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 0 - 20.
Song | Added By | Pages | Instruments | Sheet Type | File |
Waltz in A flat |
midnightpearls7 (1)
3521d ago
|
3 | Piano | Transcription | |
Albumblatt |
stockhoven (14)
3547d ago
|
2 | Piano | Original | |
Abendständchen (SAATBB) |
sano236 (234)
3590d ago
|
4 | Vocal | Transcription | |
Waldesnacht |
sano236 (234)
3591d ago
|
4 | Vocal | Transcription | |
Verstohlen geht der Mond auf |
sano236 (234)
3591d ago
|
1 | Piano, Vocal | Transcription | |
Des Abends |
sano236 (234)
3591d ago
|
2 | Piano, Vocal | Transcription | |
Abendständchen |
sano236 (234)
3601d ago
|
4 | Vocal | Transcription | |
Meine Liebe ist gruen |
jony5557 (4)
3865d ago
|
4 | Piano, Vocal | Book | |
Danza Hungara Num. 5 |
veniaphoto (1)
3893d ago
|
2 | Violin | Original | |
von ewiger liebe |
Jupetta (5)
3956d ago
|
6 | Piano, Vocal | Transcription | |
Scherzo in C |
clarnetist1 (1)
4012d ago
|
2 | Clarinet | Original | |
Auf Dem See |
abbedissan (5)
4039d ago
|
4 | Piano, Vocal | Original | |
Waltz in A flat |
colaks (1)
4052d ago
|
12 | Cello, Violin, Viola | Original | |
Hungarian dance No.5 for violin virtuoso |
luisillo (5)
4103d ago
|
10 | Violin | Other | |
Hungarian dance No. 5 for violin intermediate |
luisillo (5)
4103d ago
|
10 | Violin | Other | |
lullaby |
quispnquake (16)
4114d ago
|
2 | Piano, Vocal | Original | |
Erlaube mir |
pierreolivier (3)
4123d ago
|
1 | Vocal | Book | |
O susser Mai |
pierreolivier (3)
4123d ago
|
2 | Vocal | Book | |
Brahms Lullaby |
bogdanbogdan (4)
4129d ago
|
1 | Saxophone | Book | |
Hungarian 4 Cello part |
fiddlers (5)
4148d ago
|
2 | Cello | Original |