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 860 - 880.
Song | Added By | Pages | Instruments | Sheet Type | File |
My Heart Will Go On |
jean898 (1)
5122d ago
|
4 | Piano | Transcription | |
Vienna Dance no 5 |
minechan (2)
5123d ago
|
3 | Piano | Original | |
koncert |
poupik (2)
5123d ago
|
23 | Cello, Violin | Transcription | |
Clarinet Quintet |
klarabury (4)
5123d ago
|
11 | Violin | Original | |
conserto violin |
arash707 (29)
5124d ago
|
10 | Violin | Book | |
Capriccio |
yankeedoodle12 (1)
5124d ago
|
5 | Piano | Other | |
Gaudeamus Igitur |
oleksem (2)
5125d ago
|
1 | Piano, Vocal | Other | |
Intermezzo in A Major op. 118 no. 2 |
ichigo (2)
5127d ago
|
5 | Piano | Transcription | |
Symphony No. 2 |
mconway7 (20)
5130d ago
|
2 | Clarinet | Original | |
Hungarian Dance |
ookaysee (1)
5131d ago
|
2 | Piano | Other | |
Brahms - Hungarian Dance for four hands |
lisztinf (3)
5133d ago
|
108 | Piano | Transcription | |
Symphony Nr. 1 |
radiguet (1)
5140d ago
|
43 | Piano | Transcription | |
Lullaby |
hrizkalla (1)
5141d ago
|
9 | Piano, Violin | Transcription | |
salamander |
loopseven (22)
5146d ago
|
3 | Piano | Original | |
Lieder Op. 47 |
MrRosco (3)
5148d ago
|
16 | Piano | Original | |
Lieder Op. 46 |
MrRosco (3)
5148d ago
|
16 | Piano, Vocal | Original | |
Intermezzo in A Major op. 118 no. 2 |
Showbiz88 (4)
5153d ago
|
4 | Piano | Other | |
Prelude and Fugue in A minor for organ, WoO 9 |
vrli (5)
5153d ago
|
16 | Organ | Original | |
Prelude and Fugue in G minor, WoO 10 |
vrli (5)
5153d ago
|
10 | Organ | Original | |
Waltz in A flat |
Tulara (4)
5154d ago
|
3 | Piano | Original |