Johannes Brahms (Composer)
Brahms was a master in every form of comp. except opera, which he never attempted. He eschewed programme-mus. and wrote in the classical forms, yet his nature was essentially romantic. His 4 syms. are superb examples of his devotion to classical mus. architecture within which he introduced many novel thematic developments. In the chamber mus. practically every work is a masterpiece; his 4 concs. are indispensable features of concert life, and his songs, numbering nearly 200, are closely based on Ger. folk-songs but are polished and refined to a highly sophisticated degree. His prin. comps. are:
SYMPHONIES: No.1 in C minor, Op.68 (1855-76; f.p. Karlsruhe, 6 Nov. 1876, cond. Dessoff); No.2 in D major, Op.73 (1877; f.p. Vienna, 30 Dec. 1877, cond. Richter); No.3 in F major, Op.90 (1883; f.p. Vienna, 2 Dec. 1883, cond. Richter); No.4 in E minor, Op.98 (1884-5; f.p. Meiningen, 25 Oct. 1885, cond. Bьlow).
CONCERTOS: pf., No.1 in D minor, Op.15 (1854-8; f.p. Leipzig, 27 Jan. 1859, Brahms soloist); No.2 in Bb major, Op.83 (1878-81; f.p. Budapest, 9 Nov. 1881, Brahms soloist); vn., in D major, Op.77 (1878; f.p. Leipzig, 1 Jan. 1879, cond. Brahms, Joachim soloist); vn. and vc. in A minor, Op.102 (1887; f.p. Cologne, 15 Oct. 1887, soloists Joachim (vn.), R. Hausmann (vc.), cond. Brahms).
CHAMBER MUSIC: str. sextets No.1 in Bb major, Op.18 (1858-60), No.2 in G major, Op.36 (1864-5); str. qts., Op.51, No.1 in C minor, No.2 in A minor (1859-73), No.3 in Bb major, Op.67 (1876); str. quintets, No.1 in F major, Op.88 (1882), No.2 in G major, Op.111 (1890); cl. quintet in B minor, Op.115 (1891); pf. qts., No.1 in G minor, Op.25 (1861), No.2 in A major, Op.26 (1861-2), No.3 in C minor, Op.60 (1855-75); pf. quintet in F minor, Op.34 (1864); pf. trios, No.1 in B major, Op.8 (1853-4, rev. version 1889), No.2 in C major, Op.87 (1880-2), No.3 in C minor, Op.101 (1886); hn. trio in Eb major, Op.40 (1865); vc. sonatas, No.1 in E minor, Op.38 (1862-5), No.2 in F major, Op.99 (1886); vn. sonatas, No.1 in G major, Op.78 (1878-9), No.2 in A major, Op.100 (1886), No.3 in D minor, Op.108 (1886-8); cl. (or va.) trio in A minor, Op.114 (1891); cl. (or va.) sonatas, Op.120, No.1 in F minor, No.2 in Eb major (both 1894); Scherzo in C minor, vn., pf. (1853).
MISC. ORCH.: Serenades, No.1 in D, Op.11 (1857-8), No.2 in A, Op.16 (1858-9, rev. 1875); 3 Hungarian Dances (1873); Variations on a Theme by Haydn, Op.56a (1873); Akademische Festouvertьre (Academic Festival Overture) Op.80 (1880); Tragic Ov., Op.81 (1880, rev. 1881).
CHORUS & ORCH.: Ein Deutsches Requiem, sop., bar., ch., and orch., Op.45 (1857-68); Rinaldo, ten., male ch., and orch., Op.50 (1863-8); Rhapsody for cont., male ch., and orch., Op.53 (1869); Schicksalslied, ch. and orch., Op.54 (1871); Triumphlied, ch. and orch., Op.55 (1870-1); Nдnie, ch. and orch., Op.82 (1880-1); Gesang der Parzen, ch. and orch., Op.89 (1882).
PIANO: sonatas, No.1 in C major, Op.1 (1852-3), No.2 in F# minor, Op.2 (1852), No.3 in F minor, Op.5 (1853); Scherzo in Eb minor, Op.4 (1851); Variations on a Theme by R. Schumann, in F# minor, Op.9 (1854); 4 Ballades (No.1 in D minor, No.2 in D, No.3 in B minor, No.4 in B), Op.10 (1854); Variations on a Theme by R. Schumann, in Eb, Op.23, pf. duet (1861); Variations and Fugue on a Theme by Handel, Op.24 (1861);Hungarian Dances (21 pf. duets) (1852-69); Variations on a Theme by Paganini, Op.35 (1862-3); 16 Waltzes, Op.39, pf. duet (1865, arr. for solo pf. 1867); Variations on a Theme by Haydn, Op.56b (2 pf.) (1873); Liebesliederwalzer, Op.52, 18 waltzes for SATB and pf. 4 hands (1868-9); Op.52a (without vocal parts) (1874); Neue Liebesliederwalzer, Op.65, 15 waltzes for SATB and pf. 4 hands (1874); Op.65a, without vocal parts (1875); pf. quintet in F minor, Op.34, arr. for 2 pf. as Op.34a; rhapsodies, intermezzos, and studies.
ORGAN: 11 Choral Preludes, Op.122 (pubd. 1896 in 2 books) Bk. I: 1, Mein Jesu, der du mich. 2, Herzliebster Jesu. 3, O Welt, ich muss dich lassen. 4, Herzlich tut mich erfreuen. Bk. II: 5, Schmьcke 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, O Welt, ich muss dich lassen (II); Fugue in A minor (1856); Prelude and Fugue in A minor (1856); Prelude and Fugue in G minor (1857).
PART-SONGS etc.: 4 Part-Songs, Op.17, women‘s vv., 2 hns., harp (1860); 7 Marienlieder, Op.22, mixed ch.; Ps. XIII, Op.27, women‘s vv., pf. (1859); 2 Motets, Op.29, unacc. ch. (1860); Geistliches Lied (Lass dich nur nichts dauern), Op.30, ch., org. or pf. (1856); 3 Quartets, Op.31, solo vv., pf. (1859-63); 3 Sacred Ch., Op.37, unacc. women‘s vv. (1859-63); 5 Soldatenlieder, Op.41, unacc. male ch. (1861-2); 3 Lieder (incl. Abendstдndchen), Op.42, unacc. mixed ch. (1859-61); 12 Lieder und Romanzen, Op.44, unacc. women‘s vv. (1859-63); 7 Lieder, Op.62, unacc. (1874); 3 Quartets, Op.63, 4 solo vv., pf. (1862-74); 2 Motets, Op.74, unacc. (1863-77); 4 Quartets, Op.92, solo vv., pf. (1877-84); 6 Lieder und Romanzen, Op.93a, unacc. (1883-4); Tagelied, Op.93b, unacc. (1884); 11 Zigeunerlieder, Op.103, 4 vv., pf. (1887); 5 Lieder, Op.104, unacc. (1888); Deutsche Fest- und Gedenksprьche, Op.109, unacc. double ch. (1886-8); 3 Motets, Op.110, unacc. (1889); 6 Vocal Quartets, Op.112, unacc. (1889-91); 13 Canons, Op.113, women‘s vv., pf. (1863-90); also 14 Ger. Folksongs, unacc. (1864); 14 Volks-Kinderlieder, vv., pf. (pubd. 1858).
SONG-CYCLES: Die schцne Magelone, Op.33, v. and pf., 15 Romanzen from Magelone (L. Tieck, 1773-1853): 1, Keinen hat es noch gereut. 2, Traun! Bogen und Pfeil. 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 mьssen uns trennen. 9, Ruhe, Sьssliebchen. 10, So tцnet denn. 11, Wie schnell verschwindet. 12, Muss es eine Trennung geben. 13, Geliebter, wo zaudert dein irrender Fuss. 14, Wie froh und frisch. 15, Treue Liebe dauert lange. (1861-8); Vier ernste Gesдnge, Op.121, low v., pf. (orch. by Sargent) (1896).
SONGS: Brahms published over 200 songs, from his Op.3 (1852-3) to his Op.107 (1886). Among the best known, with poets’ names, are: Abend-dдmmerung (Schack), Op.49, No.5 (1868); Am Sonntag Morgen (Heyse), Op.49, No.1 (1868); An eine Aeolsharfe (Mцrike), Op.19, No.5 (1859); Auf dem Kirchhofe (Liliencron), Op.105, No.4 (1886); Blinde Kuh (Kopisch), Op.58, No.1 (1871); Botschaft (Daumer), Op.47, No.1 (c.1860); Dein blaues Auge (Groth), Op.59, No.8 (1873); Es liebt sich so lieblich (Heine), Op.71, No.1 (1877); Feldeinsamkeit (Allmers), Op.86, No.2 (1877-8); Geistliches Wiegenlied (Geibel), with va. obb., Op.91, No.2 (1884); Gestillte Sehnsucht (Rьckert), with va. obb., Op.91, No.1 (1884); Immer leise (Ling), Op.105, No.2 (1886); Der Jдger (Halm), Op.95, No.4 (1884); Kein Haus, keine Heimat (Halm), Op.94, No.5 (1884); Komm bald (Groth), Op.97, No.5 (1884); Der Kranz (Schmidt), Op.84, No.2 (1881); Lerchengesang (Candidus), Op.70, No.2 (1877); Liebestreu (Reinick), Op.3, No.1 (1853); Das Mдdchen spricht (Gruppe), Op.107, No.3 (1886); Die Mainacht (Hцlty), Op.43, No.2 (1868); Mein Herz ist schwer (Geibel), Op.94, No.3 (1884); Mit vierzig Jahren (Rьckert), Op.94, No.1 (1884); Die Nachtigall (Reinhold), Op.97, No.1 (1884); Nachtigallen schwingen (Fallersleben), Op.6, No.6 (1853); O kьhler Wald (Brentano), Op.72, No.3 (1876-7); Salome (Keller), Op.69, No.8 (1877); Sapphische Ode (Schmidt), Op.94, No.4 (1884); Sonntag (Uhland), Op.47, No.3 (c.1865); Stдndchen (Kugler), Op.106, No.1 (1886); Steig auf, geliebter Schatten (Halm), Op.94, No.2 (1884); Therese (Keller), Op.86, No.1 (1877); Vergebliches Stдndchen (trad.), Op.84, No.4 (1881); Verzagen (Lemcke), Op.72, No.4 (1877); also several duets and 7 vols. containing 49 Ger. folk-song settings.
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