Johannes Brahms - Knowledge

1057: 512: 2242: 1303: 308: 1082:, Op. 68, appeared in 1876, though it had been begun (and a version of the first movement had been announced by Brahms to Clara and to Albert Dietrich) in the early 1860s. During the decade it evolved very gradually; the finale may not have begun its conception until 1868. Brahms was cautious and typically self-deprecating about the symphony during its creation, writing to his friends that it was "long and difficult", "not exactly charming" and, significantly, "long and in 2051:, a work that was partially inspired by his mother's death in 1865 (at a time in which he composed a funeral march that was to become the basis of Part Two, "Denn alles Fleisch"), but which also incorporates material from a symphony which 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. 496: 9742: 7294: 6291: 504: 7304: 1267: 2175:, Joachim, and Clara Schumann for review. They noted its textures and frequent dissonances, which Brahms wrote (to Henschel) that he preferred on the strong beat, "resolve ... lightly and gently!" In 1855, Clara felt Brahms's harshness most distinguished his music from Robert's. Billroth described Brahms's dissonances as "cutting", "toxic", or (in the case of "In stiller Nacht") "divine". In 1855, Joachim noted "steely harshness" in the 1481: 760:

concentrate one's thoughts and increases one's courage ... But the hissing was too much of a good thing ..." At a second performance, audience reaction was so hostile that Brahms had to be restrained from leaving the stage after the first movement. As a consequence of these reactions Breitkopf and Härtel declined to take on his new compositions. Brahms consequently established a relationship with other publishers, including

6301: 808: 1634:. The work was composed in three major periods of his life. An early version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and this was later used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was added after the official premiere in 1868, and the work was published in 1869. 2108: 9768: 51: 1852:. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. You couldn't commission great music from Beethoven since he created only lesser works on commission—his more conventional pieces, his variations and the like." Brahms collected first editions and autographs of Mozart and Haydn's works and edited performing editions. 5829: 9792: 9780: 1131:'in absentia', offering as his thesis the previously performed (November 1876) symphony. But of the two, only Joachim went to England and was granted a degree. Brahms "acknowledged the invitation" by giving the manuscript score and parts of his First Symphony to Joachim, who led the performance at Cambridge 8 March 1877 (English premiere). 1826:, and when this resemblance was pointed out to Brahms he replied that any dunce could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth". Indeed, the similarity of Brahms's music to that of late Beethoven had first been noted as early as November 1853 in a letter from 1218:, who had been appointed assistant to von Bülow at Meiningen, and had been uncertain about Brahms's music, found himself converted by the Third Symphony and was enthusiastic about the Fourth: "a giant work, great in concept and invention". Another, but more cautious, supporter from the younger generation was 2221:

and Wagner. For Brahms's centenary in 1933, Schoenberg wrote and broadcast an essay "Brahms the Progressive" (rev. 1947, pub. 1950), establishing Brahms's historical continuity (perhaps self-servingly). Schoenberg portrayed him as a forward-looking innovator, somewhat polemically against the image of

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Some criticized Brahms's music as overly academic, dense, or muddy. Even Hanslick criticized the First Symphony as academic. (He later praised the "harmonic and contrapuntal art" of the Fourth Symphony's passacaglia.) Elisabeth von Herzogenberg initially considered the Fourth's first movement a "work

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Johann Jakob gave his son his first musical training; Johannes also learnt to play the violin and the basics of playing the cello. From 1840 he studied piano with Otto Friedrich Willibald Cossel. Cossel complained in 1842 that Brahms "could be such a good player, but he will not stop his never-ending

1703:, Op. 122, which he wrote shortly before his death, have become an important part of the organ repertoire. They were published posthumously in 1902. The last of this set is a setting of the choral. "O Welt ich muss dich lassen" ("O world I now must leave thee") and were the last notes he wrote. 788:

Brahms's personal life was also troubled. In 1859 he became engaged to Agathe von Siebold. The engagement was soon broken off, but even after this Brahms wrote to her: "I love you! I must see you again, but I am incapable of bearing fetters. Please write me ... whether ... I may come again

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In May 1876, Cambridge University offered to grant honorary degrees of Doctor of Music to both Brahms and Joachim, provided that they composed new pieces as "theses" and were present in Cambridge to receive their degrees. Brahms was averse to traveling to England and requested to receive the degree

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Persistent stories of the impoverished adolescent Brahms playing in bars and brothels have only anecdotal provenance, and many modern scholars dismiss them; the Brahms family was relatively prosperous, and Hamburg legislation very strictly forbade music in, or the admittance of minors to, brothels.

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This praise may have aggravated Brahms's self-critical standards of perfection and dented his confidence. He wrote to Schumann in November 1853 that his praise "will arouse such extraordinary expectations by the public that I don't know how I can begin to fulfil them". While in Düsseldorf, Brahms

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recalled that after a concert "I saw a man unknown to me, rather stout, of middle height, with long hair and a full beard. In a very deep and hoarse voice he introduced himself as 'Musikdirektor Müller' ... an instant later, we all found ourselves laughing heartily at the perfect success of

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Op. 24, which he had completed the previous year. The meeting was cordial, although Wagner was in later years to make critical, and even insulting, comments on Brahms's music. Brahms however retained at this time and later a keen interest in Wagner's music, helping with preparations for Wagner's

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The end of the decade brought professional setbacks for Brahms. The premiere of the First Piano Concerto in Hamburg on 22 January 1859, with the composer as soloist, was poorly received. Brahms wrote to Joachim that the performance was "a brilliant and decisive – failure ... t forces one to

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and been deeply impressed. Brahms played some of his own solo piano pieces for Joachim, who remembered fifty years later: "Never in the course of my artist's life have I been more completely overwhelmed". This was the beginning of a friendship which was lifelong, albeit temporarily derailed when

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on Brahms is less obvious, although occasionally one can find in his works what seems to be an allusion to one of theirs (e.g., Brahms's Scherzo, Op. 4 alludes to Chopin's Scherzo in B-flat minor, the scherzo movement in Brahms's Piano Sonata in F minor, Op. 5 alludes to the finale of

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Brahms loved the classical composers Mozart and Haydn. He especially admired Mozart, so much so that in his final years he reportedly declared Mozart as the greatest composer. On 10 January 1896, Brahms conducted the Academic Festival Overture and both piano concertos in Berlin, and during the

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in February 1854 (where he died of pneumonia in 1856), Brahms based himself in Düsseldorf, where he supported the household and dealt with business matters on Clara's behalf. Clara was not allowed to visit Robert until two days before his death, but Brahms was able to visit him and acted as a

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The commendation of Brahms by Breslau as "the leader in the art of serious music in Germany today" led to a bilious comment from Wagner in his essay "On Poetry and Composition": "I know of some famous composers who in their concert masquerades don the disguise of a street-singer one day, the

2379:, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony. Ann Scott argued Brahms anticipated the procedures of the serialists by redistributing melodic fragments between instruments, as in the first movement of the 928:

in 1868 to great acclaim. A seventh movement (the soprano solo "Ihr habt nun Traurigkeit") was added for the equally successful Leipzig premiere (February 1869). The work went on to receive concert and critical acclaim throughout Germany and also in England, Switzerland and Russia, marking

1718:. In another instance of devotion to detail, he laboured over the official First Symphony for almost fifteen years, from about 1861 to 1876. Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published. 1286:

were acquainted in the 1870s, but their close friendship belongs to the years 1889 and after. Brahms admired much of Strauss's music and encouraged the composer to sign with his publisher Simrock. In autographing a fan for Strauss's wife Adele, Brahms wrote the opening notes of

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In autumn 1862 Brahms made his first visit to Vienna, staying there over the winter. Although Brahms entertained the idea of taking up conducting posts elsewhere, he based himself increasingly in Vienna and soon made it his home. In 1863, he was appointed conductor of the

1330:, Op. 111 in 1890, the 57-year-old Brahms came to think that he might retire from composition, telling a friend that he "had achieved enough; here I had before me a carefree old age and could enjoy it in peace." He also began to find solace in escorting the mezzo-soprano 477:

Brahms's juvenilia comprised piano music, chamber music and works for male voice choir. Under the pseudonym 'G. W. Marks', some piano arrangements and fantasies were published by the Hamburg firm of Cranz in 1849. The earliest of Brahms's works which he acknowledged (his

224:, and premiering many of his own works. He was self-conscious and could be severely self-critical, but his music was largely successful. It gradually formed the basis for a growing circle of supporters, friends, and musicians. With Joachim's assistance, Brahms sought 5424: 994:

During 1869, Brahms felt himself falling in love with the Schumann's daughter Julie (then aged 24 to his 36). He did not declare himself. When later that year Julie's engagement to Count Marmorito was announced, he wrote and gave to Clara the manuscript of his

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being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early

2067:. In 1873 he received a Streicher piano op. 6713 and kept it in his house until his death. He wrote to Clara: "There I always know exactly what I write and why I write one way or another." Another instrument in Brahms's possession was a 486:

Op. 7 no. 6) date from 1851. However, Brahms was later assiduous in eliminating all his juvenilia. Even as late as 1880, he wrote to his friend Elise Giesemann to send him his manuscripts of choral music so that they could be destroyed.

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Despite the warm reception the First Symphony received, Brahms remained dissatisfied and extensively revised the second movement before the work was published. There followed a succession of well-received orchestral works: the

950:, Brahms is reported to have responded, "As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human; also with my best knowledge and will I would dispense with passages like 5364: 1454: 4813: 2160:

Brahms looked both backward and forward. His output was often bold in its exploration of harmony and textural elements, especially rhythm. As a result, he influenced composers of both conservative and modernist tendencies.

954:. On the other hand, I have chosen one thing or another because I am a musician, because I needed it, and because with my venerable authors I can't delete or dispute anything. But I had better stop before I say too much." 1838:

following celebration Brahms interrupted Joachim's toast with "Ganz recht; auf Mozart's Wohl" (Quite right; here's Mozart's health). Brahms also compared Mozart with Beethoven to the latter's disadvantage, in a letter to

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player in the Hamburg militia. He married Johanna Henrika Christiane Nissen the same year. A middle-class seamstress 17 years his senior, she enjoyed writing letters and reading despite an apparently limited education.

776:, the School's leading light). In particular they objected to the rejection of traditional musical forms and to the "rank, miserable weeds growing from Liszt-like fantasias". A draft was leaked to the press, and the 1012:. He ensured that the orchestra was staffed only by professionals, and conducted a repertoire which ran from Bach to the nineteenth century composers who were not of the New German School; these included Beethoven, 1456: 1431: 1150:

three times, first in February 1875, and later in 1876 and 1877, and had successfully recommended Dvořák to his publisher, Simrock. The two men met for the first time in 1877, and Dvořák dedicated to Brahms his

732:, which he had begun as a work for two pianos in 1854 but soon realized needed a larger-scale format. Based in Hamburg at this time, he gained, with Clara's support, a position as musician to the tiny court of 3461: 1222:, who first met Brahms in 1884 and remained a close acquaintance. He considered Brahms a conservative master who was more turned toward the past than the future. He rated Brahms as technically superior to 767:

Brahms further made an intervention in 1860 in the debate on the future of German music which seriously misfired. Together with Joachim and others, he prepared an attack on Liszt's followers, the so-called

4266: 2315:'s early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to 2222:

Brahms as an academic traditionalist. He highlighted Brahms's fondness for motivic saturation and irregularities of rhythm and phrase, terming Brahms's compositional principles "developing variation". In

1714:– and once claimed to have destroyed 20 string quartets before he issued his official First in 1873. Over the course of several years, he changed an original project for a symphony in D minor into his 1806:

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. Brahms's

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speculates that his contact with Hungarian and gypsy folk music as a teenager led to "his lifelong fascination with the irregular rhythms, triplet figures and use of rubato" in his compositions. The

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for organ, Op. 122 (1896) is a setting of "O Welt ich muss dich lassen" ("O world I must leave thee") and the last notes that Brahms wrote. Many of these works were written in his house in

581:, preludes or whatever". Bozarth notes that "products of Brahms's study of counterpoint and early music over the next few years included "dance pieces, preludes and fugues for organ, and neo- 2274:, who was his only formal composition pupil. Antonín Dvořák, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works, such as the 1143:-fiddler another time, and then again the guise of a highly respectable symphony dressed up as Number Ten" (referring to Brahms's First Symphony as a putative tenth symphony of Beethoven). 843:. Brahms also wrote works for the choir, including his Motet, Op. 29. Finding however that the post encroached too much of the time he needed for composing, he left the choir in June 1864. 344:

Johannes Brahms was born in 1833. His sister Elisabeth (Elise) had been born in 1831 and a younger brother Fritz Friedrich was born in 1835. The family then lived in poor apartments in the

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According to the estimate of Alwin Cranz, a boyhood friend of Brahms, the composer destroyed more than twenty string quartets before publishing the Quartets in C minor and A minor

799:. Brahms continued to hope for the post. But he demurred when he was finally offered the directorship in 1893, as he had "got used to the idea of having to go along other paths". 1790:

Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality resulted in the rule of tonality being broken altogether. Although

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Analysts and scholars remain divided as to whether the voice that introduces the piece is that of Wangemann or of Brahms. A "denoised" version of the recording was produced at

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At this time Brahms also chose to change his image. Having been always clean-shaven, in 1878 he surprised his friends by growing a beard, writing in September to the conductor

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also featured, together with the first Piano Quartet, in his first Viennese recitals, in which his performances were better received by the public and critics than his music.

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to clasp you in my arms, to kiss you, and tell you that I love you." They never saw one another again, and Brahms later confirmed to a friend that Agathe was his "last love".

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Brahms played principally on German and Viennese pianos. In his early years he used a piano made by the Hamburg company Baumgarten & Heins. Later, in 1864, he wrote to

744:(1858 and 1859, Opp. 11 and 16). In Hamburg he established a women's choir for which he wrote music and conducted. To this period also belong his first two Piano Quartets ( 1399:; there was an ovation after each of the four movements. His condition gradually worsened and he died on 3 April 1897, in Vienna at the age of 63. Brahms is buried in the 2017:

in motu contrario or a canon per augmentationem into a pure piece of lyrical poetry." Writers on Brahms have commented on his use of counterpoint. For example, of Op. 9,

632:. Schumann, greatly impressed and delighted by the 20-year-old's talent, published an article entitled "Neue Bahnen" ("New Paths") in the 28 October issue of the journal 9917: 345: 9937: 1293:

waltz, adding the words "unfortunately not by Johannes Brahms". He made the effort, three weeks before his death, to attend the premiere of Johann Strauss's operetta

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Brahms was now recognised as a major figure in the world of music. He had been on the jury which awarded the Vienna State Prize to the (then little-known) composer

6304: 1876: 2118: 2029:". Swafford further opines that "thematic development, counterpoint, and form were the dominant technical terms in which Brahms ... thought about music". 924:, Op. 45, of which six movements were completed by 1866. Premieres of the first three movements were given in Vienna, but the complete work was first given in 1798:; Brahms himself, according to many sources, deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory. 1237:, visited the composer in Vienna and invited him to make an experimental recording. Brahms played an abbreviated version of his first Hungarian Dance and of 550:; during Schumann's visit to Hamburg that year, friends persuaded Brahms to send the former some of his compositions, but the package was returned unopened. 1724:

Brahms often wrote music without an explicit scene or narrative; he never wrote an opera or a symphonic poem. However, he set 144 German folk songs in many

197:, and many songs, amongst other music for symphony orchestra, piano, organ, voices, and chamber ensembles. They remain a staple of the concert repertoire. 569:

Brahms admired Joachim as a composer, and in 1856 they were to embark on a mutual training exercise to improve their skills in (in Brahms's words) "double

1867:. The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op. 25 and Op. 26, and the 7747: 2335:

Zemlinsky in turn taught Schoenberg, and Brahms was apparently impressed when in 1897 Zemlinsky showed him drafts of two movements of Schoenberg's early

7737: 5275: 7196: 2402: 977:(Opp. 43 and 46–49). Following such successes he finally completed a number of works that he had wrestled with over many years such as the cantata 1198:'; in a letter to his wife he wrote: "You know what I think of Brahms: after Bach and Beethoven the greatest, the most sublime of all composers." 1056: 9852: 4374: 2193:

You so used to rough harmonies, of such polyphonic texture .... ... You cannot ask that of the listener ... art inspire collective delight ....

850:, where Clara Schumann and her family also spent some time. His house in Lichtental, where he worked on many of his major compositions including 5342: 2129: 1247:

on the piano. Although the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy

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Schoenberg and Brahms: A study of Schoenberg's response to Brahms's music as revealed in his didactic writings and selected early compositions

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Within his lifetime, Brahms's idiom left an imprint on several composers within his personal circle, who strongly admired his music, such as

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published a parody which ridiculed Brahms and his associates as backward-looking. Brahms never again ventured into public musical polemics.

6058: 5289:. Routledge Studies in Musical Genres, gen. ed. R. Larry Todd. Reprinted (New York: Schirmer Books, 1998). New York and London: Routledge. 3543: 438:. Marxsen conveyed to Brahms the tradition of these composers and ensured that Brahms's own compositions were grounded in that tradition. 9842: 5374: 8091: 2344: 9827: 6258: 6064: 5706: 5609: 1643: 897: 328:

in Holstein. Against his family's will, Johann Jakob pursued a career in music, arriving in Hamburg at age 19. He found work playing

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in G minor. His parents disapproved of his early efforts as a composer, feeling that he had better career prospects as a performer.

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Münster, Robert (2020). "Bernhard und Luise Scholz im Briefwechsel mit Max Kalbeck und Johannes Brahms". In Thomas Hauschke (ed.).

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and accompanied him in a number of recitals over the next few years. This was his introduction to "gypsy-style" music such as the

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As both a traditionalist and an innovator, his contributions and craftsmanship were admired by a variety of composers, including

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The early Romantic composers had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer.

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became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early

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wrote in a letter: "Such a man, such a fine soul – and he believes in nothing! He believes in nothing!" When asked by conductor

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Features of the "Brahms style" were absorbed in a more complex synthesis with other contemporary (chiefly Wagnerian) trends by

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of symphony orchestras; only Beethoven's are more frequently performed. Brahms's have often been measured against Beethoven's.

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triumph. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's

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all testified to learning much from Brahms. As Elgar said, "I look at the Third Symphony of Brahms, and I feel like a pygmy."

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notes that the third movement is "demonic-canonic, echoing Haydn's famous minuet for string quartet called the 'Witch's Round

2009:. "For Brahms, ... the most complicated forms of counterpoint were a natural means of expressing his emotions," writes 1517: 9887: 9358: 7376: 6143: 1721:

A factor that contributed to his perfectionism was Schumann's early enthusiasm, which Brahms was determined to live up to.

1255: 1359:(Four Serious Songs), Op. 121 (1896), which were prompted by the death of Clara Schumann and dedicated to the artist 9877: 7780: 6100: 8185: 4583:. Third edition, revised and enlarged with appendix ("Brahms as a Reader and Collector"). New York: Da Capo Press, Inc. 4006: 9907: 9882: 9200: 4497:, trans. Ernest Bernhardt-Kabisch from original in German (Arche Verlag AG, 2010). Frankfurt am Main: Peter Lang GmbH. 3726: 3654: 1960:

heard affinities between Brahms's rhythmically charged, contrapuntal textures and those of Renaissance masters such as

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and Carl Dahlhaus, sought to advance Brahms's reputation in the early and mid-20th century against the criticisms of

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Geiringer writes that Brahms "displays all the resources of contrapuntal art". In the A major piano quartet Opus 26,

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works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a

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In Vienna Brahms became an associate of two close members of Wagner's circle, his earlier friend Peter Cornelius and

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quarter of Hamburg and struggled economically. (Johann Jakob even considered emigrating to the United States when an

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piano – a wedding present of the Schumanns, that Clara Schumann later gave to Brahms and which he kept until 1873.

1908: 1498: 1164: 984: 933: 8160: 7457: 6108: 3892: 9942: 9927: 9847: 9702: 7866: 5447:. Reprint from revised edition with corrections, 1969. First published 1954. London and Boston: Faber and Faber. 1531: 459: 8221: 7871: 7645: 359:, recognizing Johannes's talent, promised them fortune there.) Eventually Johann Jakob became a musician in the 9867: 7961: 7391: 7368: 5773: 5161: 3769:(London, 1949), p. 123. Cf. his similar remarks in "Tonality in Schubert" (1928), rpt. ibid., p. 151. 3133: 2428:

His family name was also sometimes spelled Brahmst or Brams, deriving from Bram, the German word for the shrub

2013:. "As Palestrina or Bach succeeded in giving spiritual significance to their technique, so Brahms could turn a 1771:

In the shadow of Beethoven, both Brahms and his contemporaries increasingly exploited harmonies and emphasized

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Brahms had hoped to be given the conductorship of the Hamburg Philharmonic, but in 1862 this post was given to

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Brahms began to feel deeply for Clara, who to him represented an ideal of womanhood. Their intensely emotional

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nominating Brahms as one who was "fated to give expression to the times in the highest and most ideal manner".

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and the Six Songs Op. 6. In Leipzig, he gave recitals including his own first two piano sonatas, and met with

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The Second Golden Age of the Viennese Symphony: Brahms, Bruckner, Dvořák, Mahler, and Selected Contemporaries

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from original in German (Emil Katzbichler, 1974). California Studies in 19th-Century Music Series, gen. ed.

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were inspired by the intricate structural coherence of Brahms's music, including what Schoenberg termed its

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Notley, Margaret. 1993. "Brahms as Liberal: Genre, Style, and Politics in Late Nineteenth-Century Vienna".

4839: 3744: 2690: 2351: 2336: 2275: 967: 753: 749: 745: 7697: 6426: 540:, which was later to prove the foundation of his most lucrative and popular compositions, the two sets of 350: 9498: 9313: 9155: 7467: 7416: 7239: 6138: 6043: 6038: 6033: 6028: 5892: 5887: 4699:. 1999. "Challenges and Opportunities of Acculturation: Schoenberg, Krenek, and Stravinsky in Exile". In 4365: 4276: 3959:

Litzmann, Berthold (1 February 1903). "Clara Schumann von Berthold Litzmann. Erster Band, Mädchenjahre".

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elements. In this context, many (e.g., Hanslick) saw Brahms as a conservative or reactionary champion of

682: 674: 670: 562: 9433: 7762: 5605: 5256:. Vol. 5, The Symphonic Repertoire, founding ed. A. Peter Brown. Bloomington: Indiana University Press. 3715: 1710:. He destroyed many early works – including a violin sonata he had performed with Reményi and violinist 1338:, clarinettist with the Meiningen orchestra, revived his interest in composing and led him to write the 628:

in October 1853, and, with a letter of introduction from Joachim, was welcomed by Schumann and his wife

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would later defend Brahms: "It is not the heart alone which creates all that is beautiful emotional".

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Schumann's accolade led to the first publication of Brahms's works under his own name. Brahms went to

9912: 9872: 9682: 9082: 9033: 7333: 7103: 6421: 6023: 6008: 5947: 5942: 5937: 5902: 5897: 5823: 5615: 5573: 2380: 2259: 1947: 1872: 1843: 1692: 1622: 1347: 1343: 1191: 946: 852: 725: 613: 542: 9363: 8520: 8242: 1391:, from which his father Jakob had died. His last public appearance was on 7 March 1897, when he saw 9812: 9581: 9403: 9293: 9283: 9220: 8986: 8671: 7732: 7462: 7011: 6836: 6294: 5804: 5789: 5768: 5692: 5206: 4845: 2339:. Webern and later Walter Frisch identified Brahms's influence in the dense, cohesive textures and 2294: 2064: 1598: 1594: 1438: 1392: 1103: 873: 869: 446:

In 1847 Brahms made his first public appearance as a solo pianist in Hamburg, playing a fantasy by

247:

Amid Robert's insanity and institutionalization, Brahms stayed with and became devoted to Clara in

174: 165: 9160: 8450: 5661: 5249:. Vol. 2, Studies in Modern Music. London: Seeley and Co. Reprinted, London: Kennikat Press, 1970. 2183:, with its "bold independence of the voices". But in 1856 he objected to "extensive harshness" in 2122:

that states a Knowledge editor's personal feelings or presents an original argument about a topic.

1113: 728:

for piano, Brahms published no further works until 1860. His major project of this period was the

666: 9353: 9210: 9115: 8971: 8400: 8016: 7406: 7297: 6906: 6323: 6228: 6162: 6088: 5763: 5758: 5753: 5748: 5643: 5425:

Anton Webern and the Concept of Symmetrical Inversion: A Reconsideration on the Terrain of Gender

3627:

Brahms used the German word "Esel", of which one translation is "donkey" and another is "dunce":

2320: 2263: 2238:(1948), Schoenberg analyzed Brahms's "enriched harmony" and exploration of remote tonal regions. 1994: 1951: 1807: 1700: 1664: 1491: 1400: 1396: 1364: 1307: 1211: 1207: 1099: 1079: 988: 170: 31: 8226: 7926: 6616: 4618:, ed. Robert Pascall, 125–146. Cambridge: Cambridge University Press. Digitally reprinted 2008. 4314: 9772: 9692: 9647: 9642: 9338: 9230: 9130: 8641: 8415: 8354: 7971: 7742: 7307: 7249: 7224: 7056: 6631: 6376: 6273: 5932: 5907: 5679: 2231: 1928: 1868: 1339: 1106:

Op. 77 (1878; dedicated to Joachim, who was consulted closely during its composition), and the

941: 902:

Vienna concerts in 1862/63, and being rewarded by Tausig with a manuscript of part of Wagner's

880:. Brahms's circle grew to include the notable critic (and opponent of the 'New German School') 236:

even cast him as Beethoven's musical heir. After Brahms's rued emergence counter to him in the

169:; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid- 17: 9017: 8890: 8676: 8600: 8485: 7911: 7087: 6926: 6801: 6791: 6556: 6150: 5506:. The Oxford History of Western Music, Vol. 4. Rev. edition. Oxford: Oxford University Press. 4444: 3376: 1355: 1147: 937: 876:, respectively the Director and head of violin studies, and the head of piano studies, at the 267: 9697: 9662: 9652: 9586: 9413: 9388: 9348: 9298: 9195: 9048: 8895: 8707: 8564: 8505: 8339: 8334: 8288: 8216: 8155: 8041: 7800: 7447: 7396: 7373: 6846: 6726: 6681: 6661: 6576: 4579: 1932: 1749: 1538: 1136: 737: 182: 8252: 7727: 7712: 6621: 4467:

Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century

2316: 1863:

During his stay in Vienna in 1862–63, Brahms became particularly interested in the music of

1371:, where Brahms had first visited in 1882 and where he spent every summer from 1889 onwards. 904: 511: 9822: 9817: 9745: 9318: 8880: 8767: 8692: 8405: 8369: 8071: 8051: 7805: 7492: 7432: 7326: 7261: 7207: 7046: 6501: 6411: 5300: 5108:, trans. Ernest Bernhardt-Kabisch from the original German. Frankfurt am Main: Peter Lang. 5007: 4696: 4639: 3762: 2376: 1943: 1883: 1728:

for voice and piano. These works often reflect folk themes or depict scenes of rural life.

1353:

Brahms also wrote at this time his final cycles of piano pieces, Opp. 116–119 and the

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Op. 51 nos. 1 and 2 (1865–1873), the third piano quartet (1855–1875), and most notably his

962:

Brahms also experienced at this period popular success with works such as his first set of

877: 831:. He surprised his audiences by programming many works by the early German masters such as 311:

Photograph from 1891 of the building in Hamburg where Brahms was born. It was destroyed by

291: 237: 178: 9418: 9235: 8470: 8247: 8104: 7825: 7790: 7006: 5596: 4986:. Oxford Studies in Music Theory, gen. ed. Steven Rings. Oxford: Oxford University Press. 4725: 4212: 3902: 2327:, who was friendly with Dohnányi) show a thoroughgoing absorption of the Brahmsian idiom. 1939: 700:

After Schumann's attempted suicide and subsequent confinement in a mental sanatorium near

8: 9677: 9536: 9240: 9125: 8966: 8349: 8344: 8180: 7921: 7856: 7472: 7256: 7174: 6876: 6711: 6156: 5417: 5240: 5047: 4941: 3372: 3143: 2392: 2165: 2125: 1916: 1784: 1408: 1315: 1174:: "I am coming with a large beard! Prepare your wife for a most awful sight." The singer 1039: 828: 279: 9328: 8844: 8661: 8201: 8139: 7986: 7815: 6851: 6651: 6641: 6486: 4317:. Bayerisches Staatsministerium für Wissenschaft, Forschung und Kunst. 14 September 2000 3456: 1335: 553:

In 1853 Brahms went on a concert tour with Reményi, visiting the violinist and composer

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Vaillancourt, Michael. 1993. "Brahms's 'Sinfonie-Serenade' and the Politics of Genre".

5280: 5245: 5052: 4937: 4912: 4704: 4661: 4511: 4435: 4412: 4023: 3986: 3938: 3783: 3749: 2306: 2241: 2207: 1924: 1780: 1679: 1608: 1048:, originally conceived for two pianos, which has become one of his most popular works. 796: 741: 716:. Clara continued to support Brahms's career by programming his music in her recitals. 465:

and a waltz fantasia of his own composition and garnered favourable newspaper reviews.

447: 8615: 8495: 7692: 6961: 1920: 832: 391:

At the age of 10, Brahms made his debut as a performer in a private concert including

9667: 9637: 9601: 9546: 9468: 9398: 9323: 9260: 9165: 9150: 9120: 8961: 8936: 8910: 8849: 8839: 8737: 8732: 8727: 8722: 8390: 8359: 8303: 8298: 8114: 8099: 8021: 7906: 7851: 7775: 7687: 7640: 7543: 7533: 7497: 7363: 7303: 7186: 7066: 7051: 6991: 6971: 6931: 6916: 6896: 6831: 6821: 6816: 6811: 6796: 6781: 6776: 6551: 6546: 6451: 6132: 5856: 5842: 5561: 5553: 5538: 5530: 5522: 5507: 5492: 5484: 5458: 5448: 5434: 5405: 5397: 5389: 5323: 5290: 5265: 5257: 5230: 5215: 5182: 5151: 5132: 5117: 5109: 5101: 5072: 5037: 5018: 4995: 4987: 4957: 4929: 4896: 4874: 4798: 4762: 4754: 4731: 4712: 4681: 4644: 4627: 4619: 4584: 4551: 4534: 4517: 4498: 4490: 4478: 4448: 4395: 4379: 4351: 4076: 4027: 3978: 3961: 3942: 3928: 3798: 3722: 3670: 3660: 3583: 3524: 3276: 3102: 2407: 2363: 2359: 2340: 2214: 2199: 2079: 2032:

Allied to his skill in counterpoint was his subtle handling of rhythm and meter. The

1961: 1912: 1887: 1839: 1753: 1638: 1384: 1283: 1270: 978: 920:

In February 1865 Brahms's mother died, and he began to compose his large choral work

895:

In January 1863 Brahms met Richard Wagner for the first time, for whom he played his

840: 836: 769: 519: 283: 9007: 9002: 8885: 7722: 7672: 6521: 4004:

Biba, Otto (January 1983). "Ausstellung 'Johannes Brahms in Wien' im Musik Verein".

2267: 1938:

His friends included leading musicologists. He co-edited an edition of the works of

1187: 546:(1869 and 1880). 1850 also marked Brahms's first contact (albeit a failed one) with 233: 9784: 9273: 9170: 9095: 9012: 8976: 8854: 8829: 8824: 8525: 8515: 8510: 8500: 8490: 8465: 8395: 8318: 8293: 7861: 7810: 7707: 7548: 7538: 7521: 7482: 7477: 7452: 7191: 7143: 7031: 6986: 6981: 6921: 6736: 6691: 6536: 6506: 6476: 6416: 6117: 5578: 5476: 5466: 5413: 5353: 5331: 5308: 5211: 5190: 5147: 5080: 5057: 5033: 5003: 4979: 4949: 4921: 4653: 4440: 4404: 4066: 4015: 3970: 3920: 2680:

Including tales allegedly told by Brahms himself to Clara Schumann and others; see

2324: 2312: 2203: 2185: 2037: 1989: 1087: 1017: 889: 137: 9448: 9438: 8656: 8430: 8267: 7931: 7609: 6866: 6571: 4782:

Musgrave, Michael (1999b). "Years of transition: Brahms and Vienna 1862–1875". In

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Driven into Paradise: The Musical Migration from Nazi Germany to the United States

3011: 2040:

are among Brahms's most-appreciated pieces. Michael Musgrave considered that only

1302: 1167:

awarded him the Commander's Cross of the Order of the House of Meiningen in 1881.

712:

lasted until Clara's death. In June 1854 Brahms dedicated to Clara his Op. 9, the

9672: 9657: 9632: 9556: 9488: 9483: 9478: 9393: 9378: 9333: 9268: 9140: 9110: 8956: 8951: 8834: 8757: 8747: 8605: 8480: 8374: 8313: 8308: 8175: 8119: 8036: 8026: 7846: 7830: 7785: 7752: 7625: 7575: 7513: 7502: 7244: 7138: 7133: 7113: 7108: 7082: 6996: 6946: 6871: 6841: 6806: 6766: 6496: 6491: 6401: 6243: 6202: 5628: 4866: 4858: 4708: 4470: 3380: 1827: 1603: 1289: 1215: 1179:

Brahms's disguise." The incident also displays Brahms's love of practical jokes.

1175: 1171: 1118: 1065: 1060: 881: 690: 643: 601: 547: 455: 422:

From 1845 to 1848 Brahms studied with Cossel's teacher, the pianist and composer

260: 225: 9053: 7991: 7386: 6706: 6591: 5633: 5303:. 1994. "Reception and Analysis: On the Brahms Quartets, Op. 51, Nos. 1 and 2". 4341:

Anon. (1916). Programme, Volumes 1916–1917, Boston Symphony Orchestra, pub. 1916

4019: 307: 9596: 9566: 9531: 9521: 9503: 9408: 9368: 9303: 9175: 9105: 8946: 8931: 8859: 8803: 8793: 8762: 8742: 8651: 8574: 8554: 8539: 8460: 8420: 8124: 8076: 8006: 7901: 7881: 7820: 7717: 7581: 7507: 7234: 7148: 7041: 7026: 7001: 6941: 6936: 6901: 6761: 6741: 6731: 6686: 6666: 6646: 6626: 6611: 6601: 6586: 6566: 6471: 6431: 6396: 6386: 6346: 5863: 5226: 5166: 4574: 4350:. Translated by Joseph Eisinger and S. Avins. Oxford: Oxford University Press. 4071: 4054: 3819: 3695: 3397:"Stadt Hamburg Ehrenbürger" website: Dr. phil. h.c. Johannes Brahms (1833–1897) 2355: 2286: 2060: 2010: 1973: 1864: 1791: 1765: 1582: 1223: 1013: 936:, Brahms has been described as an agnostic and a humanist. The devout Catholic 932:

Baptised into the Lutheran church as an infant and confirmed at age fifteen in

773: 694: 678: 629: 612:. Reményi claimed that Brahms then slept during Liszt's performance of his own 554: 515: 423: 376: 241: 229: 213: 205: 9611: 9180: 8206: 8170: 7981: 6531: 5675: 4925: 4300:"Thematic transmutation in the music of Brahms: A matter of musical alchemy". 3362: 2697: 2075: 1907:, for inspiration. He studied the music of pre-classical composers, including 1846:, true dissonance as Mozart used it, is not to be found in Beethoven. Look at 531: 209: 9806: 9606: 9571: 9561: 9541: 9473: 9423: 9288: 9278: 9063: 9038: 8926: 8900: 8788: 8569: 8440: 8046: 7976: 7951: 7941: 7896: 7596: 7021: 6956: 6891: 6746: 6701: 6446: 6441: 6436: 6381: 6238: 5835: 5582: 5444: 5171: 4933: 4910:

Swafford, Jan (2001). "Did the Young Brahms Play Piano in Waterfront Bars?".

4819: 4474: 4462: 4369: 4080: 3982: 3778: 2271: 2014: 1980: 1831: 1776: 1772: 1761: 1675: 1248: 1238: 1234: 1219: 997: 709: 647: 609: 586: 574: 566:

Brahms took the side of Joachim's wife in their divorce proceedings of 1883.

400: 333: 251:. After Robert's death, they remained close friends, and Brahms settled as a 8798: 5461:. 1994. "Themes and Double Themes: The Problem of the Symphonic in Brahms". 5365:

On the Task of the Music Historian: The Myth of the Symphony after Beethoven

5201: 3924: 3674: 740:, where he spent the winters of 1857 to 1860 and for which he wrote his two 625: 248: 173:. His music is rooted in the structures and compositional techniques of his 9796: 9576: 9551: 9526: 9493: 9463: 9383: 9343: 9245: 9190: 9100: 9068: 9058: 9043: 8783: 8646: 8636: 8610: 8455: 8410: 8134: 8066: 8056: 7996: 7946: 7891: 7702: 7620: 7591: 7442: 6966: 6886: 6881: 6861: 6826: 6676: 6671: 6656: 6636: 6596: 6581: 6561: 6391: 6371: 6248: 6207: 6180: 5379: 5017:. Vol. 4, The Symphonic Repertoire. Bloomington: Indiana University Press. 4888: 2681: 2575: 2302: 2298: 2223: 2087: 2022: 2006: 1965: 1904: 1741: 1688: 1631: 1404: 1388: 1311: 1090:

points out, made it clear "that Brahms was taking on the model of models :

885: 651: 605: 570: 416: 379:. The family moved over the years to ever better accommodation in Hamburg. 337: 287: 271: 8941: 6511: 5335: 5194: 5084: 2441:

Fritz also became a pianist; overshadowed by his brother, he emigrated to

1775:

as fundamental structural elements. Brahms's use of developing variation,

1663:) in versions for two pianos and for orchestra. The final movement of the 9591: 9458: 9308: 8905: 8808: 8752: 8559: 8425: 8129: 8061: 7795: 7656: 7615: 7564: 7437: 7349: 7229: 6976: 6911: 6716: 6696: 6541: 6516: 6197: 5870: 5654: 5071:. The Cambridge History of Music. Cambridge: Cambridge University Press. 2587: 2246: 2218: 2068: 1745: 1668: 1360: 1331: 1243: 1155:

of that year. He also began to be the recipient of a variety of honours:

1063:

offering incense to Brahms; cartoon from the Viennese satirical magazine

1034: 865: 597: 582: 495: 364: 332:

for jobs; he also played in a sextet in the Alster-pavilion in Hamburg's

329: 259:

inspired Brahms's late clarinet music, and Brahms also wrote for cellist

217: 4218: 2604: 2602: 2091: 2083: 8712: 8031: 8011: 8001: 7650: 7487: 7118: 6721: 2230:, he claimed Brahms as one who had anticipated the developments of the 2041: 1505: in this section. Unsourced material may be challenged and removed. 1005:

wedding song" and noted "the profound pain in the text and the music".

847: 761: 616:; this and other disagreements led Reményi and Brahms to part company. 503: 435: 412: 356: 5221:

Grimes, Nicole, Siobhán Donovan, and Wolfgang Marx, eds. et al. 2013.

4665: 4416: 3990: 3837: 3825: 2481: 2479: 2198:

of brain ... designed too much" (her opinion improved within weeks).

454:

by Bach as well as works by Marxsen and contemporary virtuosi such as

9373: 8702: 8584: 7916: 7635: 7061: 6466: 6406: 5665: 5150:. Berkeley, Los Angeles, and London: University of California Press. 4711:, 172–193. Berkeley and Los Angeles: University of California Press. 2599: 2539: 2503: 2290: 2282: 1368: 1266: 1021: 1008:

From 1872 to 1875, Brahms was director of the concerts of the Vienna

951: 654:", the letters representing the initials of Joachim's personal motto 392: 275: 4609:. Translated by Trefor Smith. Hamburg: Johannes-Brahms-Gesellschaft. 4282: 1972:, Philips remarked that "the cross-rhythms in this piece so excited 1480: 9513: 7153: 6268: 5470: 5357: 5312: 5061: 4657: 4408: 3974: 2527: 2476: 1848: 1757: 1737: 1682:, a piano quintet, three piano quartets, and four piano trios (the 1578: 1577:

Brahms wrote a number of major works for orchestra, including four

1380: 1334:

and may have proposed to her (she was only 28). His admiration for

1195: 991:

which appeared in 1876, but which had been begun as early as 1855.

793: 427: 252: 190: 186: 5849: 5684: 1186:, Op. 83, dedicated to his teacher Marxsen. Brahms was invited by 561:

in May. Brahms had earlier heard Joachim playing the solo part in

408: 9185: 7936: 7527: 7128: 6315: 5670: 5637: 4815:

Brahms: Symphony No. 1/Tragic Overture/Academic Festival Overture

4199:, Schoenberg's 1946 "Heart and Brain in Music" essay, quoted 154. 2442: 2429: 1819: 1815: 1801: 1140: 1083: 807: 733: 662: 558: 536: 282:

reconciled Brahms's and Wagner's often contrasted styles, as did

201: 194: 74: 50: 2989: 7630: 4984:

Sounds as They Are: The Unwritten Music in Classical Recordings

2395:, a German hall of fame. He was introduced there as the 126th " 2206:

lost his taste for Brahms's "thickness of texture" and studied

1695:

to his late sets of character pieces. Brahms was a significant

1607:, along with somewhat lesser orchestral pieces such as the two 1387:, and later in the year his Viennese doctor diagnosed him with 1112:(written following the conferring of an honorary degree by the 925: 856:

and his middle-period chamber works, is preserved as a museum.

593: 404: 372: 221: 92: 7318: 6300: 1201: 839:; more recent music was represented by works of Beethoven and 719: 4873:. tr. and ed. Henry Pleasants. New York: Dover Publications. 4424:

Bozarth, George and Walter Frisch. 2001. "Brahms, Johannes".

4163: 4161: 4159: 3747:, "Schubert's sonata form and Brahms's first maturity (II)", 3452:"Max Klinger / Johannes Brahms: Engraving, Music and Fantasy" 3384: 578: 451: 431: 368: 325: 146: 5131:. Berkeley and Los Angeles: University of California Press. 4495:

Johannes Brahms, "Free but Alone": A Life for a Poetic Music

4477:. Berkeley and Los Angeles: University of California Press. 3488: 3296: 2917: 2725: 1038:, Op. 55, which celebrated Prussia's victory in the 1870/71 426:. Marxsen had been a personal acquaintance of Beethoven and 204:, he composed in his youth, concertizing locally. He toured 7586: 7123: 5650: 4596:

Hofmann, Kurt. "Brahms the Hamburg musician 1833–1862". In

4550:(revised ed.). Princeton: Princeton University Press. 4034: 3500: 3420: 3344: 3320: 3264: 3052: 2953: 2929: 2797: 2119:

personal reflection, personal essay, or argumentative essay

1725: 1696: 974: 772:" (although Brahms himself was sympathetic to the music of 701: 324:

Brahms's father, Johann Jakob Brahms, was from the town of

4279:, partly quoting Webern's 1912 essay "Schoenberg's Music". 4156: 4092: 4090: 3204: 3021: 2977: 2842: 2737: 1752:. The music of many of his contemporaries, especially the 4616:

Brahms: Biographical, Documentary, and Analytical Studies

4254: 4180: 4178: 4176: 4122: 4120: 3919:(in German). Vienna: Hollitzer Verlag. pp. 153–230. 3597: 3584:""Paths Not Taken: The" Lost" Works of Johannes Brahms."" 3149: 2893: 2761: 2401:" and 13th composer among them, with a bust by sculptor 2226:'s 1933 lectures, posthumously published under the title 5179:

The Poetics of Loss in Nineteenth-Century German Culture

5050:. 1984. "Brahms and Twentieth-Century Classical Music". 4569:. Translated by Joseph Stein. New York: Alfred A. Knopf. 4230: 4107: 4105: 3308: 3240: 2713: 2662: 2551: 1073: 957: 5225:. Vol. 97, Eastman Studies in Music Series, senior ed. 4573: 4087: 4055:"Brahms's Pianos and the Performance of His Late Works" 3880: 3843: 3831: 3432: 3364:

J. Brahms plays excerpt of Hungarian Dance No. 1 (2:10)

3332: 3252: 3216: 3192: 3076: 3064: 2941: 2749: 2626: 2608: 2593: 2581: 2545: 2533: 2509: 2485: 2074:

In the 1880s for his public performances Brahms used a

1976:

that he likened them to Brahms's compositional style."

1024:

and himself (notably his large scale choral works, the

5030:

Classical & Romantic Performing Practice 1750–1900

4393:

Bond, Ann (1971). "Brahms Chorale Preludes, Op. 122".

4173: 4144: 4132: 4117: 2905: 2809: 2785: 2773: 2650: 2614: 2563: 2464: 2362:; Klemperer regarded it as better than the original. ( 1630:

but a setting of texts which Brahms selected from the

1001:(Op. 53). Clara wrote in her diary that "he called it 764:, who eventually became his major publishing partner. 677:, the Six Songs Op. 3, and the Scherzo Op. 4), whilst 458:. A second recital in April 1849 included Beethoven's 9756: 5246:

Frederick Chopin, Antonin Dvořák, and Johannes Brahms

5223:

Rethinking Hanslick: Music, Formalism, and Expression

5202:

The Schoenberg/Brahms Critical Tradition Reconsidered

4751:. Cambridge and New York: Cambridge University Press. 4242: 4102: 3721:. University Press of New England. pp. 134–135. 3180: 2638: 2515: 2044:

approached the advancement of his rhythmic thinking.

1760:, and emotional or evocative, often with dramatic or 892:, who were to become amongst his greatest advocates. 152: 5318:

Loges, Natasha and Katy Hamilton, eds. et al. 2019.

5146:. California Studies in 20th-Century Music, gen ed. 4378:. Vol. 3. London: Macmillan. pp. 154–190. 3634: 3609: 3575: 2491: 2445:

in 1867, and later returned to Hamburg as a teacher.

1983:

sources, especially Bach (e.g., the fugal finale of

1783:

procedure analogous to that of Liszt's and Wagner's

450:. His first full piano recital, in 1848, included a 143: 140: 5519:

Cursed Questions: On Music and Its Social Practices

5036:. Reprinted 2002, Oxford: Oxford University Press. 3476: 3228: 2881: 2171:Brahms often sent manuscripts to friends Billroth, 2078:several times. In his Bonn concerts he played on a 944:to add additional explicitly religious text to his 608:, and where Liszt performed Brahms's Op. 4 Scherzo 232:'s vigorous support and guidance. Robert and later 149: 9918:Honorary members of the Royal Philharmonic Society 4423: 4224: 3714: 1226:, but more earth-bound than Wagner and Beethoven. 846:From 1864 to 1876 he spent many of his summers in 835:and J. S. Bach, and other early composers such as 592:After meeting Joachim, Brahms and Reményi visited 208:as a pianist in his early adulthood, working with 4680:. Master Musicians (2nd ed.). Oxford: Dent. 4614:Kross, Siegfried. 1983. "Brahms the symphonist". 3653:Dietrich, Albert Hermann; Widmann, J. V. (2000). 2391:On 14 September 2000, Brahms was honoured in the 2047:His use of counterpoint and rhythm is present in 929:effectively Brahms's arrival on the world stage. 9804: 5483:. New York and Oxford: Oxford University Press. 5092:Desire, Repression & Brahms’s First Symphony 4513:Brahms and the Principle of Developing Variation 3954: 3952: 2871: 2869: 2854: 1379:In the summer of 1896 Brahms was diagnosed with 642:participated with Schumann and Schumann's pupil 270:(whose music he enthusiastically supported) and 5644:Texts and translations of vocal music by Brahms 5252:Hart, Brian, A. Peter Brown, eds. et al. 2023. 5129:The Early Works of Arnold Schoenberg, 1893–1908 4797:. New Haven and London: Yale University Press. 4546:Frisch, Walter; Karnes, Kevin C., eds. (2009). 4433:Bozarth, George S. (2001). "Brahms, Johannes". 4375:The New Grove Dictionary of Music and Musicians 3717:Composers On Music: Eight Centuries of Writings 3652: 3521:Brahms and His World: A Biographical Dictionary 1321: 915: 669:published his Opp. 1–4 (the Piano Sonatas nos. 9938:Recipients of the Pour le Mérite (civil class) 5423:Scherzinger, Martin with Neville Hoad. 1997. " 4604: 3917:Johannes Brahms: Beiträge zu seiner Biographie 3631:, Funk and Wagnalls, New York and London, 1915 3581: 3494: 3302: 3007: 1802:Beethoven and the Viennese Classical tradition 1125: 490: 7334: 6331: 5700: 5481:Text and Act: Essays on Music and Performance 4642:(October 1975). "Brahms and Johann Strauss". 4315:"Johannes Brahms hält Einzug in die Walhalla" 3949: 2866: 1462:Played by Brahms; recorded on 2 December 1889 1363:, who was his great admirer. The last of the 1277: 1206:The following years saw the premieres of his 1190:to undertake a premiere of the work with the 30:"Brahms" redirects here. For other uses, see 5386:Music in Profile: Twelve Performance Studies 4695: 4545: 4288: 4040: 3873:"Brahms" article in Sadie, S. (ed.) (1995), 2396: 1895: 1810:bears strongly the influence of Beethoven's 1326:After the successful Vienna premiere of his 1233:, a representative of the American inventor 619: 5521:. Oakland: University of California Press. 5170:. The New Library of Music Series, gen ed. 3781:, "Influence: plagiarism and inspiration", 3712: 3170: 3168: 3166: 3164: 3042: 3040: 3038: 3036: 2832: 2830: 2828: 2826: 2824: 1202:Later symphonies and continuing recognition 1042:). 1873 saw the premiere of his orchestral 720:Early compositions, reception, and polemics 530:In 1850 Brahms met the Hungarian violinist 525: 336:. In 1830, Johann Jakob was appointed as a 7341: 7327: 6338: 6324: 5707: 5693: 3818:, 25th anniversary edition, CD recording, 3740: 3738: 3713:Fisk, Josiah; Nichols, Jeff, eds. (1997). 3702:. Pickle Partners Publishing. p. 235. 2350:In 1937, Schoenberg orchestrated Brahms's 2323:. Their early chamber works (and those of 1699:composer, who wrote over 200 of them. His 908:(which Wagner demanded back in 1875). The 49: 6259:International Johannes Brahms Competition 6065:Variations and Fugue on a Theme by Handel 5610:International Music Score Library Project 5322:. Cambridge: Cambridge University Press. 5181:. Cambridge: Cambridge University Press. 4781: 4772: 4672: 4567:Johannes Brahms: His Work and Personality 4260: 4236: 4070: 3282: 3210: 3082: 3027: 2755: 2381:Clarinet Sonata, Op. 120, No. 2 2330: 2148:Learn how and when to remove this message 2094:, 1872 in Cologne and 1881 in Amsterdam. 2019:Variations on a Theme by Robert Schumann, 1796:Variations and Fugue on a Theme by Handel 1736:The music of Brahms contains traditional 1644:Variations and Fugue on a Theme by Handel 1565:Learn how and when to remove this message 1273:(left) and Brahms, photographed in Vienna 5069:The Cambridge History of Music Criticism 4948: 4909: 4887: 4865: 4852: 4792: 4783: 4774: 4744: 4723: 4597: 4461: 4208: 3958: 3898: 3615: 3603: 3506: 3438: 3426: 3350: 3338: 3326: 3314: 3290: 3286: 3270: 3258: 3222: 3198: 3186: 3161: 3139: 3094: 3070: 3058: 3033: 2995: 2983: 2971: 2959: 2947: 2935: 2923: 2911: 2899: 2875: 2848: 2821: 2815: 2803: 2791: 2779: 2767: 2743: 2703: 2656: 2569: 2557: 2497: 2470: 2240: 2164:Brahms' symphonies are prominent in the 1403:in Vienna, under a monument designed by 1301: 1265: 1055: 859: 806: 510: 502: 494: 361:Philharmonisches Staatsorchester Hamburg 306: 4811: 4773:Musgrave, Michael (1999a). Preface. In 4607:Brahms Museum Hamburg: Exhibition Guide 4605:Hofmann, Kurt; Hofmann, Renate (2010). 4595: 4445:10.1093/gmo/9781561592630.article.51879 4432: 3914: 3735: 3410: 3408: 3234: 3174: 3046: 2836: 2731: 2719: 2668: 2644: 2632: 2620: 2521: 2063:about his attraction to instruments by 2054: 1903:Brahms looked to older music, with its 1731: 1471:List of compositions by Johannes Brahms 1299:(The Goddess of Reason) in March 1897. 1254:In that same year, Brahms was named an 802: 27:German composer and pianist (1833–1897) 14: 9853:Burials at the Vienna Central Cemetery 9805: 5345:". PhD thesis. London: King's College. 5229:. Rochester: University of Rochester. 5067:Dingle, Christopher, ed. et al. 2019. 4855:Brahms: Works for Chorus and Orchestra 4730:. Oxford: Routledge & Kegan Paul. 4528: 4509: 4489: 4364: 4272: 4196: 4184: 4167: 4150: 4138: 4126: 4111: 4096: 3796:Spanner, H.V. "What is originality?", 3700:Stories Behind the World's Great Music 3694: 3640: 3519:Clive, Peter (2006). "Richter, Hans". 3155: 2965: 1891:Mendelssohn's Piano Trio in C minor). 1261: 1051: 9688:Romanticism and the French Revolution 7322: 6319: 6157:"Wiegenlied (Lullaby)", Op. 49, no. 4 5688: 4613: 4345: 4340: 4248: 3555: 3518: 3246: 2887: 1979:Some of Brahms's music is modeled on 1074:First symphonies and orchestral music 958:Mounting successes and failed romance 783: 756:, which eventually appeared in 1875. 164: 6144:Two Songs for Voice, Viola and Piano 5504:Music in the Early Twentieth Century 5144:German Modernism: Music and the Arts 5008:10.1093/ oso/ 9780197659281.001.0001 4638: 4392: 4003: 3482: 3414: 3405: 3095:Musgrave, Michael (September 2001). 2694:18 March 1999, accessed 1 July 2018. 2101: 2090:in several of his concerts: 1872 in 1503:adding citations to reliable sources 1474: 1161:Maximilian Order for Science and Art 973:, (1868/69), and his collections of 724:After the publication of his Op. 10 434:, and was a devotee of the music of 302: 228:'s approval, receiving both his and 7197:Tchaikovsky and the Belyayev circle 6059:Three Intermezzi for piano, Op. 117 5714: 5388:. Oxford: Oxford University Press. 4956:. Oxford: Oxford University Press. 4564: 4052: 3886: 3765:, "Franz Schubert" (1927), rpt. in 2860: 1997:finale on Bach's Cantata No. 150). 1626:is not a setting of the liturgical 1374: 1346:, Op. 115 (1891); and the two 499:Ede Reményi (l.) and Brahms in 1852 407:. He also played as a solo work an 177:(and earlier) forebears, including 24: 9843:19th-century German male musicians 6345: 5418:10.1093/oso/9780197565391.001.0001 4972: 3802:93(1313) (1952), pp. 310–311. 3590:. Music Review 1989. p. 186. 2686:"'Aimez-Vous Brahms': An Exchange" 2398:rühmlich ausgezeichneter Teutscher 2213:Schoenberg and others, among them 1855: 1818:and end in the struggle towards a 1016:, Mendelssohn, Schumann, Joachim, 430:, admired the works of Mozart and 25: 9954: 6072:Variations on a Theme of Paganini 5590: 5548:Todd, R. Larry, ed. et al. 2004. 4748:The Cambridge Companion to Brahms 4348:Johannes Brahms: Life and Letters 4302:Journal of Musicological Research 3875:The New Grove Dictionary of Music 2245:Monument dedicated to Brahms, by 1756:, was more obviously innovative, 821: 714:Variations on a Theme of Schumann 371:. For enjoyment, he played first 9828:19th-century classical composers 9790: 9778: 9766: 9741: 9740: 7302: 7293: 7292: 6299: 6290: 6289: 5827: 5287:Nineteenth-Century Chamber Music 5216:10.1111/j.1468-2249.2012.00342.x 4307: 4294: 4046: 4007:Österreichische Musikzeitschrift 3997: 3908: 3867: 3656:Recollections of Johannes Brahms 3556:Arora, Anhad (20 October 2020). 3523:. Scarecrow Press. p. 361. 2297:, whereas the British composers 2106: 1909:Giovanni Pierluigi da Palestrina 1671:. He set a number of folksongs. 1479: 1452: 1428: 1139:the next, the dress of a Jewish 752:) and the first movement of the 646:in writing a movement each of a 185:. His compositions include four 136: 9923:German male classical organists 9898:German male classical composers 9893:German string quartet composers 9833:19th-century classical pianists 7348: 5440:Structural Functions of Harmony 5162:Fuller Maitland, John Alexander 4954:Music in the Nineteenth Century 4745:Musgrave, Michael, ed. (1999). 4368:(1980). "Brahms, Johannes". In 3858: 3849: 3805: 3790: 3772: 3756: 3706: 3688: 3646: 3629:Cassell's New German Dictionary 3621: 3558:"Schöner Augen schöne Strahlen" 3549: 3537: 3512: 3444: 3390: 3356: 3124: 3115: 3088: 3001: 2674: 2435: 2236:Structural Functions of Harmony 1993:, the passacaglia theme of the 1814:, as the two works are both in 1653:, both for solo piano, and the 1490:needs additional citations for 9903:German male classical pianists 6019:Four Pieces for Piano, Op. 119 5774:Variations on a Theme by Haydn 5616:Free scores by Johannes Brahms 5550:Nineteenth-Century Piano Music 2422: 1871:, which alludes to Schubert's 1656:Variations on a Theme by Haydn 1601:for violin and cello, and the 1163:in 1874, and the music-loving 1045:Variations on a Theme by Haydn 811:Johannes Brahms, photographed 13: 1: 9838:19th-century German composers 9711:Wanderer above the Sea of Fog 6049:Six Pieces for Piano, Op. 118 5662:Listings of live performances 3787:4(2) (1980), pp. 87–100. 2452: 2034:New Grove Dictionary of Music 1894: 1182:In 1882 Brahms completed his 1010:Gesellschaft der Musikfreunde 812: 319: 5620:Choral Public Domain Library 5254:The Symphony in the Americas 4893:Johannes Brahms: A Biography 4753:. Digitally reprinted 2006. 3844:Geiringer and Geiringer 1982 3832:Geiringer and Geiringer 1982 3767:Essays and Lectures on Music 3753:3(1) (1979), pp. 52–71. 3018:, accessed 22 December 2016. 2691:The New York Review of Books 2609:Geiringer and Geiringer 1982 2594:Geiringer and Geiringer 1982 2582:Geiringer and Geiringer 1982 2546:Geiringer and Geiringer 1982 2534:Geiringer and Geiringer 1982 2510:Geiringer and Geiringer 1982 2486:Geiringer and Geiringer 1982 2457: 2386: 2354:as an exercise suggested by 2278:and the F minor Piano Trio. 2253: 2097: 2086:in 1883. Brahms also used a 1750:Viennese Classical tradition 1322:Late chamber music and songs 916:Requiem and personal beliefs 472: 297: 200:Born to a musical family in 7: 9888:German emigrants to Austria 7240:Gothic Revival architecture 6234:Brahms Museum, Mürzzuschlag 5978:Two String Quartets, Op. 51 4577:and Irene Geiringer. 1982. 4531:Brahms: The Four Symphonies 4469:, trans. Mary Whittall and 4059:Performance Practice Review 4020:10.7767/omz.1983.38.45.254a 2343:techniques of Schoenberg's 2000: 1256:honorary citizen of Hamburg 1126:Fame, criticism, and Dvořák 563:Beethoven's violin concerto 491:Early adulthood (1850–1862) 441: 415:. By 1845 he had written a 397:quintet for piano and winds 382: 10: 9959: 9878:German classical organists 9628:Coleridge's theory of life 7181:Neue Zeitschrift für Musik 6356:List of Romantic composers 6224:Brahms House (Baden-Baden) 5739:Academic Festival Overture 5341:Musgrave, Michael. 1979. " 4822:. 8.557428. Archived from 4793:Musgrave, Michael (2000). 4724:Musgrave, Michael (1985). 4346:Avins, Styra, ed. (1997). 4333: 4072:10.5642/perfpr.198902.01.3 3877:. Oxford University Press. 3495:Hofmann & Hofmann 2010 3303:Hofmann & Hofmann 2010 3008:Hofmann & Hofmann 2010 2173:Elisabeth von Herzogenberg 1946:. He also edited works by 1701:chorale preludes for organ 1659:(now sometimes called the 1614:Academic Festival Overture 1468: 1278:Friendship with J. Strauss 1109:Academic Festival Overture 778:Neue Zeitschrift für Musik 635:Neue Zeitschrift für Musik 29: 9908:German Romantic composers 9883:German classical pianists 9720: 9683:Romanticism and economics 9620: 9512: 9259: 9081: 9026: 8995: 8919: 8868: 8817: 8776: 8685: 8629: 8593: 8547: 8538: 8383: 8327: 8276: 8235: 8194: 8148: 8090: 7960: 7839: 7761: 7698:Manuel Antônio de Almeida 7680: 7671: 7557: 7425: 7356: 7272: 7217: 7162: 7096: 7075: 6362: 6353: 6285: 6216: 6190: 6172: 6081: 6001: 5880: 5813: 5782: 5764:Symphony No. 4 in E minor 5759:Symphony No. 3 in F major 5754:Symphony No. 2 in D major 5749:Symphony No. 1 in C minor 5731: 5722: 5671:Johannes Brahms WebSource 5574:The Journal of Musicology 5517:Taruskin, Richard. 2020. 5502:Taruskin, Richard. 2009. 5174:. New York: John Lane Co. 4942:10.1525/ncm.2001.24.3.268 4926:10.1525/ncm.2001.24.3.268 4580:Brahms: His Life and Work 3864:Swafford (2012), p. xviii 3684:– via Google Books. 3544:Zentralfriedhof group 32a 3402:Retrieved 14 October 2019 3101:. Yale University Press. 2369:Brahms–Schoenberg Quartet 2366:later set it to dance in 2276:Symphony No. 7 in D minor 2260:Heinrich von Herzogenberg 2228:The Path to the New Music 1192:Meiningen Court Orchestra 985:first two string quartets 730:Piano Concerto in D minor 620:The Schumanns and Leipzig 166:[joˈhanəsˈbʁaːms] 119: 99: 81: 60: 48: 41: 9933:Pupils of Eduard Marxsen 9863:Composers for pipe organ 7463:German historical school 7202:Tchaikovsky and The Five 5583:10.1525/jm.2009.26.3.379 5106:Humanism, Love and Music 4853:Petersen, Peter (1983). 4812:Pascall, Robert (n.d.). 4428:(accessed 11 Jul. 2024). 4041:Frisch & Karnes 2009 3855:Swafford (2012), p. 159. 2998:, pp. 277–279, 283. 2415: 1661:Saint Anthony Variations 1439:Ernestine Schumann-Heink 1414: 1210:, Op. 90 (1883) and his 1165:Duke George of Meiningen 870:Joseph Hellmesberger Sr. 683:Third Piano Sonata Op. 5 526:Collaboration and travel 8110:Józef Ignacy Kraszewski 6229:Brahms Museum (Hamburg) 6095:Fest- und Gedenksprüche 6089:Eleven Chorale Preludes 6054:Sixteen Waltzes, Op. 39 5601:Lübeck Academy of Music 5363:Pederson, Sana. 1993. " 5200:Grimes, Nicole. 2012. " 5013:Brown, A. Peter. 2003. 4225:Bozarth and Frisch 2001 3925:10.2307/j.ctv1cdxfs0.14 2321:Alexander von Zemlinsky 2005:Brahms was a master of 1948:C. P. E. Bach 1401:Vienna Central Cemetery 1365:Eleven Chorale Preludes 1350:, Op. 120 (1894). 1342:, Op. 114 (1891); 1310:; monument designed by 1308:Vienna Central Cemetery 1296:Die Göttin der Vernunft 518:in 1857, photograph by 32:Brahms (disambiguation) 9943:Composers for clarinet 9928:Musicians from Hamburg 9848:19th-century organists 9693:Romanticism in science 9648:Middle Ages in history 9643:List of Romantic poets 8355:Josiah Gilbert Holland 7225:Common practice period 5680:British Library Sounds 5177:Grimes, Nicole. 2019. 5142:Frisch, Walter. 2005. 5127:Frisch, Walter. 1993. 4529:Frisch, Walter. 2003. 4510:Frisch, Walter. 1984. 3814:(2007) sleeve note to 3387:, Stanford University) 3121:Swafford, 2012, p. 327 2397: 2331:Second Viennese School 2250: 2232:Second Viennese School 2195: 2128:by rewriting it in an 1970:Though Amaryllis dance 1968:. Referring to Byrd's 1929:George Frideric Handel 1896: 1879:for piano four hands. 1706:Brahms was an extreme 1620:His large choral work 1318: 1274: 1153:String Quartet, Op. 34 1135:hallelujah periwig of 1070: 818: 667:Breitkopf & Härtel 522: 508: 500: 316: 9868:Composers from Vienna 9663:Romantic epistemology 9653:Opium and Romanticism 8222:Stojadinović-Srpkinja 7448:Counter-Enlightenment 5606:Free scores by Brahms 5336:10.1017/9781316681374 5301:Krummacher, Friedhelm 5195:10.1017/9781108589758 5090:Fink, Robert. 1993. " 5085:10.1017/9781139795425 4895:. London: Macmillan. 4697:Maurer Zenck, Claudia 4053:Cai, Camilla (1989). 3763:Tovey, Donald Francis 3377:"Brahms at the Piano" 3177:, §4, "At the summit" 3049:, §3 "First maturity" 2734:, pp. 16, 18–20. 2244: 2191: 1933:Johann Sebastian Bach 1591:No. 2 in B-flat major 1448:Hungarian Dance No. 1 1328:Second String Quintet 1305: 1269: 1114:University of Breslau 1059: 860:Wagner and his circle 810: 738:Principality of Lippe 736:, the capital of the 710:platonic relationship 658:("Free but lonely"). 514: 506: 498: 310: 183:Johann Sebastian Bach 9727:Age of Enlightenment 7369:England (literature) 7262:Romantic nationalism 7208:War of the Romantics 6125:Liebeslieder Waltzes 5963:String Quintet No. 2 5958:String Quintet No. 1 5953:String Quartet No. 3 5800:Piano Concerto No. 2 5795:Piano Concerto No. 1 5725:List of compositions 5676:Digitised recordings 5651:"Discovering Brahms" 5241:Hadow, William Henry 5048:Burkholder, J. Peter 5028:Brown, Clive. 2000. 4844:: CS1 maint: year ( 4777:, pp. xix–xxii. 4548:Brahms and His World 3014:, on website of the 2926:, pp. 180, 182. 2080:Steinweg Nachfolgern 2055:Performance practice 1944:Friedrich Chrysander 1785:modulating sequences 1748:), and debts to the 1732:Style and influences 1716:first piano concerto 1667:, Op. 98, is a 1499:improve this article 1184:Piano Concerto No. 2 1157:Ludwig II of Bavaria 1032:, and the patriotic 969:Liebeslieder Waltzes 934:St. Michael's Church 878:Vienna Conservatoire 803:Maturity (1862–1876) 292:developing variation 238:War of the Romantics 179:Ludwig van Beethoven 124:List of compositions 9858:Composers for piano 9678:Romantic psychology 7473:Hudson River School 7417:Sweden (literature) 7402:Russia (literature) 7257:Musical nationalism 7175:Musical nationalism 6151:Vier ernste Gesänge 5993:Violin Sonata No. 3 5988:Violin Sonata No. 2 5983:Violin Sonata No. 1 5973:String Sextet No. 2 5968:String Sextet No. 1 5928:Piano Quartet No. 3 5923:Piano Quartet No. 2 5918:Piano Quartet No. 1 5646:, LiederNet Archive 5285:, ed. et al. 2004. 5276:Hefling, Stephen E. 4840:cite AV media notes 4727:The Music of Brahms 3889:, pp. 17, 204. 3582:Bozarth, George S. 3509:, pp. 614–615. 3429:, pp. 568–569. 3373:Stanford University 3353:, pp. 253–254. 3329:, pp. 465–466. 3273:, pp. 444–446. 3249:, pp. 205–206. 3158:, pp. 174–179. 3061:, pp. 265–269. 2962:, pp. 206–211. 2938:, pp. 189–190. 2806:, pp. 494–495. 2352:Piano Quartet No. 1 2166:standard repertoire 1917:Johann Adolph Hasse 1650:Paganini Variations 1628:Missa pro defunctis 1424:Wiegenlied (Op. 49) 1409:Ilse von Twardowski 1356:Vier ernste Gesänge 1316:Ilse von Twardowski 1262:Old age (1889–1897) 1102:Op. 73 (1877), the 1052:Success (1876–1889) 1040:Franco-Prussian War 829:Wiener Singakademie 754:third Piano Quartet 596:, where Brahms met 482:Op. 4 and the song 280:Alexander Zemlinsky 7663:White Mountain art 7604:Historical fiction 7412:Spain (literature) 7170:Indianist movement 7088:Romantic orchestra 6264:Musical cryptogram 6254:German Romanticism 6139:Two Motets, Op. 74 6082:Other compositions 6044:Rhapsodies, Op. 79 6039:Piano Sonata No. 3 6034:Piano Sonata No. 2 6029:Piano Sonata No. 1 6014:Fantasies, Op. 116 5893:Cello Sonata No. 2 5888:Cello Sonata No. 1 5463:19th-century Music 5459:Schubert, Giselher 5435:Schoenberg, Arnold 5350:19th-century Music 5305:19th-century Music 5102:Floros, Constantin 5053:19th-century Music 4913:19th-Century Music 4826:on 3 December 2019 4705:Reinhold Brinkmann 4674:MacDonald, Malcolm 4565:Gál, Hans (1963). 4491:Floros, Constantin 4436:Grove Music Online 4426:Grove Music Online 3784:19th-Century Music 3750:19th-Century Music 3562:Liederspiel Oxford 3417:, pp. 869–870 2986:, pp. 27, 31. 2878:, pp. 199–200 2851:, pp. 67, 71. 2746:, pp. 56, 62. 2377:Passacaglia, Op. 1 2317:Ernst von Dohnányi 2307:Wilhelm Stenhammar 2251: 2189:, telling Brahms: 2130:encyclopedic style 2117:is written like a 1985:Cello Sonata No. 1 1925:Domenico Scarlatti 1407:with sculpture by 1319: 1275: 1071: 819: 797:Julius Stockhausen 784:Failed aspirations 650:for Joachim, the " 523: 509: 501: 448:Sigismund Thalberg 317: 244:mocked this idea. 9754: 9753: 9668:Romantic medicine 9638:List of romantics 9077: 9076: 8728:Felix Mendelssohn 8723:Fanny Mendelssohn 8534: 8533: 8248:Rosalía de Castro 8186:Soares dos Passos 7534:Transcendentalism 7498:Nazarene movement 7458:Düsseldorf School 7316: 7315: 7187:New German School 6782:Felix Mendelssohn 6777:Fanny Mendelssohn 6313: 6312: 6133:Neue Liebeslieder 5843:Gesang der Parzen 5577:. 26(3):379–403. 5566:978-0-415-96890-4 5558:978-0-19-765930-4 5543:978-0-520-34429-7 5535:978-0-520-34428-0 5527:978-0-520-97545-3 5512:978-0-19-538484-0 5497:978-0-19-509458-9 5489:978-0-19-509437-4 5477:Taruskin, Richard 5453:978-0-571-13000-9 5410:978-0-19-756540-7 5402:978-0-19-756539-1 5394:978-0-19-756542-1 5352:. 17(2):107–123. 5328:978-1-107-16341-6 5320:Brahms in Context 5295:978-0-415-96650-4 5270:978-0-253-06753-1 5262:978-0-253-06754-8 5235:978-1-58046-432-1 5187:978-1-108-47449-8 5156:978-0-520-24301-9 5137:978-0-520-07819-2 5122:978-3-631-63044-0 5114:978-3-653-04219-1 5077:978-1-107-03789-2 5042:978-0-19-816165-3 5023:978-0-253-33488-6 5000:978-0-19-765928-1 4992:978-0-19-765930-4 4980:Beaudoin, Richard 4963:978-0-19-538483-3 4950:Taruskin, Richard 4902:978-0-333-72589-4 4880:978-0-486-25748-8 4871:Schumann on Music 4804:978-0-300-06804-7 4786:, pp. 31–50. 4767:978-0-521-48581-4 4759:978-0-521-48129-8 4737:978-0-7100-9776-7 4717:978-0-520-21413-2 4687:978-0-19-816484-5 4652:(1592): 869–871. 4645:The Musical Times 4632:978-0-521-08836-7 4624:978-0-521-24522-7 4589:978-0-306-80223-2 4557:978-0-691-14344-6 4539:978-0-300-09965-2 4522:978-0-520-04700-6 4503:978-3-631-61260-6 4483:978-0-520-03679-6 4454:978-1-56159-263-0 4403:(1543): 898–900. 4396:The Musical Times 4385:978-0-333-23111-1 4357:978-0-19-816234-6 4289:Maurer Zenck 1999 3962:The Musical Times 3934:978-3-99012-880-0 3816:English Madrigals 3799:The Musical Times 3666:978-0-89875-141-3 3659:. Minerva Group. 3530:978-1-4617-2280-9 3213:, pp. 42–43. 3108:978-0-300-09199-1 2902:, pp. 81–82. 2839:, §2: "New Paths" 2770:, pp. 56–57. 2722:, pp. 12–14. 2671:, pp. 17–18. 2560:, pp. 14–16. 2364:George Balanchine 2215:Theodor W. Adorno 2200:Arnold Schoenberg 2158: 2157: 2150: 1995:Fourth Symphony's 1962:Giovanni Gabrieli 1940:François Couperin 1913:Giovanni Gabrieli 1882:The influence of 1840:Richard Heuberger 1754:New German School 1641:form include the 1575: 1574: 1567: 1549: 1514:"Johannes Brahms" 1457: 1433: 1385:pancreatic cancer 1314:and sculpture by 1284:Johann Strauss II 1271:Johann Strauss II 1214:, Op. 98 (1885). 1092:Beethoven's Fifth 983:(1863–1868), his 910:Handel Variations 898:Handel Variations 841:Felix Mendelssohn 837:Giovanni Gabrieli 770:New German School 614:Sonata in B minor 520:Franz Hanfstaengl 303:Youth (1833–1850) 286:. The latter and 284:Arnold Schoenberg 255:in Vienna. There 129: 128: 16:(Redirected from 9950: 9913:German humanists 9873:German agnostics 9795: 9794: 9793: 9783: 9782: 9781: 9771: 9770: 9769: 9762: 9744: 9743: 9703:Evolution theory 8545: 8544: 7678: 7677: 7539:Ukrainian school 7343: 7336: 7329: 7320: 7319: 7306: 7296: 7295: 7192:Post-romanticism 7057:Vaughan Williams 6340: 6333: 6326: 6317: 6316: 6303: 6293: 6292: 6217:Related articles 6191:Named for Brahms 6118:Geistliches Lied 6024:Hungarian Dances 6009:Ballades, Op. 10 5948:Piano Trio No. 3 5943:Piano Trio No. 2 5938:Piano Trio No. 1 5903:Clarinet Sonatas 5898:Clarinet Quintet 5831: 5824:A German Requiem 5732:Orchestral works 5709: 5702: 5695: 5686: 5685: 5658: 5383: 5284: 5148:Richard Taruskin 5034:Roger Norrington 4967: 4945: 4906: 4884: 4867:Schumann, Robert 4862: 4849: 4843: 4835: 4833: 4831: 4808: 4787: 4778: 4752: 4741: 4720: 4691: 4669: 4635: 4610: 4601: 4600:, pp. 3–30. 4592: 4570: 4561: 4542: 4525: 4506: 4486: 4458: 4429: 4420: 4389: 4361: 4342: 4327: 4326: 4324: 4322: 4311: 4305: 4298: 4292: 4286: 4280: 4270: 4264: 4258: 4252: 4246: 4240: 4234: 4228: 4222: 4216: 4206: 4200: 4194: 4188: 4182: 4171: 4165: 4154: 4148: 4142: 4136: 4130: 4124: 4115: 4109: 4100: 4094: 4085: 4084: 4074: 4050: 4044: 4038: 4032: 4031: 4001: 3995: 3994: 3956: 3947: 3946: 3912: 3906: 3896: 3890: 3884: 3878: 3871: 3865: 3862: 3856: 3853: 3847: 3841: 3835: 3829: 3823: 3809: 3803: 3794: 3788: 3776: 3770: 3760: 3754: 3742: 3733: 3732: 3720: 3710: 3704: 3703: 3692: 3686: 3685: 3683: 3681: 3650: 3644: 3638: 3632: 3625: 3619: 3613: 3607: 3601: 3595: 3594: 3588:researchgate.net 3579: 3573: 3572: 3570: 3568: 3553: 3547: 3541: 3535: 3534: 3516: 3510: 3504: 3498: 3492: 3486: 3480: 3474: 3473: 3471: 3469: 3464:on 17 April 2021 3460:. Archived from 3448: 3442: 3436: 3430: 3424: 3418: 3412: 3403: 3401: 3394: 3388: 3365: 3360: 3354: 3348: 3342: 3336: 3330: 3324: 3318: 3317:, pp. 4, 6. 3312: 3306: 3300: 3294: 3280: 3274: 3268: 3262: 3256: 3250: 3244: 3238: 3232: 3226: 3220: 3214: 3208: 3202: 3196: 3190: 3184: 3178: 3172: 3159: 3153: 3147: 3137: 3131: 3128: 3122: 3119: 3113: 3112: 3092: 3086: 3080: 3074: 3068: 3062: 3056: 3050: 3044: 3031: 3025: 3019: 3005: 2999: 2993: 2987: 2981: 2975: 2974:, pp. 52–53 2969: 2963: 2957: 2951: 2945: 2939: 2933: 2927: 2921: 2915: 2909: 2903: 2897: 2891: 2885: 2879: 2873: 2864: 2858: 2852: 2846: 2840: 2834: 2819: 2813: 2807: 2801: 2795: 2789: 2783: 2777: 2771: 2765: 2759: 2753: 2747: 2741: 2735: 2729: 2723: 2717: 2711: 2701: 2695: 2678: 2672: 2666: 2660: 2654: 2648: 2642: 2636: 2635:, pp. 9–11. 2630: 2624: 2618: 2612: 2606: 2597: 2591: 2585: 2579: 2573: 2567: 2561: 2555: 2549: 2543: 2537: 2531: 2525: 2519: 2513: 2507: 2501: 2495: 2489: 2483: 2474: 2468: 2446: 2439: 2433: 2426: 2411: 2400: 2313:Ferruccio Busoni 2270:, as well as on 2204:Benjamin Britten 2186:Geistliches Lied 2153: 2146: 2142: 2139: 2133: 2110: 2109: 2102: 2049:A German Requiem 2038:Hungarian Dances 2028: 1990:The Art of Fugue 1899: 1623:A German Requiem 1587:No. 1 in D minor 1570: 1563: 1559: 1556: 1550: 1548: 1507: 1483: 1475: 1459: 1458: 1435: 1434: 1375:Terminal illness 1348:Clarinet Sonatas 1344:Clarinet Quintet 1336:Richard Mühlfeld 1159:awarded him the 1088:Richard Taruskin 1018:Ferdinand Hiller 964:Hungarian Dances 922:A German Requiem 890:Theodor Billroth 888:and the surgeon 884:, the conductor 853:A German Requiem 817: 814: 697:, among others. 656:Frei aber einsam 543:Hungarian Dances 354: 257:Richard Mühlfeld 168: 163: 159: 158: 155: 154: 151: 148: 145: 142: 88: 70: 68: 53: 39: 38: 21: 9958: 9957: 9953: 9952: 9951: 9949: 9948: 9947: 9813:Johannes Brahms 9803: 9802: 9801: 9791: 9789: 9779: 9777: 9773:Classical music 9767: 9765: 9757: 9755: 9750: 9749: 9738: 9730: 9716: 9673:Romantic poetry 9658:Romantic ballet 9633:German idealism 9616: 9582:Lacoue-Labarthe 9508: 9255: 9073: 9022: 8991: 8972:Rimsky-Korsakov 8915: 8864: 8813: 8772: 8681: 8625: 8589: 8530: 8379: 8323: 8272: 8231: 8190: 8144: 8086: 8027:Maria Edgeworth 7963: 7956: 7835: 7757: 7667: 7646:Romantic genius 7576:Gesamtkunstwerk 7553: 7514:Sturm und Drang 7421: 7352: 7347: 7317: 7312: 7289: 7285:Modernist music 7281: 7278:Classical music 7268: 7213: 7158: 7139:Romantic ballet 7134:Orchestral song 7114:Chorale prelude 7109:Character piece 7092: 7083:Romantic guitar 7076:Instrumentation 7071: 6907:Rimsky-Korsakov 6527:Ferdinand David 6364: 6358: 6349: 6344: 6314: 6309: 6281: 6244:Brahms-Institut 6212: 6203:Brahms (crater) 6186: 6168: 6077: 5997: 5876: 5815: 5809: 5805:Violin Concerto 5790:Double Concerto 5778: 5769:Tragic Overture 5727: 5718: 5716:Johannes Brahms 5713: 5649: 5634:Johannes Brahms 5629:Mutopia Project 5597:Brahms Institut 5593: 5588: 5465:. 18(1):10–23. 5377: 5307:. 18(1):24–45. 5278: 5210:31(2):127–175. 4975: 4973:Further reading 4970: 4964: 4903: 4881: 4859:Polydor Records 4837: 4836: 4829: 4827: 4805: 4795:A Brahms Reader 4784:Musgrave (1999) 4775:Musgrave (1999) 4738: 4709:Christoph Wolff 4688: 4598:Musgrave (1999) 4575:Geiringer, Karl 4558: 4471:Arnold Whittall 4455: 4386: 4358: 4336: 4331: 4330: 4320: 4318: 4313: 4312: 4308: 4299: 4295: 4287: 4283: 4271: 4267: 4259: 4255: 4247: 4243: 4235: 4231: 4223: 4219: 4207: 4203: 4195: 4191: 4183: 4174: 4166: 4157: 4149: 4145: 4137: 4133: 4125: 4118: 4110: 4103: 4095: 4088: 4051: 4047: 4039: 4035: 4002: 3998: 3957: 3950: 3935: 3913: 3909: 3897: 3893: 3885: 3881: 3872: 3868: 3863: 3859: 3854: 3850: 3842: 3838: 3830: 3826: 3810: 3806: 3795: 3791: 3777: 3773: 3761: 3757: 3743: 3736: 3729: 3711: 3707: 3696:Spaeth, Sigmund 3693: 3689: 3679: 3677: 3667: 3651: 3647: 3639: 3635: 3626: 3622: 3614: 3610: 3602: 3598: 3580: 3576: 3566: 3564: 3554: 3550: 3542: 3538: 3531: 3517: 3513: 3505: 3501: 3493: 3489: 3481: 3477: 3467: 3465: 3450: 3449: 3445: 3437: 3433: 3425: 3421: 3413: 3406: 3399: 3395: 3391: 3381:Jonathan Berger 3363: 3361: 3357: 3349: 3345: 3337: 3333: 3325: 3321: 3313: 3309: 3301: 3297: 3281: 3277: 3269: 3265: 3257: 3253: 3245: 3241: 3233: 3229: 3221: 3217: 3209: 3205: 3197: 3193: 3185: 3181: 3173: 3162: 3154: 3150: 3138: 3134: 3129: 3125: 3120: 3116: 3109: 3098:A Brahms Reader 3093: 3089: 3081: 3077: 3069: 3065: 3057: 3053: 3045: 3034: 3026: 3022: 3016:Schumann Portal 3006: 3002: 2994: 2990: 2982: 2978: 2970: 2966: 2958: 2954: 2946: 2942: 2934: 2930: 2922: 2918: 2910: 2906: 2898: 2894: 2886: 2882: 2874: 2867: 2859: 2855: 2847: 2843: 2835: 2822: 2814: 2810: 2802: 2798: 2790: 2786: 2778: 2774: 2766: 2762: 2754: 2750: 2742: 2738: 2730: 2726: 2718: 2714: 2702: 2698: 2679: 2675: 2667: 2663: 2655: 2651: 2643: 2639: 2631: 2627: 2623:, pp. 4–8. 2619: 2615: 2607: 2600: 2592: 2588: 2580: 2576: 2568: 2564: 2556: 2552: 2544: 2540: 2532: 2528: 2524:, pp. 3–4. 2520: 2516: 2508: 2504: 2496: 2492: 2484: 2477: 2469: 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Bach 1921:Heinrich Schütz 1901: 1858: 1856:Early Romantics 1828:Albert Dietrich 1804: 1779:argued, was an 1734: 1712:Ferdinand David 1665:Fourth Symphony 1604:Tragic Overture 1599:Double Concerto 1595:Violin Concerto 1583:piano concertos 1571: 1560: 1554: 1551: 1508: 1506: 1496: 1484: 1473: 1467: 1466: 1465: 1464: 1463: 1460: 1453: 1450: 1444: 1443: 1442: 1436: 1429: 1426: 1417: 1377: 1324: 1290:The Blue Danube 1280: 1264: 1216:Richard Strauss 1212:Fourth Symphony 1204: 1176:George Henschel 1172:Bernhard Scholz 1128: 1119:Tragic Overture 1104:Violin Concerto 1100:Second Symphony 1076: 1061:Eduard Hanslick 1054: 960: 942:Karl Reinthaler 918: 882:Eduard Hanslick 862: 833:Heinrich Schütz 824: 815: 805: 786: 722: 691:Ignaz Moscheles 687:Ferdinand David 644:Albert Dietrich 624:Brahms visited 622: 602:Peter Cornelius 589:choral works". 548:Robert Schumann 528: 493: 475: 456:Jacob Rosenhain 444: 385: 377:string quartets 348: 322: 305: 300: 261:Robert Hausmann 226:Robert Schumann 171:Romantic period 161: 139: 135: 132:Johannes Brahms 115: 95: 90: 86: 77: 72: 66: 64: 56: 44: 43:Johannes Brahms 35: 28: 23: 22: 15: 12: 11: 5: 9956: 9946: 9945: 9940: 9935: 9930: 9925: 9920: 9915: 9910: 9905: 9900: 9895: 9890: 9885: 9880: 9875: 9870: 9865: 9860: 9855: 9850: 9845: 9840: 9835: 9830: 9825: 9820: 9815: 9800: 9799: 9787: 9775: 9752: 9751: 9731: 9723: 9722: 9721: 9718: 9717: 9715: 9714: 9707: 9706: 9705: 9700: 9690: 9685: 9680: 9675: 9670: 9665: 9660: 9655: 9650: 9645: 9640: 9635: 9630: 9624: 9622: 9621:Related topics 9618: 9617: 9615: 9614: 9609: 9604: 9599: 9594: 9589: 9584: 9579: 9574: 9569: 9564: 9559: 9554: 9549: 9544: 9539: 9534: 9529: 9524: 9518: 9516: 9510: 9509: 9507: 9506: 9501: 9496: 9491: 9486: 9481: 9476: 9471: 9466: 9461: 9456: 9451: 9446: 9441: 9436: 9431: 9426: 9421: 9416: 9411: 9406: 9401: 9396: 9391: 9386: 9381: 9376: 9371: 9366: 9361: 9356: 9351: 9349:Gallen-Kallela 9346: 9341: 9336: 9331: 9326: 9324:David d'Angers 9321: 9316: 9311: 9306: 9301: 9296: 9291: 9286: 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6522:Félicien David 6519: 6514: 6509: 6504: 6499: 6494: 6489: 6484: 6479: 6474: 6469: 6464: 6459: 6454: 6449: 6444: 6439: 6434: 6429: 6424: 6419: 6414: 6409: 6404: 6399: 6394: 6389: 6384: 6379: 6374: 6368: 6366: 6360: 6359: 6354: 6351: 6350: 6347:Romantic music 6343: 6342: 6335: 6328: 6320: 6311: 6310: 6308: 6307: 6297: 6286: 6283: 6282: 6280: 6279: 6275:Op. 120, No. 1 6271: 6266: 6261: 6256: 6251: 6246: 6241: 6236: 6231: 6226: 6220: 6218: 6214: 6213: 6211: 6210: 6205: 6200: 6194: 6192: 6188: 6187: 6185: 6184: 6176: 6174: 6173:Collaborations 6170: 6169: 6167: 6166: 6163:Zigeunerlieder 6159: 6154: 6147: 6141: 6136: 6129: 6121: 6114: 6106: 6098: 6091: 6085: 6083: 6079: 6078: 6076: 6075: 6068: 6061: 6056: 6051: 6046: 6041: 6036: 6031: 6026: 6021: 6016: 6011: 6005: 6003: 5999: 5998: 5996: 5995: 5990: 5985: 5980: 5975: 5970: 5965: 5960: 5955: 5950: 5945: 5940: 5935: 5930: 5925: 5920: 5915: 5910: 5905: 5900: 5895: 5890: 5884: 5882: 5878: 5877: 5875: 5874: 5867: 5864:Schicksalslied 5860: 5853: 5846: 5839: 5832: 5819: 5817: 5816:with orchestra 5811: 5810: 5808: 5807: 5802: 5797: 5792: 5786: 5784: 5780: 5779: 5777: 5776: 5771: 5766: 5761: 5756: 5751: 5746: 5741: 5735: 5733: 5729: 5728: 5723: 5720: 5719: 5712: 5711: 5704: 5697: 5689: 5683: 5682: 5673: 5668: 5659: 5647: 5641: 5631: 5623: 5613: 5603: 5592: 5591:External links 5589: 5587: 5586: 5569: 5546: 5515: 5500: 5474: 5471:10.2307/746599 5456: 5432: 5431:. 6(2):63–147. 5421: 5372: 5361: 5358:10.2307/746329 5346: 5339: 5316: 5313:10.2307/746600 5298: 5273: 5250: 5238: 5227:Ralph P. Locke 5219: 5207:Music Analysis 5198: 5175: 5159: 5140: 5125: 5099: 5098:. 2(1):75–103. 5088: 5065: 5062:10.2307/746255 5056:. 8(1):75–83. 5045: 5026: 5011: 4976: 4974: 4971: 4969: 4968: 4962: 4946: 4920:(3): 268–275. 4907: 4901: 4885: 4879: 4863: 4850: 4809: 4803: 4790: 4789: 4788: 4779: 4742: 4736: 4721: 4693: 4686: 4670: 4658:10.2307/959201 4636: 4611: 4602: 4593: 4571: 4562: 4556: 4543: 4526: 4507: 4487: 4463:Dahlhaus, Carl 4459: 4453: 4430: 4421: 4409:10.2307/955537 4390: 4384: 4362: 4356: 4343: 4337: 4335: 4332: 4329: 4328: 4306: 4293: 4291:, 183, 191n71. 4281: 4265: 4263:, p. 406. 4261:MacDonald 2001 4253: 4241: 4237:Musgrave 1999a 4229: 4217: 4201: 4189: 4172: 4155: 4143: 4131: 4116: 4101: 4086: 4045: 4033: 3996: 3975:10.2307/903152 3948: 3933: 3907: 3891: 3879: 3866: 3857: 3848: 3836: 3824: 3820:Gimell Records 3804: 3789: 3779:Rosen, Charles 3771: 3755: 3745:Webster, James 3734: 3728:978-1555532796 3727: 3705: 3687: 3665: 3645: 3633: 3620: 3608: 3596: 3574: 3548: 3536: 3529: 3511: 3499: 3487: 3485:, p. 898. 3475: 3443: 3441:, p. 569. 3431: 3419: 3404: 3389: 3355: 3343: 3341:, p. 252. 3331: 3319: 3307: 3295: 3283:Musgrave 1999a 3275: 3263: 3261:, p. 729. 3251: 3239: 3227: 3225:, p. 694. 3215: 3211:Musgrave 1999b 3203: 3201:, p. 383. 3191: 3179: 3160: 3148: 3132: 3130:Swafford, 1997 3123: 3114: 3107: 3087: 3083:Musgrave 1999b 3075: 3073:, p. 401. 3063: 3051: 3032: 3028:Musgrave 1999b 3020: 3012:"Brahms House" 3010:, p. 40; 3000: 2988: 2976: 2964: 2952: 2950:, p. 211. 2940: 2928: 2916: 2904: 2892: 2880: 2865: 2853: 2841: 2820: 2808: 2796: 2784: 2772: 2760: 2756:Musgrave 1999b 2748: 2736: 2724: 2712: 2696: 2673: 2661: 2649: 2637: 2625: 2613: 2598: 2586: 2574: 2562: 2550: 2538: 2526: 2514: 2502: 2490: 2475: 2462: 2461: 2459: 2456: 2454: 2451: 2448: 2447: 2434: 2420: 2419: 2417: 2414: 2403:Milan Knobloch 2388: 2385: 2375:Webern's 1908 2360:writer's block 2356:Otto Klemperer 2332: 2329: 2305:and the Swede 2287:Wilhelm Berger 2268:Julius Röntgen 2255: 2252: 2181:Missa canonica 2156: 2155: 2114: 2112: 2105: 2099: 2096: 2082:in 1880 and a 2061:Clara Schumann 2056: 2053: 2002: 1999: 1974:E. H. Fellowes 1958:Peter Phillips 1900: 1893: 1873:String Quintet 1865:Franz Schubert 1857: 1854: 1812:Fifth Symphony 1808:First Symphony 1803: 1800: 1766:absolute music 1733: 1730: 1573: 1572: 1487: 1485: 1478: 1461: 1451: 1446: 1445: 1437: 1427: 1422: 1421: 1420: 1419: 1418: 1416: 1413: 1397:Symphony No. 4 1376: 1373: 1323: 1320: 1279: 1276: 1263: 1260: 1231:Theo Wangemann 1224:Anton Bruckner 1208:Third Symphony 1203: 1200: 1188:Hans von Bülow 1148:Antonín Dvořák 1127: 1124: 1080:First Symphony 1075: 1072: 1053: 1050: 1026:German Requiem 1014:Franz Schubert 989:first symphony 959: 956: 947:German Requiem 938:Antonín Dvořák 917: 914: 874:Julius Epstein 861: 858: 823: 822:Move to Vienna 820: 804: 801: 785: 782: 774:Richard Wagner 721: 718: 695:Hector Berlioz 681:published the 679:Bartholf Senff 621: 618: 555:Joseph Joachim 527: 524: 516:Clara Schumann 507:Brahms in 1853 492: 489: 474: 471: 443: 440: 424:Eduard Marxsen 384: 381: 321: 318: 304: 301: 299: 296: 268:Antonín Dvořák 242:Richard Wagner 234:Hans von Bülow 230:Clara Schumann 214:Joseph Joachim 206:Central Europe 127: 126: 121: 117: 116: 114: 113: 110: 107: 103: 101: 97: 96: 91: 89:(aged 63) 83: 79: 78: 73: 62: 58: 57: 55:Brahms in 1889 54: 46: 45: 42: 26: 9: 6: 4: 3: 2: 9955: 9944: 9941: 9939: 9936: 9934: 9931: 9929: 9926: 9924: 9921: 9919: 9916: 9914: 9911: 9909: 9906: 9904: 9901: 9899: 9896: 9894: 9891: 9889: 9886: 9884: 9881: 9879: 9876: 9874: 9871: 9869: 9866: 9864: 9861: 9859: 9856: 9854: 9851: 9849: 9846: 9844: 9841: 9839: 9836: 9834: 9831: 9829: 9826: 9824: 9821: 9819: 9816: 9814: 9811: 9810: 9808: 9798: 9788: 9786: 9776: 9774: 9764: 9763: 9760: 9748: 9747: 9736: 9735: 9729: 9728: 9719: 9713: 9712: 9708: 9704: 9701: 9699: 9696: 9695: 9694: 9691: 9689: 9686: 9684: 9681: 9679: 9676: 9674: 9671: 9669: 9666: 9664: 9661: 9659: 9656: 9654: 9651: 9649: 9646: 9644: 9641: 9639: 9636: 9634: 9631: 9629: 9626: 9625: 9623: 9619: 9613: 9610: 9608: 9605: 9603: 9600: 9598: 9595: 9593: 9590: 9588: 9585: 9583: 9580: 9578: 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8711: 8709: 8706: 8704: 8701: 8699: 8696: 8694: 8691: 8690: 8688: 8684: 8678: 8675: 8673: 8670: 8668: 8665: 8663: 8660: 8658: 8655: 8653: 8650: 8648: 8645: 8643: 8640: 8638: 8635: 8634: 8632: 8628: 8622: 8619: 8617: 8614: 8612: 8609: 8607: 8604: 8602: 8599: 8598: 8596: 8592: 8586: 8583: 8581: 8578: 8576: 8573: 8571: 8568: 8566: 8563: 8561: 8558: 8556: 8553: 8552: 8550: 8546: 8543: 8541: 8537: 8527: 8524: 8522: 8519: 8517: 8514: 8512: 8509: 8507: 8504: 8502: 8499: 8497: 8494: 8492: 8489: 8487: 8484: 8482: 8479: 8477: 8474: 8472: 8469: 8467: 8464: 8462: 8459: 8457: 8454: 8452: 8449: 8447: 8444: 8442: 8441:Nikolai Gogol 8439: 8437: 8434: 8432: 8429: 8427: 8424: 8422: 8419: 8417: 8414: 8412: 8409: 8407: 8404: 8402: 8399: 8397: 8394: 8392: 8389: 8388: 8386: 8382: 8376: 8373: 8371: 8368: 8366: 8363: 8361: 8358: 8356: 8353: 8351: 8348: 8346: 8343: 8341: 8338: 8336: 8333: 8332: 8330: 8326: 8320: 8317: 8315: 8312: 8310: 8307: 8305: 8302: 8300: 8297: 8295: 8292: 8290: 8287: 8285: 8282: 8281: 8279: 8275: 8269: 8266: 8264: 8261: 8259: 8256: 8254: 8251: 8249: 8246: 8244: 8241: 8240: 8238: 8234: 8228: 8225: 8223: 8220: 8218: 8215: 8213: 8210: 8208: 8205: 8203: 8200: 8199: 8197: 8193: 8187: 8184: 8182: 8179: 8177: 8174: 8172: 8169: 8167: 8164: 8162: 8159: 8157: 8154: 8153: 8151: 8147: 8141: 8138: 8136: 8133: 8131: 8128: 8126: 8123: 8121: 8118: 8116: 8113: 8111: 8108: 8106: 8103: 8101: 8098: 8097: 8095: 8093: 8089: 8083: 8080: 8078: 8075: 8073: 8072:P. B. Shelley 8070: 8068: 8065: 8063: 8060: 8058: 8055: 8053: 8052:Mary Robinson 8050: 8048: 8045: 8043: 8040: 8038: 8035: 8033: 8030: 8028: 8025: 8023: 8020: 8018: 8015: 8013: 8010: 8008: 8005: 8003: 8000: 7998: 7995: 7993: 7990: 7988: 7985: 7983: 7980: 7978: 7975: 7973: 7970: 7969: 7967: 7965: 7959: 7953: 7950: 7948: 7945: 7943: 7940: 7938: 7935: 7933: 7930: 7928: 7925: 7923: 7920: 7918: 7915: 7913: 7910: 7908: 7905: 7903: 7900: 7898: 7895: 7893: 7890: 7888: 7885: 7883: 7880: 7878: 7875: 7873: 7870: 7868: 7865: 7863: 7860: 7858: 7855: 7853: 7850: 7848: 7845: 7844: 7842: 7838: 7832: 7829: 7827: 7824: 7822: 7819: 7817: 7814: 7812: 7809: 7807: 7804: 7802: 7799: 7797: 7794: 7792: 7789: 7787: 7784: 7782: 7781:Chateaubriand 7779: 7777: 7774: 7772: 7769: 7768: 7766: 7764: 7760: 7754: 7751: 7749: 7746: 7744: 7741: 7739: 7736: 7734: 7731: 7729: 7726: 7724: 7721: 7719: 7716: 7714: 7711: 7709: 7706: 7704: 7701: 7699: 7696: 7694: 7691: 7689: 7686: 7685: 7683: 7679: 7676: 7674: 7670: 7664: 7661: 7659: 7658: 7654: 7652: 7649: 7647: 7644: 7642: 7639: 7637: 7634: 7632: 7629: 7627: 7624: 7622: 7619: 7617: 7614: 7612: 7611: 7610:Mal du siècle 7607: 7605: 7602: 7598: 7595: 7593: 7590: 7589: 7588: 7585: 7583: 7580: 7578: 7577: 7573: 7571: 7568: 7566: 7563: 7562: 7560: 7556: 7550: 7547: 7545: 7542: 7540: 7537: 7535: 7532: 7530: 7529: 7525: 7523: 7520: 7516: 7515: 7511: 7510: 7509: 7506: 7504: 7501: 7499: 7496: 7494: 7491: 7489: 7486: 7484: 7481: 7479: 7476: 7474: 7471: 7469: 7466: 7464: 7461: 7459: 7456: 7454: 7451: 7449: 7446: 7444: 7441: 7439: 7436: 7434: 7431: 7430: 7428: 7424: 7418: 7415: 7413: 7410: 7408: 7405: 7403: 7400: 7398: 7395: 7393: 7390: 7388: 7385: 7383: 7380: 7378: 7375: 7372: 7370: 7367: 7365: 7362: 7361: 7359: 7355: 7351: 7344: 7339: 7337: 7332: 7330: 7325: 7324: 7321: 7309: 7305: 7301: 7299: 7291: 7290: 7287: 7286: 7280: 7279: 7271: 7263: 7260: 7259: 7258: 7255: 7251: 7248: 7246: 7243: 7241: 7238: 7236: 7233: 7232: 7231: 7228: 7226: 7223: 7222: 7220: 7216: 7209: 7205: 7203: 7200: 7198: 7195: 7193: 7190: 7188: 7185: 7183: 7182: 7178: 7176: 7173: 7171: 7168: 7167: 7165: 7161: 7155: 7152: 7150: 7147: 7145: 7142: 7140: 7137: 7135: 7132: 7130: 7127: 7125: 7122: 7120: 7117: 7115: 7112: 7110: 7107: 7105: 7102: 7101: 7099: 7095: 7089: 7086: 7084: 7081: 7080: 7078: 7074: 7068: 7065: 7063: 7060: 7058: 7055: 7053: 7050: 7048: 7045: 7043: 7040: 7038: 7035: 7033: 7030: 7028: 7025: 7023: 7020: 7018: 7015: 7013: 7010: 7008: 7005: 7003: 7000: 6998: 6995: 6993: 6992:J. Strauss II 6990: 6988: 6985: 6983: 6980: 6978: 6975: 6973: 6970: 6968: 6965: 6963: 6960: 6958: 6955: 6953: 6950: 6948: 6945: 6943: 6940: 6938: 6935: 6933: 6930: 6928: 6925: 6923: 6920: 6918: 6915: 6913: 6910: 6908: 6905: 6903: 6900: 6898: 6895: 6893: 6890: 6888: 6885: 6883: 6880: 6878: 6875: 6873: 6870: 6868: 6865: 6863: 6860: 6858: 6855: 6853: 6850: 6848: 6845: 6843: 6840: 6838: 6835: 6833: 6830: 6828: 6825: 6823: 6820: 6818: 6815: 6813: 6810: 6808: 6805: 6803: 6800: 6798: 6795: 6793: 6790: 6788: 6785: 6783: 6780: 6778: 6775: 6773: 6770: 6768: 6765: 6763: 6760: 6758: 6755: 6753: 6750: 6748: 6745: 6743: 6740: 6738: 6735: 6733: 6730: 6728: 6725: 6723: 6720: 6718: 6715: 6713: 6710: 6708: 6705: 6703: 6700: 6698: 6695: 6693: 6690: 6688: 6685: 6683: 6680: 6678: 6675: 6673: 6670: 6668: 6665: 6663: 6660: 6658: 6655: 6653: 6650: 6648: 6645: 6643: 6640: 6638: 6635: 6633: 6630: 6628: 6625: 6623: 6620: 6618: 6615: 6613: 6610: 6608: 6605: 6603: 6600: 6598: 6595: 6593: 6590: 6588: 6585: 6583: 6580: 6578: 6575: 6573: 6570: 6568: 6565: 6563: 6560: 6558: 6555: 6553: 6550: 6548: 6545: 6543: 6540: 6538: 6535: 6533: 6530: 6528: 6525: 6523: 6520: 6518: 6515: 6513: 6510: 6508: 6505: 6503: 6500: 6498: 6495: 6493: 6490: 6488: 6485: 6483: 6480: 6478: 6475: 6473: 6470: 6468: 6465: 6463: 6460: 6458: 6455: 6453: 6450: 6448: 6445: 6443: 6440: 6438: 6435: 6433: 6430: 6428: 6425: 6423: 6420: 6418: 6415: 6413: 6410: 6408: 6405: 6403: 6400: 6398: 6395: 6393: 6390: 6388: 6385: 6383: 6380: 6378: 6375: 6373: 6370: 6369: 6367: 6363:Composers and 6361: 6357: 6352: 6348: 6341: 6336: 6334: 6329: 6327: 6322: 6321: 6318: 6306: 6302: 6298: 6296: 6288: 6287: 6284: 6278: 6276: 6272: 6270: 6267: 6265: 6262: 6260: 6257: 6255: 6252: 6250: 6247: 6245: 6242: 6240: 6239:Brahms guitar 6237: 6235: 6232: 6230: 6227: 6225: 6222: 6221: 6219: 6215: 6209: 6206: 6204: 6201: 6199: 6196: 6195: 6193: 6189: 6183: 6182: 6178: 6177: 6175: 6171: 6165: 6164: 6160: 6158: 6155: 6153: 6152: 6148: 6145: 6142: 6140: 6137: 6135: 6134: 6130: 6128: 6126: 6122: 6120: 6119: 6115: 6113: 6111: 6107: 6105: 6103: 6099: 6097: 6096: 6092: 6090: 6087: 6086: 6084: 6080: 6074: 6073: 6069: 6067: 6066: 6062: 6060: 6057: 6055: 6052: 6050: 6047: 6045: 6042: 6040: 6037: 6035: 6032: 6030: 6027: 6025: 6022: 6020: 6017: 6015: 6012: 6010: 6007: 6006: 6004: 6000: 5994: 5991: 5989: 5986: 5984: 5981: 5979: 5976: 5974: 5971: 5969: 5966: 5964: 5961: 5959: 5956: 5954: 5951: 5949: 5946: 5944: 5941: 5939: 5936: 5934: 5933:Piano Quintet 5931: 5929: 5926: 5924: 5921: 5919: 5916: 5914: 5911: 5909: 5908:Clarinet Trio 5906: 5904: 5901: 5899: 5896: 5894: 5891: 5889: 5886: 5885: 5883: 5881:Chamber music 5879: 5873: 5872: 5868: 5866: 5865: 5861: 5859: 5858: 5854: 5852: 5851: 5847: 5845: 5844: 5840: 5838: 5837: 5836:Alto Rhapsody 5833: 5830: 5826: 5825: 5821: 5820: 5818: 5812: 5806: 5803: 5801: 5798: 5796: 5793: 5791: 5788: 5787: 5785: 5781: 5775: 5772: 5770: 5767: 5765: 5762: 5760: 5757: 5755: 5752: 5750: 5747: 5745: 5742: 5740: 5737: 5736: 5734: 5730: 5726: 5721: 5717: 5710: 5705: 5703: 5698: 5696: 5691: 5690: 5687: 5681: 5677: 5674: 5672: 5669: 5667: 5663: 5660: 5656: 5652: 5648: 5645: 5642: 5639: 5635: 5632: 5630: 5627: 5624: 5621: 5617: 5614: 5611: 5607: 5604: 5602: 5598: 5595: 5594: 5584: 5580: 5576: 5575: 5570: 5567: 5563: 5559: 5555: 5551: 5547: 5544: 5540: 5536: 5532: 5528: 5524: 5520: 5516: 5513: 5509: 5505: 5501: 5498: 5494: 5490: 5486: 5482: 5478: 5475: 5472: 5468: 5464: 5460: 5457: 5454: 5450: 5446: 5445:Leonard Stein 5442: 5441: 5436: 5433: 5430: 5429:repercussions 5426: 5422: 5419: 5415: 5411: 5407: 5403: 5399: 5395: 5391: 5387: 5381: 5376: 5373: 5370: 5369:repercussions 5366: 5362: 5359: 5355: 5351: 5347: 5344: 5340: 5337: 5333: 5329: 5325: 5321: 5317: 5314: 5310: 5306: 5302: 5299: 5296: 5292: 5288: 5282: 5277: 5274: 5271: 5267: 5263: 5259: 5255: 5251: 5248: 5247: 5242: 5239: 5236: 5232: 5228: 5224: 5220: 5217: 5213: 5209: 5208: 5203: 5199: 5196: 5192: 5188: 5184: 5180: 5176: 5173: 5172:Ernest Newman 5169: 5168: 5163: 5160: 5157: 5153: 5149: 5145: 5141: 5138: 5134: 5130: 5126: 5123: 5119: 5115: 5111: 5107: 5103: 5100: 5097: 5096:repercussions 5093: 5089: 5086: 5082: 5078: 5074: 5070: 5066: 5063: 5059: 5055: 5054: 5049: 5046: 5043: 5039: 5035: 5031: 5027: 5024: 5020: 5016: 5012: 5009: 5005: 5001: 4997: 4993: 4989: 4985: 4981: 4978: 4977: 4965: 4959: 4955: 4951: 4947: 4943: 4939: 4935: 4931: 4927: 4923: 4919: 4915: 4914: 4908: 4904: 4898: 4894: 4890: 4889:Swafford, Jan 4886: 4882: 4876: 4872: 4868: 4864: 4860: 4856: 4851: 4847: 4841: 4825: 4821: 4820:Naxos Records 4817: 4816: 4810: 4806: 4800: 4796: 4791: 4785: 4780: 4776: 4771: 4770: 4768: 4764: 4760: 4756: 4750: 4749: 4743: 4739: 4733: 4729: 4728: 4722: 4718: 4714: 4710: 4706: 4702: 4698: 4694: 4689: 4683: 4679: 4675: 4671: 4667: 4663: 4659: 4655: 4651: 4647: 4646: 4641: 4637: 4633: 4629: 4625: 4621: 4617: 4612: 4608: 4603: 4599: 4594: 4590: 4586: 4582: 4581: 4576: 4572: 4568: 4563: 4559: 4553: 4549: 4544: 4540: 4536: 4532: 4527: 4523: 4519: 4515: 4514: 4508: 4504: 4500: 4496: 4492: 4488: 4484: 4480: 4476: 4475:Joseph Kerman 4472: 4468: 4464: 4460: 4456: 4450: 4446: 4442: 4438: 4437: 4431: 4427: 4422: 4418: 4414: 4410: 4406: 4402: 4398: 4397: 4391: 4387: 4381: 4377: 4376: 4371: 4370:Stanley Sadie 4367: 4366:Becker, Heinz 4363: 4359: 4353: 4349: 4344: 4339: 4338: 4316: 4310: 4304:, 15:177–206. 4303: 4297: 4290: 4285: 4278: 4274: 4269: 4262: 4257: 4250: 4245: 4238: 4233: 4226: 4221: 4214: 4210: 4209:Musgrave 1985 4205: 4198: 4193: 4186: 4181: 4179: 4177: 4169: 4164: 4162: 4160: 4152: 4147: 4140: 4135: 4128: 4123: 4121: 4113: 4108: 4106: 4098: 4093: 4091: 4082: 4078: 4073: 4068: 4064: 4060: 4056: 4049: 4043:, p. 78. 4042: 4037: 4029: 4025: 4021: 4017: 4013: 4009: 4008: 4000: 3992: 3988: 3984: 3980: 3976: 3972: 3968: 3964: 3963: 3955: 3953: 3944: 3940: 3936: 3930: 3926: 3922: 3918: 3911: 3904: 3900: 3899:Musgrave 1985 3895: 3888: 3883: 3876: 3870: 3861: 3852: 3845: 3840: 3833: 3828: 3821: 3817: 3813: 3808: 3801: 3800: 3793: 3786: 3785: 3780: 3775: 3768: 3764: 3759: 3752: 3751: 3746: 3741: 3739: 3730: 3724: 3719: 3718: 3709: 3701: 3697: 3691: 3676: 3672: 3668: 3662: 3658: 3657: 3649: 3642: 3637: 3630: 3624: 3617: 3616:Swafford 1999 3612: 3605: 3604:Dahlhaus 1980 3600: 3593: 3589: 3585: 3578: 3563: 3559: 3552: 3545: 3540: 3532: 3526: 3522: 3515: 3508: 3507:Swafford 1999 3503: 3497:, p. 42. 3496: 3491: 3484: 3479: 3463: 3459: 3458: 3457:Musée d'Orsay 3453: 3447: 3440: 3439:Swafford 1999 3435: 3428: 3427:Swafford 1999 3423: 3416: 3411: 3409: 3398: 3393: 3386: 3382: 3378: 3374: 3370: 3366: 3359: 3352: 3351:Musgrave 2000 3347: 3340: 3339:Musgrave 2000 3335: 3328: 3327:Swafford 1999 3323: 3316: 3315:Musgrave 2000 3311: 3305:, p. 57. 3304: 3299: 3292: 3291:Swafford 1999 3288: 3287:Musgrave 2000 3284: 3279: 3272: 3271:Swafford 1999 3267: 3260: 3259:Taruskin 2010 3255: 3248: 3243: 3236: 3231: 3224: 3223:Taruskin 2010 3219: 3212: 3207: 3200: 3199:Swafford 1999 3195: 3188: 3187:Petersen 1983 3183: 3176: 3171: 3169: 3167: 3165: 3157: 3152: 3145: 3141: 3140:Musgrave 1985 3136: 3127: 3118: 3110: 3104: 3100: 3099: 3091: 3084: 3079: 3072: 3071:Swafford 1999 3067: 3060: 3059:Swafford 1999 3055: 3048: 3043: 3041: 3039: 3037: 3029: 3024: 3017: 3013: 3009: 3004: 2997: 2996:Swafford 1999 2992: 2985: 2984:Musgrave 2000 2980: 2973: 2972:Musgrave 2000 2968: 2961: 2960:Swafford 1999 2956: 2949: 2948:Swafford 1999 2944: 2937: 2936:Swafford 1999 2932: 2925: 2924:Swafford 1999 2920: 2914:, p. 89. 2913: 2912:Swafford 1999 2908: 2901: 2900:Swafford 1999 2896: 2890:, p. 24. 2889: 2884: 2877: 2876:Schumann 1988 2872: 2870: 2862: 2857: 2850: 2849:Swafford 1999 2845: 2838: 2833: 2831: 2829: 2827: 2825: 2818:, p. 67. 2817: 2816:Musgrave 2000 2812: 2805: 2804:Swafford 1999 2800: 2794:, p. 64. 2793: 2792:Swafford 1999 2788: 2782:, p. 49. 2781: 2780:Swafford 1999 2776: 2769: 2768:Swafford 1999 2764: 2757: 2752: 2745: 2744:Swafford 1999 2740: 2733: 2728: 2721: 2716: 2709: 2705: 2704:Swafford 2001 2700: 2693: 2692: 2687: 2683: 2677: 2670: 2665: 2659:, p. 26. 2658: 2657:Swafford 1999 2653: 2647:, p. 12. 2646: 2641: 2634: 2629: 2622: 2617: 2610: 2605: 2603: 2595: 2590: 2583: 2578: 2572:, p. 13. 2571: 2570:Musgrave 2000 2566: 2559: 2558:Swafford 1999 2554: 2547: 2542: 2535: 2530: 2523: 2518: 2511: 2506: 2499: 2498:Swafford 1999 2494: 2487: 2482: 2480: 2472: 2471:Musgrave 1985 2467: 2463: 2444: 2438: 2431: 2425: 2421: 2413: 2409: 2404: 2399: 2394: 2384: 2382: 2378: 2373: 2371: 2370: 2365: 2361: 2357: 2353: 2348: 2346: 2345:first quartet 2342: 2338: 2328: 2326: 2322: 2318: 2314: 2310: 2308: 2304: 2300: 2296: 2295:Franz Schmidt 2292: 2288: 2284: 2279: 2277: 2273: 2272:Gustav Jenner 2269: 2265: 2261: 2248: 2243: 2239: 2237: 2233: 2229: 2225: 2220: 2216: 2211: 2209: 2205: 2201: 2194: 2190: 2188: 2187: 2182: 2178: 2174: 2169: 2167: 2162: 2152: 2149: 2141: 2131: 2127: 2121: 2120: 2115:This section 2113: 2104: 2103: 2095: 2093: 2089: 2085: 2081: 2077: 2072: 2070: 2066: 2062: 2052: 2050: 2045: 2043: 2039: 2035: 2030: 2024: 2020: 2016: 2012: 2008: 1998: 1996: 1992: 1991: 1986: 1982: 1977: 1975: 1971: 1967: 1963: 1959: 1955: 1953: 1949: 1945: 1941: 1936: 1934: 1930: 1926: 1922: 1918: 1914: 1910: 1906: 1898: 1892: 1889: 1885: 1880: 1878: 1874: 1870: 1869:Piano Quintet 1866: 1861: 1853: 1851: 1850: 1845: 1841: 1835: 1833: 1832:Ernst Naumann 1829: 1825: 1821: 1817: 1813: 1809: 1799: 1797: 1793: 1788: 1786: 1782: 1778: 1777:Carl Dahlhaus 1774: 1769: 1767: 1763: 1759: 1755: 1751: 1747: 1743: 1739: 1729: 1727: 1722: 1719: 1717: 1713: 1709: 1708:perfectionist 1704: 1702: 1698: 1694: 1690: 1689:piano sonatas 1685: 1681: 1677: 1672: 1670: 1666: 1662: 1658: 1657: 1652: 1651: 1646: 1645: 1640: 1637:His works in 1635: 1633: 1629: 1625: 1624: 1618: 1616: 1615: 1610: 1606: 1605: 1600: 1596: 1592: 1588: 1584: 1580: 1569: 1566: 1558: 1547: 1544: 1540: 1537: 1533: 1530: 1526: 1523: 1519: 1516: – 1515: 1511: 1510:Find sources: 1504: 1500: 1494: 1493: 1488:This section 1486: 1482: 1477: 1476: 1472: 1449: 1440: 1425: 1412: 1410: 1406: 1402: 1398: 1394: 1390: 1386: 1382: 1372: 1370: 1366: 1362: 1358: 1357: 1351: 1349: 1345: 1341: 1340:Clarinet Trio 1337: 1333: 1329: 1317: 1313: 1309: 1306:Grave in the 1304: 1300: 1298: 1297: 1292: 1291: 1285: 1272: 1268: 1259: 1257: 1252: 1250: 1249:surface noise 1246: 1245: 1240: 1239:Josef Strauss 1236: 1235:Thomas Edison 1232: 1227: 1225: 1221: 1220:Gustav Mahler 1217: 1213: 1209: 1199: 1197: 1193: 1189: 1185: 1180: 1177: 1173: 1168: 1166: 1162: 1158: 1154: 1149: 1144: 1142: 1138: 1132: 1123: 1121: 1120: 1115: 1111: 1110: 1105: 1101: 1095: 1093: 1089: 1086:", which, as 1085: 1081: 1068: 1067: 1062: 1058: 1049: 1047: 1046: 1041: 1037: 1036: 1031: 1030:Alto Rhapsody 1027: 1023: 1019: 1015: 1011: 1006: 1004: 1000: 999: 998:Alto Rhapsody 992: 990: 986: 982: 981: 976: 972: 970: 965: 955: 953: 949: 948: 943: 939: 935: 930: 927: 923: 913: 911: 907: 906: 900: 899: 893: 891: 887: 883: 879: 875: 871: 867: 857: 855: 854: 849: 844: 842: 838: 834: 830: 809: 800: 798: 795: 790: 781: 779: 775: 771: 765: 763: 757: 755: 751: 747: 743: 739: 735: 731: 727: 717: 715: 711: 706: 703: 698: 696: 692: 688: 684: 680: 676: 672: 668: 664: 659: 657: 653: 649: 648:violin sonata 645: 639: 637: 636: 631: 627: 617: 615: 611: 607: 603: 599: 595: 590: 588: 584: 580: 576: 572: 567: 564: 560: 556: 551: 549: 545: 544: 539: 538: 533: 521: 517: 513: 505: 497: 488: 485: 481: 470: 466: 464: 462: 457: 453: 449: 439: 437: 433: 429: 425: 420: 418: 414: 410: 406: 402: 401:piano quartet 399:Op. 16 and a 398: 394: 389: 380: 378: 374: 370: 366: 362: 358: 352: 347: 342: 339: 335: 334:Jungfernstieg 331: 327: 314: 309: 295: 293: 289: 285: 281: 277: 273: 269: 264: 262: 258: 254: 250: 245: 243: 239: 235: 231: 227: 223: 219: 215: 211: 207: 203: 198: 196: 192: 188: 184: 180: 176: 172: 167: 157: 133: 125: 122: 118: 111: 108: 105: 104: 102: 98: 94: 84: 80: 76: 63: 59: 52: 47: 40: 37: 33: 19: 9739: 9732: 9725: 9709: 9429:Porto-Alegre 9083:Philosophers 8967:Rachmaninoff 8697: 8416:Chavchavadze 8406:Baratashvili 8166:João de Deus 8135:Wincenty Pol 7927:Küchelbecker 7655: 7621:Noble savage 7608: 7574: 7549:Wallenrodism 7526: 7512: 7443:Coppet group 7377:(literature) 7283: 7276: 7179: 7163:Other topics 6987:J. Strauss I 6877:Rachmaninoff 6632:Gretchaninov 6461: 6274: 6249:Brahms-Preis 6208:Brahms Inlet 6181:F-A-E Sonata 6179: 6161: 6149: 6131: 6124: 6116: 6109: 6102:Fünf Gesänge 6101: 6093: 6070: 6063: 5869: 5862: 5855: 5848: 5841: 5834: 5822: 5715: 5622:(ChoralWiki) 5572: 5549: 5518: 5503: 5480: 5462: 5439: 5428: 5385: 5371:. 2(2):5–30. 5368: 5349: 5319: 5304: 5286: 5253: 5244: 5222: 5205: 5178: 5165: 5143: 5128: 5105: 5095: 5068: 5051: 5029: 5014: 4983: 4953: 4917: 4911: 4892: 4870: 4861:. 435 066-2. 4857:(CD liner). 4854: 4828:. Retrieved 4824:the original 4818:(CD liner). 4814: 4794: 4746: 4726: 4700: 4677: 4649: 4643: 4640:Lamb, Andrew 4615: 4606: 4578: 4566: 4547: 4530: 4512: 4494: 4466: 4434: 4425: 4400: 4394: 4373: 4347: 4319:. Retrieved 4309: 4301: 4296: 4284: 4268: 4256: 4244: 4232: 4227:, §6, ¶4–10. 4220: 4204: 4192: 4146: 4134: 4062: 4058: 4048: 4036: 4011: 4005: 3999: 3969:(720): 113. 3966: 3960: 3916: 3910: 3894: 3882: 3874: 3869: 3860: 3851: 3839: 3827: 3815: 3812:Phillips, P. 3807: 3797: 3792: 3782: 3774: 3766: 3758: 3748: 3716: 3708: 3699: 3690: 3678:. Retrieved 3655: 3648: 3636: 3628: 3623: 3611: 3599: 3591: 3587: 3577: 3565:. Retrieved 3561: 3551: 3539: 3520: 3514: 3502: 3490: 3478: 3466:. Retrieved 3462:the original 3455: 3446: 3434: 3422: 3392: 3358: 3346: 3334: 3322: 3310: 3298: 3278: 3266: 3254: 3242: 3230: 3218: 3206: 3194: 3189:, p. 1. 3182: 3175:Bozarth 2001 3151: 3135: 3126: 3117: 3097: 3090: 3078: 3066: 3054: 3047:Bozarth 2001 3023: 3015: 3003: 2991: 2979: 2967: 2955: 2943: 2931: 2919: 2907: 2895: 2883: 2863:, p. 7. 2856: 2844: 2837:Bozarth 2001 2811: 2799: 2787: 2775: 2763: 2751: 2739: 2732:Hofmann 1999 2727: 2720:Hofmann 1999 2715: 2707: 2699: 2689: 2682:Jan Swafford 2676: 2669:Hofmann 1999 2664: 2652: 2645:Hofmann 1999 2640: 2633:Hofmann 1999 2628: 2621:Hofmann 1999 2616: 2589: 2577: 2565: 2553: 2541: 2529: 2522:Hofmann 1999 2517: 2505: 2500:, p. 7. 2493: 2466: 2437: 2424: 2390: 2374: 2367: 2349: 2334: 2311: 2303:Edward Elgar 2299:Hubert Parry 2280: 2264:Robert Fuchs 2257: 2235: 2227: 2224:Anton Webern 2212: 2208:expressivity 2196: 2192: 2184: 2180: 2176: 2170: 2163: 2159: 2144: 2138:October 2020 2135: 2116: 2073: 2058: 2048: 2046: 2033: 2031: 2023:Jan Swafford 2018: 2007:counterpoint 2004: 1988: 1978: 1969: 1966:William Byrd 1956: 1937: 1905:counterpoint 1902: 1881: 1862: 1859: 1847: 1836: 1820:C major 1816:C minor 1805: 1795: 1789: 1770: 1762:programmatic 1735: 1723: 1720: 1705: 1673: 1660: 1654: 1648: 1642: 1636: 1632:Luther Bible 1627: 1621: 1619: 1612: 1602: 1576: 1561: 1552: 1542: 1535: 1528: 1521: 1509: 1497:Please help 1492:verification 1489: 1405:Victor Horta 1395:conduct his 1393:Hans Richter 1389:liver cancer 1378: 1354: 1352: 1325: 1312:Victor Horta 1294: 1288: 1281: 1253: 1242: 1228: 1205: 1181: 1169: 1145: 1133: 1129: 1117: 1107: 1096: 1077: 1064: 1043: 1033: 1029: 1025: 1007: 1002: 996: 993: 979: 968: 966:(1869), the 963: 961: 945: 931: 921: 919: 909: 903: 896: 894: 886:Hermann Levi 863: 851: 845: 825: 791: 787: 777: 766: 758: 723: 713: 707: 705:go-between. 699: 660: 655: 652:F-A-E Sonata 640: 633: 623: 606:Joachim Raff 591: 571:counterpoint 568: 552: 541: 535: 529: 483: 479: 476: 467: 460: 445: 421: 417:piano sonata 390: 388:composing." 386: 367:, horn, and 346:Gängeviertel 343: 323: 288:Anton Webern 272:Edward Elgar 265: 246: 199: 131: 130: 87:(1897-04-03) 85:3 April 1897 36: 9823:1897 deaths 9818:1833 births 9419:Michałowski 9251:Wackenroder 9216:F. Schlegel 9211:A. Schlegel 8987:Tchaikovsky 8876:Bortkiewicz 8748:R. Schumann 8743:C. Schumann 8708:Kalkbrenner 8677:Saint-Saëns 7982:Anne Brontë 7867:Eichendorff 7852:B. v. Arnim 7847:A. v. Arnim 7657:Weltschmerz 7616:Medievalism 7565:Blue flower 7493:Nationalist 7438:Bohemianism 7350:Romanticism 7230:Romanticism 7012:Tchaikovsky 6947:R. Schumann 6942:C. Schumann 6927:Saint-Saëns 6822:Niedermeyer 6712:Leoncavallo 6682:Kalkbrenner 6457:Bortkiewicz 6198:1818 Brahms 6110:Fünf Lieder 6002:Piano works 5871:Triumphlied 5814:Vocal works 5783:Concertante 5655:BBC Radio 3 5626:Free scores 5378: [ 5279: [ 4273:Frisch 1984 4197:Frisch 2003 4185:Frisch 2003 4168:Floros 2010 4151:Floros 2010 4139:Floros 2010 4127:Floros 2010 4112:Frisch 2003 4097:Frisch 2003 3641:Floros 2010 3400:(in German) 3235:Pascall n.d 3156:Becker 1980 2584:, 9–11, 14. 2406: [ 2325:Béla Bartók 2247:Max Klinger 2219:Paul Bekker 2076:Bösendorfer 2069:Conrad Graf 1888:Mendelssohn 1746:sonata form 1669:passacaglia 1361:Max Klinger 1332:Alice Barbi 1282:Brahms and 1244:Die Libelle 1035:Triumphlied 866:Karl Tausig 816: 1872 598:Franz Liszt 583:Renaissance 532:Ede Reményi 365:double bass 349: [ 330:double bass 218:Franz Liszt 210:Ede Reményi 100:Occupations 9807:Categories 9294:Chassériau 9269:Aivazovsky 8977:Rubinstein 8962:Mussorgsky 8911:Wieniawski 8896:Paderewski 8738:Moszkowski 8521:Vörösmarty 8511:Shevchenko 8365:Longfellow 8289:Batyushkov 8284:Baratynsky 8253:Espronceda 8120:Mickiewicz 8115:Malczewski 8082:Wordsworth 8067:M. Shelley 8022:de Quincey 7887:Günderrode 7771:Baudelaire 7651:Wanderlust 7488:Lake Poets 7218:Background 7119:Intermezzo 7052:Wieniawski 7032:Vieuxtemps 6997:R. Strauss 6922:Rubinstein 6847:Paderewski 6817:Mussorgsky 6812:Moszkowski 6787:Mercadante 5375:Rink, John 4830:7 February 4249:Kross 1983 4170:, 208–209. 3901:, p. 3567:8 November 3247:Anon. 1916 3142:, p. 2888:Avins 1997 2453:References 2177:Benedictus 2042:Stravinsky 1987:on Bach's 1897:Alte Musik 1844:Dissonance 1842:in 1896: " 1781:expository 1611:, and the 1579:symphonies 1525:newspapers 1469:See also: 905:Tannhäuser 848:Lichtental 626:Düsseldorf 436:J. S. Bach 413:Henri Herz 357:impresario 320:Upbringing 249:Düsseldorf 216:, meeting 187:symphonies 71:7 May 1833 67:1833-05-07 9785:Biography 9734:Modernism 9394:Kiprensky 9354:Géricault 9339:Friedrich 9329:Delacroix 9304:Constable 9284:Bonington 9274:Bierstadt 9226:Senancour 9201:Schelling 9156:Lamennais 9151:Khomyakov 9116:Coleridge 9111:Chaadayev 9018:Stanković 9013:Mokranjac 8932:Balakirev 8891:Moniuszko 8840:Donizetti 8835:Cherubini 8733:Meyerbeer 8718:Marschner 8693:Beethoven 8606:Moscheles 8540:Musicians 8526:Wergeland 8491:Orbeliani 8446:Grundtvig 8350:Hawthorne 8319:Zhukovsky 8314:Vyazemsky 8299:Lermontov 8258:Gutiérrez 8217:Radičević 8181:Herculano 8105:Krasiński 8047:Radcliffe 8017:Coleridge 7992:E. Brontë 7987:C. Brontë 7917:Jean Paul 7912:Hölderlin 7801:Lamartine 7738:Magalhães 7728:Guimarães 7636:Pantheism 7626:Nostalgia 7478:Indianism 7426:Movements 7357:Countries 6832:Offenbach 6807:Moscheles 6802:Moniuszko 6797:Meyerbeer 6752:Marschner 6737:MacDowell 6552:Donizetti 6497:Cherubini 6487:Chaminade 6412:Beethoven 6397:Balakirev 6387:Atterberg 6365:musicians 6112:, Op. 105 6104:, Op. 104 5913:Horn Trio 5744:Serenades 5666:Bachtrack 4934:0148-2076 4676:(2001) . 4081:1044-1638 4065:(1): 59. 4028:163496436 3983:0027-4666 3943:243190598 3680:8 October 3546:, details 3483:Bond 1971 3415:Lamb 1975 2596:, 10, 17. 2458:Citations 2387:Memorials 2358:to break 2341:variation 2291:Max Reger 2283:Hans Rott 2254:Influence 2098:Reception 2088:Bechstein 2065:Streicher 2011:Geiringer 1877:Grand Duo 1758:virtuosic 1680:horn trio 1639:variation 1609:Serenades 1369:Bad Ischl 1229:In 1889, 1122:of 1880. 1078:Brahms's 1022:Max Bruch 952:John 3:16 868:, and of 742:Serenades 473:Juvenilia 461:Waldstein 393:Beethoven 298:Biography 276:Max Reger 191:concertos 175:Classical 109:conductor 9746:Category 9562:Dahlhaus 9547:Blanning 9514:Scholars 9484:Tropinin 9479:Tidemand 9469:Stattler 9464:Scheffer 9364:Głowacki 9334:Edelfelt 9289:Bryullov 9231:Snellman 9206:Schiller 9196:Rousseau 9176:Michelet 9121:Constant 9091:Belinsky 9064:Sibelius 9008:Konjović 8982:Scriabin 8952:Lyapunov 8886:Lipiński 8855:Spontini 8845:Paganini 8789:Goldmark 8580:Thalberg 8575:Schubert 8555:Bruckner 8516:Topelius 8506:Runeberg 8496:Prešeren 8466:Leopardi 8431:Frashëri 8421:Eminescu 8401:Andersen 8309:Tyutchev 8294:Karamzin 8268:Zorrilla 8263:Saavedra 8161:Castilho 8149:Portugal 8140:Słowacki 8042:Polidori 7972:Barbauld 7907:Hoffmann 7862:Brentano 7776:Bertrand 7597:Romantic 7433:Ancients 7407:Scotland 7298:Category 7275: ← 7154:Symphony 7017:Thalberg 6982:Spontini 6957:Sibelius 6952:Scriabin 6937:Schubert 6932:Sarasate 6897:Respighi 6892:Reinecke 6852:Paganini 6762:Massenet 6757:Masarnau 6742:Madetoja 6687:Kreisler 6677:Kalivoda 6622:J. Gomis 6607:Glazunov 6602:Giuliani 6492:Chausson 6482:Chadwick 6472:Bruckner 6295:Category 6269:Three Bs 6146:, Op. 91 6127:, Op. 52 5479:. 1995. 5437:. 1990. 5384:. 2024. 5243:. 1895. 5164:. 1911. 5104:. 2012. 4982:. 2024. 4952:(2010). 4891:(1999). 4869:(1988). 4493:. 2010. 4465:. 1980. 4321:23 April 3887:Gál 1963 3698:(2020). 3675:50646747 3606:, 46–51. 3030:, 39–41. 2861:Gál 1963 2393:Walhalla 2092:Würzburg 2084:Blüthner 2001:Textures 1849:Idomeneo 1693:ballades 1647:and the 1555:May 2017 1381:jaundice 1196:Three Bs 971:, Op. 52 794:baritone 726:Ballades 610:at sight 585:and neo- 484:Heimkehr 442:Recitals 428:Schubert 383:Training 363:playing 315:in 1943. 253:bachelor 106:Composer 9759:Portals 9587:Lovejoy 9522:Abraham 9444:Richard 9434:Préault 9359:Girodet 9241:Thoreau 9186:Novalis 9171:Mazzini 9166:Maistre 9141:Hazlitt 9126:Emerson 9106:Carlyle 9096:Berchet 9039:Berwald 9034:Bennett 9003:Hristić 8957:Medtner 8937:Borodin 8927:Arensky 8850:Rossini 8825:Bellini 8804:Joachim 8777:Hungary 8758:Strauss 8686:Germany 8652:Berlioz 8621:Voříšek 8616:Smetana 8594:Czechia 8548:Austria 8481:Maturin 8476:Manzoni 8451:Heliade 8426:Foscolo 8396:Alfieri 8391:Abovian 8345:Emerson 8304:Pushkin 8243:Bécquer 8176:Garrett 8130:Potocki 8077:Southey 8037:Maturin 8007:Carlyle 7964:Britain 7937:Novalis 7892:Gutzkow 7840:Germany 7806:Mérimée 7791:Gautier 7718:Barreto 7713:Azevedo 7693:Alencar 7673:Writers 7592:Byronic 7528:Purismo 7382:Germany 7364:Denmark 7288:→ 7250:Science 7129:Mazurka 7104:Ballade 7037:Voříšek 7007:Tárrega 7002:Taneyev 6962:Smetana 6917:Rossini 6872:Puccini 6867:Prudent 6827:Nielsen 6792:Méreaux 6767:Medtner 6732:Lysenko 6702:Lachner 6667:Joachim 6647:Herbert 6567:Farrenc 6532:Delibes 6507:Crusell 6452:Borodin 6442:Berwald 6432:Berlioz 6422:Bennett 6417:Bellini 6402:Bazzini 6382:Arensky 6277:(Berio) 5857:Rinaldo 5678:at the 5640:project 5638:Musopen 5636:at the 5618:in the 5612:(IMSLP) 5608:at the 5560:(ebk). 5537:(hbk). 5529:(ebk). 5491:(hbk). 5412:(pbk). 5404:(hbk). 5396:(ebk). 5330:(hbk). 5264:(ebk). 5189:(hbk). 5116:(ebk). 5079:(hbk). 5032:, fwd. 5002:(hbk). 4994:(ebk). 4769:(pbk). 4761:(hbk). 4703:, eds. 4626:(hbk). 4372:(ed.). 4334:Sources 4277:164–165 4213:269–270 4099:, xiii. 4014:(4–5). 3468:2 March 3369:YouTube 3289:, 171; 2443:Caracas 2319:and to 2179:of the 2124:Please 1981:Baroque 1744:(e.g., 1676:chamber 1539:scholar 1141:Czardas 1084:C Minor 980:Rinaldo 762:Simrock 734:Detmold 663:Leipzig 587:Baroque 559:Hanover 537:csardas 480:Scherzo 313:bombing 202:Hamburg 195:Requiem 189:, four 162:German: 112:pianist 75:Hamburg 9612:Wellek 9592:de Man 9577:Janion 9567:Ferber 9542:Berlin 9537:Beiser 9532:Barzun 9527:Abrams 9504:Wiertz 9489:Turner 9439:Révoil 9424:Palmer 9414:Martin 9409:Leutze 9384:Janmot 9344:Fuseli 9299:Church 9191:Quinet 9181:Müller 9136:Goethe 9131:Fichte 9054:Franck 8996:Serbia 8947:Glinka 8920:Russia 8906:Tausig 8901:Stolpe 8881:Chopin 8869:Poland 8830:Busoni 8794:Heller 8763:Wagner 8698:Brahms 8672:Onslow 8662:Halévy 8630:France 8611:Reicha 8601:Dvořák 8570:Mahler 8565:Hummel 8560:Czerny 8456:Isaacs 8436:Geijer 8370:Lowell 8360:Irving 8340:Cooper 8335:Bryant 8277:Russia 8212:Njegoš 8207:Kostić 8202:Jakšić 8195:Serbia 8125:Norwid 8100:Fredro 8092:Poland 8062:Seward 7952:Uhland 7942:Schwab 7932:Mörike 7922:Kleist 7877:Goethe 7872:Fouqué 7821:Nodier 7816:Nerval 7811:Musset 7763:France 7753:Varela 7748:Taunay 7733:Macedo 7681:Brazil 7631:Ossian 7558:Themes 7397:Poland 7392:Norway 7374:France 7308:Portal 7245:Poetry 7097:Genres 7042:Wagner 7022:Tobias 6887:Reicha 6862:Popper 6842:Pacini 6837:Onslow 6747:Mahler 6727:Lumbye 6692:Kuhlau 6672:Joplin 6662:Hummel 6652:Hérold 6642:Halévy 6627:Gounod 6612:Glinka 6592:Franck 6587:Foster 6557:Dvořák 6547:d'Indy 6537:Delius 6517:Czerny 6502:Chopin 6477:Busoni 6462:Brahms 6437:Bertin 6427:Bériot 5568:(pbk). 5564: 5556: 5545:(pbk). 5541: 5533: 5525: 5514:(pbk). 5510: 5499:(pbk). 5495: 5487: 5455:(pbk). 5451: 5443:, ed. 5408: 5400: 5392: 5326: 5297:(pbk). 5293: 5272:(hbk). 5268: 5260: 5237:(hbk). 5233: 5185: 5167:Brahms 5158:(hbk). 5154: 5139:(hbk). 5135: 5124:(hbk). 5120: 5112: 5075: 5044:(hbk). 5040: 5025:(hbk). 5021: 4998: 4990: 4960: 4940: 4932: 4899: 4877: 4801: 4765: 4757: 4734: 4719:(hbk). 4715: 4684: 4678:Brahms 4666:959201 4664: 4634:(pbk). 4630: 4622: 4591:(pbk). 4587: 4554: 4541:(pbk). 4537: 4524:(hbk). 4520: 4505:(hbk). 4501: 4485:(hbk). 4481: 4451: 4417:955537 4415: 4382: 4354: 4251:, 142. 4187:, 153. 4153:, 210. 4141:, 209. 4129:, 208. 4079: 4026: 3991:903152 3989: 3981: 3941: 3931: 3846:, 210. 3834:, 159. 3725: 3673: 3663: 3527: 3293:, 467. 3285:, xv; 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