Piano Music - Johannes Brahms

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📖 "Brahms knew what Goethe knew: that there can be no development without man, beyond man. As a result he became the arch-enemy of all illusions."
Wilhelm Furtwängler
Notebooks (1989)

📖 "Brahms, Johannes, the greatest of living musicians, born May 7, 1833, Hamburg, where his father was double-bass player, and from him he received his first musical instruction, and further training from Edward Marxsen. Schumann's warm recommendation in the Neue Zeitschrift für Musik (Oct. 23, 1833) drew the attention of musicians, public, and publishers to the young man, who afterwards, slowly but surely, built up his temple of artistic fame. After working for some time as conductor at the Lippe Court at Detmold, Brahms retired to his native city, studying the old masters diligently, and maturing his general culture. In 1862 he went to Vienna, which became his second home. For although, after conducting the concerts of the 'Singakademie' in 1864, he left Vienna, yet he could find no place (Hamburg, Ziirich, Baden-Baden, etc.) in which he could comfortably settle, and returned in 1869 to the city on the Danube. Then, again, after conducting the concerts of the " Gesellschaft der Musikfreunde " (1871-74) until Herbeck, who, meanwhile, had again taken his place as court capellmeister, replaced him, he lived for some time away from Vienna (near Heidelberg), but returned to that city in 1878. The degree of Mus. Doc. was conferred on him by the University of Cambridge in 1877, and that of Dr. Phil. Hon. C. by Breslau in 1881. In 1886 the Prussian Government named him Knight of the Ordre pour le Merite, with voting power, and also member of the Berlin Academy of Arts; and in 1889 he was presented with the freedom of his native city. What gives to Brahms a place among the immortals is the deep, true feeling which is always expressed in the choicest manner. All his works (with the exception of some dating from his storm-and-stress period, which, here and there, are somewhat bombastic and unruly) gain on closer acquaintanceship. He makes many new experiments in harmony, and these, at first, are confusing to the under- standing, but, on that very account, all the more conducive to lasting interest. Brahms' art of rhythm can, with good reason, be regarded as a continuation of that of Beethoven, in so far as it has turned from Schumann's characteristic mode of adhering to some marked rhythm, only suitable to small forms, to organic variety and to refinement of figuration in thematic work. The somewhat obtrusive syncopation to which Brahms was at first partial recedes more and more into the accompanying parts. Brahms depicts moods in a masterful manner; not only has he at his command, and more so than any of his contemporaries, the strikingly sombre tone, the particular feature of the serious art of to-day, but, equally so, the redeeming euphony, the mild reflection of undying light which fills the soul with peace and devout feeling. Brahms' music comes straight from the heart: it is not made, but felt; and this becomes more and more evident the more it is contrasted and compared with the wanton 'picture' music of to-day, with its calculated objectivity. The difference between music which comes from the heart and that which comes from the head may quickly be shown by placing a work of Brahms over against one by Bruckner, whom so many, at the present time, would rank near to, if not above, Brahms. The latter employs all art technique only as a means to an end, and that long, and it may be interesting, spinning out and thematic weaving together of motives only as the subsoil from whence spring the radiating blossoms of overflowing feeling, whereas with Bruckner one is forced to recognise the technique and instrumental apparatus as an aim in itself, if one would not pine away longing after some soul-stirring emotion. Although Schumann's recommendation at once brought Brahms into note, the recognition of his importance, in wider circles, only dates from the production (1868) of his 'Deutsches Requiem' (Op. 45). This noble and yet so charming work has opened the eyes of many, who hitherto had looked upon him as a plodder. Since that time every new work from his pen has been looked forward to with expectation and ever-increasing joy."
Hugo Riemann Dictionary of Music (1896)

Johannes Brahms

1833 (Hamburg) - 1897
Johannes Brahms was a German Romantic composer, pianist and conductor.

📖 “If there is anyone here whom I have not insulted, I beg his pardon.”

📖 “Without craftsmanship, inspiration is a mere reed shaken in the wind.”

📖 “The idea comes to me from outside of me - and is like a gift. I then take the idea and make it my own - that is where the skill lies.”

📖 “Leave off driving your composers. It might prove to be as dangerous as it is generally unnecessary. After all, composing cannot be turned out like spinning or sewing. Some respected colleagues (Bach, Mozart, Schubert) have spoilt the world terribly. But if we can’t imitate them in the beauty of their writing, we should certainly beware of seeking to match the speed of their writing. It would also be unjust to put all the blame on idleness alone. Many factors combine to make writing harder for us (my contemporaries), and especially me. If, incidentally, they would use us poets for some other purpose, they would see that we are thoroughly and naturally industrious dispositions . . . . I have no time: otherwise I should love to chat on the difficulty of composing and how irresponsible publishers are.”
From Johannes Brahms: Life and Letters

📖 “Study Bach, there you will find everything.”

📖 "My things really are written with an appalling lack of practicability!"
In Letter to Joachim

Quotes by Johannes Brahms

🔔 Reload the page a few times if you see orange widgets instead of books and music.

Download Piano Duo Music by Brahms

👉 Brahms, Johannes 16 Waltzes, Op. 39

👉 Brahms, Johannes Hungarian Dances

👉 Brahms, Johannes Liebeslieder Waltzes, Op. 52a, arranged for piano 4 hands by Brahms

Documentaries, Lectures and Conversations about Brahms

David Dubal's 'Conversations with Arrau' (5 of 6): Brahms

Explore Recordings of Brahms' Music

Ein deutsches Requiem, op. 45
Elisabeth Schwarzkopf, soprano
Dietrich Fischer-Dieskau, baritone
Philharmonia Chorus
Philharmonia Orchestra
Otto Klemperer, conductor
Recorded in 1961

Piano Works by Johannes Brahms

Op. 1 Sonata no.1, C 1852–3

Op. 2 Sonata no.2, f♯ 1852

Op. 4 Scherzo, e♭

Op. 5 Sonata no.3, f 1853

Op. 9 Variations on a Theme by R. Schumann, f♯ 1854

Op. 10 4 Ballades, d ‘Edward’, D, b, B 1854

Op. 21 Variations on an Original Theme, D, 1857

Op. 21 Variations on a Hungarian Song, D, by 1856

Op. 24 Variations and Fugue on a Theme by G.F. Handel, B♭, 1861

Op. 35 Variations on a Theme by Paganini, a, 1862–3

Op. 39 [16] Waltzes; arr. of version for pf 4 hands

Op. 76 [8] Klavierstücke, 1879 (Capriccio, f♯ / Capriccio, b / Intermezzo, A♭/ Intermezzo, B♭/ Capriccio, c♯ / Intermezzo, A / Intermezzo, a / Capriccio, C)

Op. 79 Two Rhapsodies, b, g 1879, 1880

Op. 116 [7] Fantasien, by 1892 (Capriccio, d / Intermezzo, a / Capriccio, g / Intermezzo, E / Intermezzo, e / Intermezzo, E / Capriccio, d)

Op. 117 Three Intermezzos, E♭, b♭, c♯, 1892

Op. 118 [6] Clavierstücke, by 1893 (Intermezzo, a / Intermezzo, A / Ballade, g / Intermezzo, f / Romance, F / Intermezzo, e♭

Op. 119 [4] Clavierstücke, by 1893 (Intermezzo, b / Intermezzo, e / Intermezzo, C / Rhapsody, E♭

WOO1 [10] Hungarian Dances, by 1872; arr. of nos.1–10 from orig. version for pf 4 hands

WOO3 [2] Gavottes, a, A, by 1855

WOO4 posth. [2] Gigues, a, b, 1855

WOO5 posth. [2] Sarabandes, a, b, 1854–5

— Theme and Variations, d, 1860

WOO6 51 Exercises, 1850s–93

Anh. Ia/1 [5] Studies for the Piano (Study after Frédéric Chopin, f, 1869 / Rondo after C.M. von Weber, C, 1852 / Presto after J.S. Bach, g (2 versions), ?1877 / Chaconne by J.S. Bach, d, piano left hand, ?1877

Anh. Ia/2 arr. of Gavotte by Gluck, A, 1871

Anh.Ia/6 arr. of 4 Ländler by Schubert, E♭, A♭, c, C, 1869

Anh.Ia/7, arr. of Scherzo by Schumann, E♭, 1854

Anh.III/4 Piano piece, B♭

Anh.III/6 Variation on a Theme by Schumann, f♯, by 1868

Anh.III/9 arr. of H.C. Litolff: Maximilian Robespierre, ov., op.55, physharmonika, piano, 1852

Anh.III/10 arr. of Rákóczi March, a, ?1850s

Anh. IV/2 Study for the Left Hand, E♭; arr. of Schubert’s Impromptu D899 no.2, ?authentic

Anh IV/7 Cadenza to Beethoven: Piano Concerto, c, op.37

Piano Four Hands

Op. 23 Variations on a Theme by R. Schumann, E♭, 1861

Op. 39 [16] Waltzes, 1865

Op. 52a [18] Liebeslieder, Waltzes, 1874

Op. 65a [15] Neue Liebeslieder, Waltzes, 1875

WOO 1 [21] Hungarian Dances, 1868-1880

Anh. Ia/3, arr. of J. Joachim: Hamlet Overture, op.4, 1853–4

Anh.Ia/6, arr. of 16 Ländler by Schubert, by 1869

Anh.Ia/8, arr. of R. Schumann: Piano Quartet, op.47, E♭, 1855

Anh. IV/6 Souvenir de la Russie, by 1852 (Hymne national russe de Lvoff, F / Chansonette de Titoff, a / Romance de Warlamoff, a / Le Rossignol de A. Alabieff, d / Chant bohémien, G / ‘KOCA’) chant bohémien, G

Music for Two Pianos

34bis Sonata, f, 1864

Op. 39 [5] Waltzes, 1867

Op. 56b Variations on a Theme by J. Haydn, B♭, 1873

Anh. Ia/4 arr. of J. Joachim: Demetrius Overture, op.6, D, 1856

Anh.Ia/5 arr. of J. Joachim: Heinrich IV Overture, op.7, C, 1855

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