Brahms (sheet music in the #smlpdf)

Brahms (sheet music in the #smlpdf)

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Brahms – Wiegenlied Lullaby Op.49 No.4 (Easy Piano Solo arr. Noten, sheet music, partition)
Brahms 51 exercices
Brahms And Friends – Piano Pieces Of
Brahms Klavierwerke volume 1
Brahms Klavierwerke volume 2
Brahms Walzer Piano Op_39 easy version
Brahms Walzer Piano Op_39
Brahms Werke Band 12 Breitkopf JB 47 Op 52a
Brahms Werke Band 12 Breitkopf JB 48 Op 65a
Brahms – Intermezzo Op. 118 No. 2

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Brahms – The best of Brahms

Track List:


1. Hungarian Dance No 1 In G Minor 2. Hungarian Dance No 3 In F Major 03:07 3. Hungarian Dance No 5 In G Minor 05:31 4. Hungarian Dance No 5 In F Sharp Minor 07:53 5. Hungarian Dance No 6 In D Major 08:56 6. Hungarian Dance No 7 In F Major 12:24 7. Hungarian Dance No 10 In F Major 13:52 8. Symphony No 4 In E Minor Op. 98 – Allegro Non Troppo 15:44 9. Symphony No 4 In E Minor Op. 98 – Andante Moderato 28:23 10. Symphony No 4 In E Minor Op. 98 – Allegro Giocoso 39:54 11. Symphony No 4 In E Minor Op. 98 – Allegro 46:14 12. Symphony No 3 In F Op. 90 – Allegro Con Brio 57:06 13. Symphony No 3 In F Op. 90 – Andante 1:06:25 14. Symphony No 3 In F Op. 90 – Poco Allegretto 1:14:59

15. Symphony No 3 In F Op. 90 – Allegro 1:21:33 16. Waltz In A Minor Op. 39 No 14 1:30:30 17. Serenade No 2 In A Op. 16 – Allegro Moderato 1:32:54 18. Serenade No 2 In A Op. 16 – Scherzo, Vivace 1:41:16 19. Serenade No 2 In A Op. 16 – Adagio Non Troppo 1:43:53 20. Serenade No 2 In A Op. 16 – Quasi Minuetto 1:53:35 21. Serenade No 2 In A Op. 16 – Rondò 1:58:24 22. Cradle Song Brahms’ Lullaby Op. 49 N.4 2:04:37 23. Cradle Song Brahms’ Lullaby Op. 49 N.4 – Piano Version 2:05:45 24. Cradle Song Brahms’ Lullaby Op. 49 N.4 – String Quartet 2:06:52

Brahms (short bio)

Johannes Brahms

(Hamburg, 1833 – Vienna, 1897) German composer. At a time when the division between supporters and detractors of Richard Wagner reached its highest degree, the figure of Brahms embodied for many of his contemporaries the ideal of a music that continued the classical tradition and the first romantic generation, opposed to Wagnerian excesses and megalomanias.

This does not mean that he can be considered a conservative musician: as a composer like Arnold Schönberg demonstrated in the first decades of the 20th century , the work of the Hamburg master went far beyond the mere continuation of given models and forms, to present itself loaded with future possibilities. His original variation conception, for example, would be profitably assimilated by the musicians of the Second Vienna School.

Respected in his time as one of the greatest composers and considered on the same level as Bach and Beethoven , with whom he forms the three mythical “B”s in the history of music, Brahms was born into a modest family in the that the father made his living playing in taverns and beer halls. A precocious musician, little Johannes soon began to accompany his father on the violin, performing dance music and the melodies that were then fashionable.

At the same time he studied musical theory and piano, first with Otto Cossel and later with Eduard Marxsen, a great teacher who saw exceptional talent in his young student, long before he wrote his Opus 1. Marxsen provided him with a rigorous training. technique based on the classics, also instilling in him a passion for disciplined work, something that Brahms retained throughout his life: unlike some of his contemporaries who exploited the idea of ​​the artist carried away by the outburst of inspiration and genius, the creator of the Requiem German always gave special priority to discipline, order and moderation.

An excellent pianist, he performed publicly on September 21, 1848 in his hometown with great success, despite the fact that, more than interpretation, his true vocation was composition. In the arduous path that followed to reach this goal, Marxsen constituted a first link, but the second and perhaps most important was Robert Schumann . After a short stay in Weimar, the city where he met Franz Liszt , Brahms moved to Düsseldorf, where he established contact with Schumann, who was surprised by the undeniable gifts of the young artist. The friendship between the two, as well as between the composer and the wife of the author of Manfred , continued throughout his life.

Following in the footsteps of Beethoven, in 1869 Brahms took up residence in Vienna, the musical capital of Europe since the times of Mozart and Joseph Haydn . There his personal style was consolidated, which, from initial approaches influenced by the reading of the greats of German romantic literature and close to Schumann’s aesthetics, led to a more classic positioning that sought its models in the tradition of the Viennese classics. and in the purity and austerity of Bach.

Brahms, who at the beginning of his career had focused almost exclusively on piano production, then addressed large instrumental forms, such as symphonies, quartets and quintets, all of which revealed a deep knowledge of formal construction. Unlike most of his contemporaries, and like his rival, Anton Bruckner , he was a supporter of abstract music and never addressed either the symphonic poem or opera or musical drama. Where his romantic inspiration is most clearly seen is in his numerous lieder collections. In the rest of his production, of great austerity and nobility of expression, he always avoided any personal confession.

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