J. Brahms - Four Hand Piano Music 12 - COMPACT DISCS [CD]
Reviews coming soon
About this product
Like Mozart's, the two string quintets of Brahms are scored for two violins, two violas and cello. The choice is characteristic. The register of the violas and the richness of texture that such an instrumentation can impart, whether in chamber music or in orchestral writing, was very typical of Brahms, and reflected in his music for the piano. He had first attempted the form in 1862, using two cellos, as Schubert had done, but had destroyed it, replacing it first with an arrangement for two pianos, and later, in a final version, as a piano quintet. Brahms had intended his String Quintet in G major, Op. 111, as his last chamber music composition. He wrote it in the summer of 1890 at Bad Ischl, following his usual custom of composing during summer holidays spent away from the city. It was, in the event, to be followed by four further compositions, the Clarinet Trio, the Clarinet Quintet, and two Clarinet Sonatas, the last also known in an effectively autumnal version for viola, an instrument offered in the other works as an alternative to the clarinet. The G major Quintet was first performed in Vienna on 11th November in the year of it's composition. It starts with a movement derived from sketches for a fifth symphony, allowing the cello an orchestrally conceived first subject. For the second subject Brahms turns to Vienna for inspiration. There is a shift to B flat major in the central development, further modulation leading to the return of the original key and thematic material in recapitulation. The D minor slow movement allows free variations on the opening material, until the theme returns in a simpler form, originally played by the first viola. The third movement opens in a melancholy G minor, the feeling dispelled by a G major trio section, which has the last word, after the re-appearance of the G minor material. The quintet ends with a Vivace ma non troppo pres
Specifications
- GenreClassicalDescriptionLike Mozart's, the two string quintets of Brahms are scored for two violins, two violas and cello. The choice is characteristic. The register of the violas and the richness of texture that such an instrumentation can impart, whether in chamber music or in orchestral writing, was very typical of Brahms, and reflected in his music for the piano. He had first attempted the form in 1862, using two cellos, as Schubert had done, but had destroyed it, replacing it first with an arrangement for two pianos, and later, in a final version, as a piano quintet. Brahms had intended his String Quintet in G major, Op. 111, as his last chamber music composition. He wrote it in the summer of 1890 at Bad Ischl, following his usual custom of composing during summer holidays spent away from the city. It was, in the event, to be followed by four further compositions, the Clarinet Trio, the Clarinet Quintet, and two Clarinet Sonatas, the last also known in an effectively autumnal version for viola, an instrument offered in the other works as an alternative to the clarinet. The G major Quintet was first performed in Vienna on 11th November in the year of it's composition. It starts with a movement derived from sketches for a fifth symphony, allowing the cello an orchestrally conceived first subject. For the second subject Brahms turns to Vienna for inspiration. There is a shift to B flat major in the central development, further modulation leading to the return of the original key and thematic material in recapitulation. The D minor slow movement allows free variations on the opening material, until the theme returns in a simpler form, originally played by the first viola. The third movement opens in a melancholy G minor, the feeling dispelled by a G major trio section, which has the last word, after the re-appearance of the G minor material. The quintet ends with a Vivace ma non troppo presArtistJ. BrahmsTitleFour Hand Piano Music 12FormatCDLabelNaxos
Reviews
This product doesn't have any reviews yet.
Compare similar products
![J. Brahms - Four Hand Piano Music 12 - COMPACT DISCS [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/56ba98a0-71b6-4395-9baa-d1e87a0d3f09.jpg;maxHeight=422;maxWidth=264?format=webp)
Like Mozart's, the two string quintets of Brahms are scored for two violins, two violas and cello. The choice is characteristic. The register of the violas and the richness of texture that such an instrumentation can impart, whether in chamber music or in orchestral writing, was very typical of Brahms, and reflected in his music for the piano. He had first attempted the form in 1862, using two cellos, as Schubert had done, but had destroyed it, replacing it first with an arrangement for two pianos, and later, in a final version, as a piano quintet. Brahms had intended his String Quintet in G major, Op. 111, as his last chamber music composition. He wrote it in the summer of 1890 at Bad Ischl, following his usual custom of composing during summer holidays spent away from the city. It was, in the event, to be followed by four further compositions, the Clarinet Trio, the Clarinet Quintet, and two Clarinet Sonatas, the last also known in an effectively autumnal version for viola, an instrument offered in the other works as an alternative to the clarinet. The G major Quintet was first performed in Vienna on 11th November in the year of it's composition. It starts with a movement derived from sketches for a fifth symphony, allowing the cello an orchestrally conceived first subject. For the second subject Brahms turns to Vienna for inspiration. There is a shift to B flat major in the central development, further modulation leading to the return of the original key and thematic material in recapitulation. The D minor slow movement allows free variations on the opening material, until the theme returns in a simpler form, originally played by the first viola. The third movement opens in a melancholy G minor, the feeling dispelled by a G major trio section, which has the last word, after the re-appearance of the G minor material. The quintet ends with a Vivace ma non troppo pres
![Ensemble MidtVest - Chamber Music 1 - COMPACT DISCS [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/36455f1d-ad71-48c0-a88a-e449b8cac17e.jpg;maxHeight=422;maxWidth=264?format=webp)
Album Tracks 1. Primavera, Op.55 2. Gioco, Op.155 3. Sonata Per Flauto Solo, Op.71 4. Ballata, Op.159 5. Quartetto, Op.90
![Chadwick / Schermerhorn / Nashville Sym Orch - Orchestral Works - COMPACT DISCS [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/51b8acfe-aff0-4eb8-b74d-991460883df3.jpg;maxHeight=422;maxWidth=264?format=webp)
From a Moonlit Ceremony was premiered in 1946 by Stokowski and the Hollywood Bowl Orchestra. It is a suite in four movements, colorful, tuneful, and attractive. It was inspired by the composer attending a Native American ceremony near Mt Ranier, but conveys his impressions rather than trying to portray the activities. Harbor Narrative was inspired by a boat trip around Puget Sound. The final work on the program, Evocation Symphony, subtitled Symphony for Seattle, was commissioned in 1951 to celebrate the city's centennial. It is in three movements, and it manages to rise above the level of 'official music' and sustain interest from beginning to end. Album Tracks 1. Euterpe 2. Angel of Death 3. Aphrodite 4. Melpomene 5. Thalia
![Jesper Sivebæk - Ta Mig Med - COMPACT DISCS [CD]](https://pisces.bbystatic.com/image2/BestBuy_US/images/products/ef56e451-cee0-470c-a3da-73e23ccd0333.jpg;maxHeight=422;maxWidth=264?format=webp)
A journey into the heart of the Danish soul. Kim Larsen (1945-2018) - the much loved Danish rock musician and multi-artist -Kim Larsen (1945-2018) - the much-loved Danish rock musician and multifaceted artist - captures - in music and words - the Danish soul. With his 500 recorded songs and 40 albums he is known by all Danes of all ages. Guitarist, and head of guitar department at The Royal Academy of Music in Copenhagen, Jesper Sivebæk, had 2 heroes in his youth Andrés Segovia and Kim Larsen - and they have followed him ever since. For more than 10 years Jesper Sivebæk has worked on the pieces on this album. With his great experience he uses the possibilities of the guitar to the utmost, and follows the classical tradition of making instrumental versions of folk songs - as in Miguel Llobet's arrangements of Catalan folksongs, Benjamin Britten's English and Chinese folksongs arrangements, and Bela Bartok's Hungarian folk songs. Sivebæk is true both to the beauty and the simplicity of Kim Larsens songs, and to his instrument - the classical Spanish guitar. In these arrangements classical guitar players around the globe now have 12 new pieces to discover and put on their concert programs. Album Tracks 1. Kvinde Min (Lady Oh Lady) 2. Hvis Din Far Gi'r Dig Lov (If Your Dad Says Okay) 3. Joanna (Joanna) 4. Masser Af Succes (Lots of Succes) 5. Der Er en Sang (There Is a Song) 6. Susan Himmelblå (Susan Himmelblå) 7. Den Lige Vej (The Narrow Road) 8. Om Lidt (I a Moment) 9. Flyvere I Natten (Planes in the Night) 10. Himlen (Heaven) 11. Kom Igen (Come Again) 12. Som Et Stref Af en Dråbe (Like a Touch of a Raindrop)
Specs
Be the first to ask a question.
We’ll try to get your question answered within 24 hours by a Best Buy customer or brand representative.