Brahms's twenty-four chamber works include a number of the most acclaimed masterpieces in the repertoire, and his piano trios including the famous Horn and Clarinet Trios are among the most admired, performed, and recorded of all. This edition, reprinted from the definitive one prepared by Hans Gal for Breitkopf & Hartel, presents all five of these brilliant works in an inexpensive yet fine-quality volume. Included are the B Major, C Major, and C Minor Trios (Opp. 8, 87, and 101) for violin, cello, and piano; the E-flat Major Trio (Op. 40) for violin, horn (or cello or viola), and...
Brahms's twenty-four chamber works include a number of the most acclaimed masterpieces in the repertoire, and his piano trios including the famous ...
Brahms wrote only two concerti in his lifetime, each one an important staple of the concert repertoire. Noted for their grand classical concepts and thrilling technical challenges, these masterpieces -- Piano Concertos Nos. 1 and 2 -- are featured here in full score in one convenient, affordable volume. From their mysterious and passionate introductions to their mighty conclusions, pianists, conductors, music students, and scholars will find the works in this handsome, full-sized edition ideal for study and performance purposes.
Brahms wrote only two concerti in his lifetime, each one an important staple of the concert repertoire. Noted for their grand classical concepts and t...
Brahms composed the piece in 1881, in memory of his deceased friend Anselm Feuerbach. "Nanie" (Song of Lamentation) is not about simple despair or mere complaint. Even in such dark moments, Schiller's romanticism is expressed as a yearning for the unattainable. The work opens with "Auch das Schone muss sterben!" (Even Beauty must die), and the tension between the veracity of the message and the yearning of the human spirit for the timelessness of temporality and the eternal recurrence of beauty can be sensed in the sheer beauty of Brahm's music. Unabridged digitally enhanced reprint of the...
Brahms composed the piece in 1881, in memory of his deceased friend Anselm Feuerbach. "Nanie" (Song of Lamentation) is not about simple despair or mer...
Brahms enriched the genre of chorus and orchestra with two impressive works from the early 1880s: In 1881, he set a text to Schiller's Nanie (Op. 82, four-part chorus and orchestra) and the next year (1882) he set Goethe's Song of the Fates (Op. 89, six-part chorus and orchestra). Goethe's text for Gesang der Parzen (Song of the Fates), Op. 89 explores the concept of fate as it relates to mankind. The text admonishes us to "Fear the Gods! They hold the power In eternal hands And can use it As they please." Brahms' setting portrays the contrast between the capriciousness of the Fates and the...
Brahms enriched the genre of chorus and orchestra with two impressive works from the early 1880s: In 1881, he set a text to Schiller's Nanie (Op. 82, ...
New digitally-enhanced reprint of the classic vocal score issued by Breitkopf & Hartel in the early 20th century edited by the eminent musicologist Eusebius Mandyczewski.
New digitally-enhanced reprint of the classic vocal score issued by Breitkopf & Hartel in the early 20th century edited by the eminent musicologist Eu...
Brahms composed his first volume of choral-watzes in August of 1869 to poetry taken from "Polydora," an 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875). Rather than the usual accompaniment for piano solo, Brahms elected to provide one for piano duet. The first performance was given in Heidelberg on November 4, 1869. The conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for 8 of the 18 selections (plus another subsequently included in his Op.65 set) for a concert given at Berlin's Hochschule on March 19, 1870. Offered...
Brahms composed his first volume of choral-watzes in August of 1869 to poetry taken from "Polydora," an 1855 collection of German folk-poems and love-...
Following the success of his first volume of choral-watzes of 1869, Brahms set another 14 songs to the same poetry from Polydora, the 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875) plus a conclusion set to a poem of Goethe - "Zum Schluss." Composed from 1869 through 1874, the second volume also features numbers for solo voices placed between the 4-voiced settings. The first complete performance was given in Karlsruhe on May 8, 1875. The conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for No.9 (in an...
Following the success of his first volume of choral-watzes of 1869, Brahms set another 14 songs to the same poetry from Polydora, the 1855...
Following the success of his first volume of choral-watzes of 1869, Brahms set another 14 songs to the same poetry from Polydora, the 1855 collection of German folk-poems and love-songs assembled by George Friedrich Daumer (1800-1875) plus a conclusion set to a poem of Goethe - "Zum Schluss." Composed from 1869 through 1874, the seond volume also features numbers for solo voices placed between the 4-voiced settings. The first complete performance was given in Karlsruhe on May 8, 1875. The conductor Ernst Rudorff persuaded Brahms to orchestrate the accompaniment for No.9 (plus 8...
Following the success of his first volume of choral-watzes of 1869, Brahms set another 14 songs to the same poetry from Polydora, the 1855...
In the wake of the positive reception of Brahms's first set of Liebeslieder-Walzer after their 1869 premire, the conductor Ernst Rudorff persuaded the composer to orchestrate the accompaniment for 8 of the 18 selections (plus a ninth piece subsequently included in the Op.65 set) for a concert given at Berlin's Hochschule on March 19, 1870. Offered here is a newly researched and superbly engraved edition by Richard W. Sargeant, Jr.
In the wake of the positive reception of Brahms's first set of Liebeslieder-Walzer after their 1869 premire, the conductor Ernst Rudorff persuaded ...
