Brahms
Johannes Brahms (May 7, 1833 â April 3, 1897) was a German composer of the Romantic period. He was born in Hamburg and in his later years he settled in Vienna, Austria.
Brahms maintained a Classical sense of form and order in his works â 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 program 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. The main theme of the finale of Brahms's First Symphony is 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 â jeder Esel â could see that.
Ein deutsches Requiem was partially inspired by his mother's death in 1865, but also incorporates material from a Symphony 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 also studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz and especially Johann Sebastian Bach. His friends included leading musicologists, and with Friedrich Chrysander he edited an edition of the works of François Couperin. He looked to older music for inspiration in the arts of strict 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.
Brahms maintained a Classical sense of form and order in his works â 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 program 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. The main theme of the finale of Brahms's First Symphony is 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 â jeder Esel â could see that.
Ein deutsches Requiem was partially inspired by his mother's death in 1865, but also incorporates material from a Symphony 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 also studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz and especially Johann Sebastian Bach. His friends included leading musicologists, and with Friedrich Chrysander he edited an edition of the works of François Couperin. He looked to older music for inspiration in the arts of strict 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.
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Total 915 sheet(s) found, listing between 600 - 620.
Song | Added By | Pages | Instruments | Sheet Type | File |
Brahms - Two Cadenzas for Mozart's Piano Concerto in G Major, K. 453 |
singingstrings (21)
4896d ago
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3 | Piano | Other | |
Brahms - Two Cadenzas for Beethoven's Piano Concerto in G Major, Op 58 |
singingstrings (21)
4896d ago
|
8 | Piano | Other | |
Brahms - Cadenza for Mozart's Piano Concerto in D Minor, K. 466 |
singingstrings (21)
4896d ago
|
4 | Piano | Other | |
Brahms - Cadenza for Mozart's Piano Concerto in C Minor, K. 491 |
singingstrings (21)
4896d ago
|
3 | Piano | Other | |
Brahms - Cadenza for Beethoven's Piano Concerto in C Minor, Op 37 |
singingstrings (21)
4896d ago
|
6 | Piano | Original | |
Brahms - Cadenza for Bach's Piano Concerto in D Minor |
singingstrings (21)
4896d ago
|
1 | Piano | Original | |
Brahms ballade Op10 4 |
singingstrings (21)
4896d ago
|
8 | Piano | Original | |
Brahms ballade Op10 3 |
singingstrings (21)
4896d ago
|
4 | Piano | Original | |
Brahms ballade Op10 2 |
singingstrings (21)
4896d ago
|
3 | Piano | Original | |
Brahms ballade Op10 1 |
singingstrings (21)
4896d ago
|
3 | Piano | Transcription | |
Sonata para Cello Op. 38 |
basilifranco_92 (2)
4898d ago
|
34 | Piano, Cello | Book | |
Hungarian Dance No.5 |
cheukman1996 (11)
4898d ago
|
2 | Violin, Viola | Transcription | |
Variations on a Theme by Paganini book II |
antimon40 (3)
4898d ago
|
16 | Piano | Original | |
Piano Sonata No. 1 in C major, Op.1 |
Anoss (7)
4899d ago
|
49 | Piano | Original | |
brams 2 sarabandy |
kdstrike (4)
4899d ago
|
3 | Piano | Original | |
Brahms Lieder Vol. 1 |
kmayne (3)
4903d ago
|
100 | Piano, Vocal | Original | |
Sonata No3 in F minor |
romanx (35)
4903d ago
|
54 | Piano | Transcription | |
Dance hongroise |
361995 (20)
4904d ago
|
3 | Guitar | Original | |
Hungarian Dance |
Rachelgrace (4)
4905d ago
|
4 | Piano, Violin | Original | |
Capriccio Op. 73 n. 1 |
jaredaleks (1)
4906d ago
|
4 | Piano | Other |