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 300 - 320.
Song | Added By | Pages | Instruments | Sheet Type | File |
Dein Blaues Auge- So Clear Thin Eyes |
stradivari2000 (1)
4758d ago
|
1 | Piano | Original | |
Romances from Magelone, Op. 33, No. 2 |
vixelle (4)
4759d ago
|
10 | Piano, Vocal | Original | |
SONATA Nº 1 FOR CLARINET AND PIANO |
anorte4005 (1)
4759d ago
|
38 | Piano, Clarinet | Other | |
hurgarian |
rrre71 (202)
4759d ago
|
3 | Guitar | Original | |
Nachtigall |
caruso1 (121)
4760d ago
|
2 | Piano, Vocal | Original | |
Sehnsucht |
caruso1 (121)
4760d ago
|
3 | Piano, Vocal | Original | |
Wie bist du, meine Koenigin |
caruso1 (121)
4760d ago
|
5 | Piano, Vocal | Original | |
Walzer |
sherbatsky (12)
4761d ago
|
2 | Piano | Book | |
Ballade in B, Op 10 #4 |
illambo (1)
4761d ago
|
8 | Piano | Other | |
Liebeslieder Walzer Op.52 (1) Rede, Mädchen |
paulclaudel (4)
4762d ago
|
4 | Piano | Original | |
Intermezzo, Opus 117, No 12 |
tmurv (2)
4762d ago
|
6 | Piano | Transcription | |
Phantasien op 116 |
nelsoncastro (1)
4762d ago
|
24 | Piano | Other | |
Paganini Variations Op35 |
ray76 (69)
4762d ago
|
16 | Piano | Transcription | |
brahms lullaby |
joertaylor1992 (4)
4763d ago
|
1 | Piano | Transcription | |
Fringe Theme Song |
YenamMan (4)
4763d ago
|
1 | Piano | Transcription | |
Och Moder ich well en Ding han |
ash16mel (1)
4763d ago
|
2 | Piano, Vocal | Transcription | |
Violin Sonata |
jtam127 (1)
4764d ago
|
3 | Violin | Original | |
Sonata |
monk89 (9)
4764d ago
|
34 | Horn | Transcription | |
Waltz in Ab |
dqtvictory (7)
4765d ago
|
2 | Piano | Original | |
hungarian dance |
zanzan273 (5)
4765d ago
|
4 | Piano | Original |