commontime.svg Source: http://en.wikipedia.org/w/index.php?title=File:Commontime.svg License: Public Domain Contributors: Erakis File:Introduction of Brahms Clarinet Sonata No. 1.png Source: http://en.wikipedia.org/w/index.php?title=File:Introduction_of_Brahms_Clarinet_Sonata_No._1.png License: Public Domain Contributors: Lrkleine File:Second movement.png Source: http://en.wikipedia.org/w/index.php?title=File:Second_movement.png License: Public Domain Contributors: Lrkleine File:Intro to last movement of brahms sonata 1.png Source: http://en.wikipedia.org/w/index.php?title=File:Intro_to_last_movement_of_brahms_sonata_1.png License: Public Domain Contributors: Lrkleine Image:HandelVar Theme.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HandelVar_Theme.jpg License: Public Domain Contributors: deschreiber Image:HandelVar Var01.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HandelVar_Var01.jpg License: Public Domain Contributors: deschreiber Image:HandelVar Var02.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HandelVar_Var02.jpg License: Public Domain Contributors: deschreiber Image:HandelVar Var03.jpg Source: http://en.wikipedia.org/w/index.php?title=File:HandelVar_Var03.jpg License: Public Domain Contributors: deschreiber 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