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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.
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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
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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
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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.
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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.
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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
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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.
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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
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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.
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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
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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
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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
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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
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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."
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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,
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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
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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
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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
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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
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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
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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.
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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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5552:. Routledge Studies in Musical Genres, gen. ed. R. Larry Todd. Second edition. Reissued (New York: Schirmer Books, 1990). Digitally reprinted in 2006. New York and London: Routledge.
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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".
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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".
2059:
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
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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
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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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4533:. Yale Music Masterworks Series, gen. ed. and fwd. George B. Stauffer. New Haven and London: Yale University Press. Reprint from original in 1996 by Schirmer Books.
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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
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1876:
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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.
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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.
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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
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Zemlinsky in turn taught Schoenberg, and Brahms was apparently impressed when in 1897 Zemlinsky showed him drafts of two movements of Schoenberg's early
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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."
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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
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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
4516:. California Studies in 19th-Century Music Series, gen. ed. Joseph Kerman. Berkeley, Los Angeles, and London: University of California Press.
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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.
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5289:. Routledge Studies in Musical Genres, gen. ed. R. Larry Todd. Reprinted (New York: Schirmer Books, 1998). New York and London: Routledge.
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438:. Marxsen conveyed to Brahms the tradition of these composers and ensured that Brahms's own compositions were grounded in that tradition.
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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
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A factor that contributed to his perfectionism was Schumann's early enthusiasm, which Brahms was determined to live up to.
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1359:(Four Serious Songs), Op. 121 (1896), which were prompted by the death of Clara Schumann and dedicated to the artist
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4583:. Third edition, revised and enlarged with appendix ("Brahms as a Reader and Collector"). New York: Da Capo Press, Inc.
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4497:, trans. Ernest Bernhardt-Kabisch from original in German (Arche Verlag AG, 2010). Frankfurt am Main: Peter Lang GmbH.
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heard affinities between Brahms's rhythmically charged, contrapuntal textures and those of Renaissance masters such as
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1194:. This was the beginning of his collaboration with Meiningen and with von Bülow, who was to rank Brahms as one of the '
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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.
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5447:. Reprint from revised edition with corrections, 1969. First published 1954. London and Boston: Faber and Faber.
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359:, recognizing Johannes's talent, promised them fortune there.) Eventually Johann Jakob became a musician in the
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3769:(London, 1949), p. 123. Cf. his similar remarks in "Tonality in Schubert" (1928), rpt. ibid., p. 151.
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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
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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".
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4699:. 1999. "Challenges and Opportunities of Acculturation: Schoenberg, Krenek, and Stravinsky in Exile". In
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Litzmann, Berthold (1 February 1903). "Clara Schumann von Berthold Litzmann. Erster Band, Mädchenjahre".
1984:
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elements. In this context, many (e.g., Hanslick) saw Brahms as a conservative or reactionary champion of
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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
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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
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1391:, from which his father Jakob had died. His last public appearance was on 7 March 1897, when he saw
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2339:. Webern and later Walter Frisch identified Brahms's influence in the dense, cohesive textures and
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In 1847 Brahms made his first public appearance as a solo pianist in Hamburg, playing a fantasy by
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Amid Robert's insanity and institutionalization, Brahms stayed with and became devoted to Clara in
174:
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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.
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for piano, Brahms published no further works until 1860. His major project of this period was the
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Anton Webern and the Concept of Symmetrical Inversion: A Reconsideration on the Terrain of Gender
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Brahms used the German word "Esel", of which one translation is "donkey" and another is "dunce":
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2238:(1948), Schoenberg analyzed Brahms's "enriched harmony" and exploration of remote tonal regions.
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4618:, ed. Robert Pascall, 125–146. Cambridge: Cambridge University Press. Digitally reprinted 2008.
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Op. 77 (1878; dedicated to Joachim, who was consulted closely during its composition), and the
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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:
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5506:. The Oxford History of Western Music, Vol. 4. Rev. edition. Oxford: Oxford University Press.
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1355:
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937:
876:, respectively the Director and head of violin studies, and the head of piano studies, at the
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1932:
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4467:
Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century
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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.
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7805:
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5108:, trans. Ernest Bernhardt-Kabisch from the original German. Frankfurt am Main: Peter Lang.
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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
1156:
987:
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
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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
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1174:: "I am coming with a large beard! Prepare your wife for a most awful sight." The singer
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4317:. Bayerisches Staatsministerium für Wissenschaft, Forschung und Kunst. 14 September 2000
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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".
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1048:, originally conceived for two pianos, which has become one of his most popular works.
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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.
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At the age of 10, Brahms made his debut as a performer in a private concert including
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Allied to his skill in counterpoint was his subtle handling of rhythm and meter. The
1961:
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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".
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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
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Including tales allegedly told by Brahms himself to Clara Schumann and others; see
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Musgrave, Michael (1999b). "Years of transition: Brahms and Vienna 1862–1875". In
4701:
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
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1215:
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Brahms's disguise." The incident also displays Brahms's love of practical jokes.
1175:
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422:
From 1845 to 1848 Brahms studied with Cossel's teacher, the pianist and composer
260:
225:
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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
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307:
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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:
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1223:
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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:
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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
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6446:
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6436:
6381:
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5835:
5582:
5444:
5171:
4933:
4910:
Swafford, Jan (2001). "Did the Young Brahms Play Piano in Waterfront Bars?".
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4369:
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2014:
1980:
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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
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9526:
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6886:
6881:
6861:
6826:
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6671:
6656:
6636:
6596:
6581:
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6391:
6371:
6248:
6207:
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5379:
5017:. Vol. 4, The Symphonic Repertoire. Bloomington: Indiana University Press.
4888:
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2223:
2087:
2022:
2006:
1965:
1904:
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points out, made it clear "that Brahms was taking on the model of models :
885:
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605:
570:
416:
379:. The family moved over the years to ever better accommodation in Hamburg.
337:
287:
271:
8941:
6511:
5335:
5194:
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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:
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9308:
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8752:
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5071:. The Cambridge History of Music. Cambridge: Cambridge University Press.
2587:
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2218:
2068:
1745:
1668:
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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:
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2604:
2602:
2091:
2083:
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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:
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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.
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2539:
2503:
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1368:
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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:
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4744:
4723:
4597:
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2791:
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2743:
2703:
2656:
2569:
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2497:
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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:
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3770:
3760:
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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:
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3172:
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3092:
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3074:
3068:
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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:
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2819:
2813:
2807:
2801:
2795:
2789:
2783:
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2771:
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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:
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3806:
3795:
3791:
3777:
3773:
3761:
3757:
3743:
3736:
3729:
3711:
3707:
3696:Spaeth, Sigmund
3693:
3689:
3679:
3677:
3667:
3651:
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3425:
3421:
3413:
3406:
3399:
3395:
3391:
3381:Jonathan Berger
3363:
3361:
3357:
3349:
3345:
3337:
3333:
3325:
3321:
3313:
3309:
3301:
3297:
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3265:
3257:
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3217:
3209:
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3197:
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3185:
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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:
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2922:
2918:
2910:
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2898:
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2859:
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2798:
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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:
2465:
2460:
2455:
2450:
2449:
2440:
2436:
2427:
2423:
2418:
2405:
2389:
2337:D-major quartet
2333:
2256:
2154:
2143:
2137:
2134:
2126:help improve it
2123:
2111:
2107:
2100:
2057:
2026:
2003:
1952:W. F. 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:
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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:
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9670:
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9635:
9630:
9624:
9622:
9621:Related topics
9618:
9617:
9615:
9614:
9609:
9604:
9599:
9594:
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9584:
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9569:
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9396:
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9381:
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9371:
9366:
9361:
9356:
9351:
9349:Gallen-Kallela
9346:
9341:
9336:
9331:
9326:
9324:David d'Angers
9321:
9316:
9311:
9306:
9301:
9296:
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9281:
9276:
9271:
9265:
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9261:Visual artists
9257:
9256:
9254:
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9243:
9238:
9233:
9228:
9223:
9221:Schleiermacher
9218:
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8532:
8531:
8529:
8528:
8523:
8518:
8513:
8508:
8503:
8498:
8493:
8488:
8486:Oehlenschläger
8483:
8478:
8473:
8468:
8463:
8458:
8453:
8448:
8443:
8438:
8433:
8428:
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8357:
8352:
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8342:
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8331:
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8316:
8311:
8306:
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8291:
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8280:
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8270:
8265:
8260:
8255:
8250:
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8232:
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8229:
8224:
8219:
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8209:
8204:
8198:
8196:
8192:
8191:
8189:
8188:
8183:
8178:
8173:
8168:
8163:
8158:
8156:Castelo Branco
8152:
8150:
8146:
8145:
8143:
8142:
8137:
8132:
8127:
8122:
8117:
8112:
8107:
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8019:
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7999:
7994:
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7979:
7974:
7968:
7966:
7958:
7957:
7955:
7954:
7949:
7944:
7939:
7934:
7929:
7924:
7919:
7914:
7909:
7904:
7899:
7894:
7889:
7884:
7882:Brothers Grimm
7879:
7874:
7869:
7864:
7859:
7854:
7849:
7843:
7841:
7837:
7836:
7834:
7833:
7828:
7823:
7818:
7813:
7808:
7803:
7798:
7793:
7788:
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7778:
7773:
7767:
7765:
7759:
7758:
7756:
7755:
7750:
7745:
7740:
7735:
7730:
7725:
7720:
7715:
7710:
7705:
7700:
7695:
7690:
7684:
7682:
7675:
7669:
7668:
7666:
7665:
7660:
7653:
7648:
7643:
7638:
7633:
7628:
7623:
7618:
7613:
7606:
7601:
7600:
7599:
7594:
7584:
7582:Gothic fiction
7579:
7572:
7570:British Marine
7567:
7561:
7559:
7555:
7554:
7552:
7551:
7546:
7541:
7536:
7531:
7524:
7519:
7518:
7517:
7505:
7500:
7495:
7490:
7485:
7480:
7475:
7470:
7468:Gothic revival
7465:
7460:
7455:
7450:
7445:
7440:
7435:
7429:
7427:
7423:
7422:
7420:
7419:
7414:
7409:
7404:
7399:
7394:
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7384:
7379:
7371:
7366:
7360:
7358:
7354:
7353:
7346:
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7331:
7323:
7314:
7313:
7311:
7310:
7300:
7282:
7274:
7273:
7270:
7269:
7267:
7266:
7265:
7264:
7254:
7253:
7252:
7247:
7242:
7237:
7227:
7221:
7219:
7215:
7214:
7212:
7211:
7204:
7199:
7194:
7189:
7184:
7177:
7172:
7166:
7164:
7160:
7159:
7157:
7156:
7151:
7149:Symphonic poem
7146:
7144:Romantic opera
7141:
7136:
7131:
7126:
7121:
7116:
7111:
7106:
7100:
7098:
7094:
7093:
7091:
7090:
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7079:
7077:
7073:
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7034:
7029:
7024:
7019:
7014:
7009:
7004:
6999:
6994:
6989:
6984:
6979:
6974:
6969:
6964:
6959:
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6919:
6914:
6909:
6904:
6899:
6894:
6889:
6884:
6879:
6874:
6869:
6864:
6859:
6854:
6849:
6844:
6839:
6834:
6829:
6824:
6819:
6814:
6809:
6804:
6799:
6794:
6789:
6784:
6779:
6774:
6769:
6764:
6759:
6754:
6749:
6744:
6739:
6734:
6729:
6724:
6719:
6714:
6709:
6704:
6699:
6694:
6689:
6684:
6679:
6674:
6669:
6664:
6659:
6654:
6649:
6644:
6639:
6634:
6629:
6624:
6619:
6614:
6609:
6604:
6599:
6594:
6589:
6584:
6579:
6574:
6569:
6564:
6559:
6554:
6549:
6544:
6539:
6534:
6529:
6524:
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:
9575:
9573:
9570:
9568:
9565:
9563:
9560:
9558:
9555:
9553:
9550:
9548:
9545:
9543:
9540:
9538:
9535:
9533:
9530:
9528:
9525:
9523:
9520:
9519:
9517:
9515:
9511:
9505:
9502:
9500:
9497:
9495:
9492:
9490:
9487:
9485:
9482:
9480:
9477:
9475:
9472:
9470:
9467:
9465:
9462:
9460:
9457:
9455:
9452:
9450:
9447:
9445:
9442:
9440:
9437:
9435:
9432:
9430:
9427:
9425:
9422:
9420:
9417:
9415:
9412:
9410:
9407:
9405:
9402:
9400:
9397:
9395:
9392:
9390:
9387:
9385:
9382:
9380:
9377:
9375:
9372:
9370:
9367:
9365:
9362:
9360:
9357:
9355:
9352:
9350:
9347:
9345:
9342:
9340:
9337:
9335:
9332:
9330:
9327:
9325:
9322:
9320:
9317:
9315:
9312:
9310:
9307:
9305:
9302:
9300:
9297:
9295:
9292:
9290:
9287:
9285:
9282:
9280:
9277:
9275:
9272:
9270:
9267:
9266:
9264:
9262:
9258:
9252:
9249:
9247:
9244:
9242:
9239:
9237:
9234:
9232:
9229:
9227:
9224:
9222:
9219:
9217:
9214:
9212:
9209:
9207:
9204:
9202:
9199:
9197:
9194:
9192:
9189:
9187:
9184:
9182:
9179:
9177:
9174:
9172:
9169:
9167:
9164:
9162:
9159:
9157:
9154:
9152:
9149:
9147:
9144:
9142:
9139:
9137:
9134:
9132:
9129:
9127:
9124:
9122:
9119:
9117:
9114:
9112:
9109:
9107:
9104:
9102:
9099:
9097:
9094:
9092:
9089:
9088:
9086:
9084:
9080:
9070:
9067:
9065:
9062:
9060:
9057:
9055:
9052:
9050:
9047:
9045:
9042:
9040:
9037:
9035:
9032:
9031:
9029:
9025:
9019:
9016:
9014:
9011:
9009:
9006:
9004:
9001:
9000:
8998:
8994:
8988:
8985:
8983:
8980:
8978:
8975:
8973:
8970:
8968:
8965:
8963:
8960:
8958:
8955:
8953:
8950:
8948:
8945:
8943:
8940:
8938:
8935:
8933:
8930:
8928:
8925:
8924:
8922:
8918:
8912:
8909:
8907:
8904:
8902:
8899:
8897:
8894:
8892:
8889:
8887:
8884:
8882:
8879:
8877:
8874:
8873:
8871:
8867:
8861:
8858:
8856:
8853:
8851:
8848:
8846:
8843:
8841:
8838:
8836:
8833:
8831:
8828:
8826:
8823:
8822:
8820:
8816:
8810:
8807:
8805:
8802:
8800:
8797:
8795:
8792:
8790:
8787:
8785:
8782:
8781:
8779:
8775:
8769:
8766:
8764:
8761:
8759:
8756:
8754:
8751:
8749:
8746:
8744:
8741:
8739:
8736:
8734:
8731:
8729:
8726:
8724:
8721:
8719:
8716:
8714:
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;
3105:
2708:passim
2548:, 6–9.
2512:, 4–5.
2473:, 1–3.
2266:, and
2249:(1909)
1931:, and
1884:Chopin
1792:Wagner
1773:motifs
1738:genres
1726:lieder
1697:Lieder
1684:fourth
1581:, two
1541:
1534:
1527:
1520:
1512:
1441:(1915)
1137:Handel
1116:) and
1069:, 1890
1066:Figaro
1028:, the
975:lieder
926:Bremen
750:Op. 26
746:Op. 25
693:, and
665:where
604:, and
594:Weimar
579:fugues
575:canons
463:sonata
405:Mozart
373:violin
222:Weimar
93:Vienna
18:Brahms
9797:Music
9698:Bacon
9607:Rosen
9602:Ricks
9597:Nancy
9557:Blume
9552:Bloom
9474:Stroy
9459:Saleh
9454:Runge
9404:Lampi
9389:Jones
9379:Hayez
9314:Corot
9279:Blake
9246:Tieck
9236:Staël
9161:Larra
9146:Hegel
9101:Burke
9059:Grieg
9049:Field
9044:Elgar
9027:Other
8860:Verdi
8818:Italy
8809:Liszt
8799:Hubay
8784:Erkel
8768:Weber
8753:Spohr
8713:Loewe
8703:Bruch
8667:Méhul
8657:Fauré
8647:Auber
8642:Alkan
8501:Raffi
8471:Mácha
8461:Lenau
8411:Botev
8384:Other
8236:Spain
8171:Dinis
8057:Scott
8032:Keats
8012:Clare
8002:Byron
7997:Burns
7977:Blake
7962:Great
7947:Tieck
7902:Heine
7897:Hauff
7831:Vigny
7826:Staël
7786:Dumas
7708:Assis
7703:Alves
7688:Abreu
7641:Rhine
7544:Ultra
7387:Japan
7235:Chess
7067:Ysaÿe
7047:Weber
7027:Verdi
6977:Spohr
6972:Sousa
6857:Paine
6772:Méhul
6722:Loewe
6717:Liszt
6697:Kuula
6657:Holst
6637:Grieg
6617:Gomes
6597:Franz
6582:Foote
6577:Field
6572:Fauré
6562:Elgar
6542:Denza
6467:Bruch
6447:Bizet
6407:Beach
6392:Auber
6377:Alkan
6305:Audio
5850:Nänie
5382:]
5283:]
4938:JSTOR
4662:JSTOR
4413:JSTOR
4239:, xx.
4114:, ix.
4024:S2CID
3987:JSTOR
3939:S2CID
3643:, 80.
3385:CCRMA
3085:, 39.
2758:, 45.
2611:, 12.
2430:broom
2416:Notes
2410:]
2234:. In
2015:canon
1942:with
1824:Ninth
1742:forms
1593:), a
1546:JSTOR
1532:books
1415:Music
630:Clara
452:fugue
432:Haydn
409:étude
369:flute
353:]
326:Heide
120:Works
9572:Frye
9499:Ward
9494:Veit
9449:Rude
9399:Koch
9374:Gude
9369:Goya
9319:Dahl
9309:Cole
8637:Adam
8585:Wolf
8328:U.S.
8227:Zmaj
7857:Beer
7796:Hugo
7743:Reis
7723:Dias
7587:Hero
7522:Post
7483:Jena
7453:Dark
7124:Lied
7062:Wolf
6912:Rode
6902:Ries
6882:Raff
6707:Lalo
6372:Adam
5562:ISBN
5554:ISBN
5539:ISBN
5531:ISBN
5523:ISBN
5508:ISBN
5493:ISBN
5485:ISBN
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5406:ISBN
5398:ISBN
5390:ISBN
5324:ISBN
5291:ISBN
5266:ISBN
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5231:ISBN
5183:ISBN
5152:ISBN
5133:ISBN
5118:ISBN
5110:ISBN
5073:ISBN
5038:ISBN
5019:ISBN
4996:ISBN
4988:ISBN
4958:ISBN
4930:ISSN
4897:ISBN
4875:ISBN
4846:link
4832:2017
4799:ISBN
4763:ISBN
4755:ISBN
4732:ISBN
4713:ISBN
4707:and
4682:ISBN
4628:ISBN
4620:ISBN
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4552:ISBN
4535:ISBN
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4479:ISBN
4449:ISBN
4380:ISBN
4352:ISBN
4323:2008
4077:ISSN
3979:ISSN
3929:ISBN
3723:ISBN
3682:2017
3671:OCLC
3661:ISBN
3569:2020
3525:ISBN
3470:2021
3103:ISBN
2536:, 3.
2488:, 4.
2301:and
2293:and
1964:and
1950:and
1886:and
1875:and
1740:and
1691:and
1674:His
1597:, a
1518:news
1383:and
872:and
748:and
702:Bonn
673:and
338:horn
278:and
212:and
193:, a
181:and
82:Died
61:Born
9069:Sor
8942:Cui
8375:Poe
7508:Pre
7503:Neo
6967:Sor
6512:Cui
5579:doi
5467:doi
5427:".
5414:doi
5367:".
5354:doi
5332:doi
5309:doi
5212:doi
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5191:doi
5094:".
5081:doi
5058:doi
5004:doi
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4654:doi
4650:116
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3921:doi
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