398:. "Brahms was in the habit of showing his orchestrations to Grimm, who, with his conservatory training, was better schooled in orchestration." After incorporating some of Grimm's suggestions Brahms then sent the orchestrated first movement to Joachim. Evidently Joachim liked it. Brahms wrote to him 12 September 1854 "As usual, you've viewed my symphony movement through rose-coloured spectacles – I definitely want to change and improve it; there's still a great deal lacking in the composition, and I don't even understand as much of the orchestration as appears in the movement, since the best of it I owe to Grimm." By January 1855 Brahms had composed second and third movements, for piano. He ultimately decided to make the work a concerto for piano, his favored instrument, in 1855–56, still consulting friends about the orchestration. Avins writes that "In all the many volumes of correspondence to and from Brahms, nothing quite approaches the letters he and Joachim exchanged over his First Piano Concerto (there are more than twenty of them) ... Joachim's answers, lengthy, detailed, thoughtful, and skilled, are extraordinary testimonials to his own talent, and to the awe and admiration he felt for his friend." Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were composed, a second movement adagio, which
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385:, a turning point in Brahms's career, by playing for them some of his own solo piano pieces. Clara was a leading concert pianist and a composer. She and Brahms began a lifelong friendship, which became more important when Robert was committed to an asylum in 1854 and died in 1856. Clara, 14 years older than Brahms, wrote of him in her diary in 1854 "I love him like a son." Brahms's love of her was respectful, more complex and conflicted, but he much valued her opinions and advice.
290:. There are three themes present in this rondo; the second theme may be considered a strong variation of the first. The third theme is introduced in the episode but is never explicitly developed by the soloist, instead the soloist is "integrated into the orchestral effect". A cadenza follows the bulk of the rondo, with an extensive coda that develops the first and third themes appearing afterward. The coda is in the parallel major,
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484:, had invited Brahms to have his concerto performed there. Brahms, who served as piano soloist, had two rehearsals in Leipzig with the orchestra. He thought he had played the concerto "significantly better than in Hanover, the orchestra outstandingly," but at the end only a few in the audience tried to clap and were soon overwhelmed by hissing. The concerto had only one encouraging review, from the
538:, two choral works, and "Eight Songs and Romances", Op. 14. Only the Serenade was accepted. The Concerto was rejected based on its bad reception in Leipzig. No comment was made on the other three pieces. Brahms then submitted the four rejected pieces to a Swiss publisher, Melchior Rieter-Biedermann, who accepted them, and later published many other Brahms pieces, including the
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She wrote in her diary on 1 October 1856 that Brahms had "composed an excellent first movement" for a piano concerto, and "I am delighted with its greatness of conception and the tenderness of its melodies." Then on 18 October, "Johannes has finished his concerto - we have played it several times on two pianos."
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the pianist. Even for the young Brahms, the concerto-as-showpiece had little appeal. Instead, he enlisted both orchestra and soloist in the service of the musical ideas; technically difficult passages in the concerto are never gratuitous, but extend and develop the thematic material. Such an approach
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Another performance came 3 December 1861, again with the
Hamburg Philharmonic, this time with Brahms conducting and Clara as solo pianist. She wrote in her diary "I was certainly the happiest person in the whole room ... the joy of the work so overcame me", but "the public understood nothing and felt
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The first movement is in sonata form, divided into five sections: orchestral introduction, exposition, development, recapitulation, and coda. This movement is large, lasting between 20 and 25 minutes. Although without a cadenza, the strict adherence to forms used in the
Classical Period earned Brahms
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Brahms's biographers often note that the first sketches for the dramatic opening movement followed quickly on the heels of the 1854 suicide attempt of the composer's dear friend and mentor, Robert
Schumann, an event which caused great anguish for Brahms. He finally completed the concerto two years
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In 1874 Clara played the solo part in a performance in a
Gewandhaus concert in Leipzig, the first performance of the concerto there since the January 1859 débacle. Brahms himself was invited by a member of the Gewandhaus Board of Directors and performed the concerto in Leipzig 1 January 1878. The
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Brahms also wrote a two-piano arrangement, which was essentially the original score before orchestration. In 1853 Robert
Schumann had bought a grand piano for Clara so that the household had two. In September 1856 Brahms sent Clara the first movement of his new piano concerto in a two-piano score.
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In 1862 Rieter-Biedermann, publisher of the
Concerto, requested that Brahms write a piano four-hands arrangement. Publishers liked piano four-hands arrangements, which could be sold to customers owning only one piano. However, Brahms declined, saying it would not be "practical" for him. Two years
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Brahms revised the concerto (much less extensively than before) and in August 1859 sent the revised manuscript to Clara, who replied that she had "hours of joy" from it. In
September she wrote that the adagio is "exquisite" and "beautiful". She said the first movement "gave me great pleasure"
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Clara heard a rehearsal of the concerto in
Hanover in March 1858, nine months before the premiere there, and wrote to a friend that it "went very well ... Almost all of it sounds beautiful, some parts far more beautiful even than Johannes himself imagined or expected." The concerto was first
573:, or at least do my best ... with a few days of seclusion to prepare." Brahms replied "You ... can be proud of yourself ... to bring to a music festival such a work of ill repute as the D minor concerto." It was no secret that von BĂĽlow admired Brahms, having called him the third of the
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although she did not like "some things in it" she had criticized before, but Brahms had not changed them. The fourth performance of the concerto (and first of the new revision) was with the
Hamburg Philharmonic conducted by Georg Dietrich Otten and was not a success.
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also performed. The concert was a great success. Each of the three leading performers was recalled for more applause. Brahms wrote to Clara that
Joachim "rehearsed my concerto and played it marvelously well ... In short, the Leipzig reviews have done no damage" .
667:. Most notable are its scale and grandeur, as well as the thrilling technical difficulties it presents. As time passed, the work grew in popularity until it was recognized as a masterpiece. Brahms biographer Styra Avins calls it a "great" piece.
522:, the second Brahms orchestral piece to be played in concert, had its première on 3 March 1860, with success. Before that the concerto had been performed three times, a success the third time, 24 March 1859, before the serenade by about a year.
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During the course of composition, the work passed through different forms. In 1854 it began as a sonata for two pianos. By July 27 of that year it was being transformed into a four-movement symphony. Brahms sought advice from his close friend
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The degree to which Brahms's personal experience is embedded in the concerto is hard to gauge since several other factors also influenced the musical expression of the piece. The epic mood links the work explicitly to the tradition of the
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successfully, being "recalled" for more applause. A group of "friends of music", some of whom had missed the concert, engaged the orchestra players and organized a "private concert" on Sunday morning at which Brahms's
1582:, Translated and abridged from the fourth German edition by Grace E. Hadow, MacMillan, London, and Breitkopf and Härtel, Leipzig, 1913, vol. 2. (Vol. 1 is about her life up to 1850, before meeting Brahms in 1853.)'
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nothing, otherwise it must have shown proper respect." By then the concerto had been performed in concert five times, a success with only one of the audiences. Brahms and Clara both put it aside for some years.
490:, Robert Schumann's former journal; it was "savaged" by other critics. Brahms wrote to Joachim "I am only experimenting and feeling my way," adding sadly, "all the same, the hissing was rather too much."
791:, famous for Bernstein's introductory remarks to the audience in which he said he was not in agreement with Gould's "remarkably broad tempi and ... frequent departures from Brahms' dynamic indications".
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as equal partners in a symphonic-scale structure, in emulation of the classical concertos of Mozart and Beethoven. It thus differs from earlier Romantic concertos, where the orchestra effectively
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was a concert pianist and highly regarded conductor. He wrote to Brahms in the spring of 1882 "I am to participate in a Rhine Musical festival ... in Aachen ... I plan to play your D minor
406:. As late as early February 1858, Joachim sent the manuscript back to Brahms "completely revised", hoping that he liked the reorchestrated sections. Brahms did not complete his
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called "calm and dreamlike", and a third movement rondo, in which Gál heard "healthy, exuberant creativity". The result was a work in the more usual three-movement
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chords and trills. Within the orchestral introduction other themes are introduced, and the thematic material is further developed by both orchestra and soloist.
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137:, the following year. It was his first-performed orchestral work, and (in its third performance) his first orchestral work performed to audience approval.
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is thoroughly in keeping with Brahms's artistic temperament, but also reflects the concerto's symphonic origins and ambitions. His effort drew on both
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a reputation for being musically "conservative", but his innovative harmonies and chord-progressions were hardly that. The theme heavily makes use of
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476:. It seems that after Mendelssohn's passing, "standards in Leipzig declined". Still, the Gewandhaus remained a highly prestigious orchestra. Its
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was also performed. Brahms wrote to Clara that "The musicians were exceedingly devoted to me, so that the whole affair was most agreeable."
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381:. Brahms and Joachim became close friends for life. In 1853 Brahms had aroused the greatest admiration from Schumann and his wife
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that Brahms sought to emulate. The finale of the concerto, for example, is clearly modeled on the last movement of Beethoven's
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The third performance was 24 March 1859 in a concert with the Hamburg Philharmonic at which Joachim and the leading baritone
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1553:. selected and annotated by Styra Avins, transl. by Josef Eisinger and S. Avins, Oxford, New York: Oxford University Press.
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581:. Thereafter von BĂĽlow took concert tours "with both Brahms's piano concertos, sometimes conducting from the keyboard."
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Although composed in Brahms's youth, this concerto is a mature work that points forward to his later concertos and his
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436:, when Brahms was just 25 years old. The audience received it coldly. The second performance, five days later, was in
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had unearthed a manuscript in Vienna and given a copy to Mendelssohn. The orchestra also premiered Mendelssohn's own
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considers it among the "purest Brahms", stating that to "...particularly the D-Minor Concerto, goes my love."
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The first movement of the concerto was used to reinforce particularly dramatic moments in the British film
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This concerto is written in the traditional three movements and is approximately 40 to 50 minutes long.
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conducted the Gewandhaus from 1835 until his death in 1847. During his tenure the orchestra premiered
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Brahms was himself a professional-level pianist who had first highly impressed the leading violinist
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Arthur Rubinstein with Bernard Haitink and the Royal Concertgebouw Orchestra (1973, video)
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later Brahms decided he needed the money he would get for it, so he made the arrangement.
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Brahms and Avins, p. 190; Avins does not comment on how the 1874 performance was received
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Piano Concerto No. 1 in D Major; The Composer's Original Arrangement for Piano Four Hands
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652:. This first concerto also demonstrates Brahms's particular interest in scoring for the
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Clara Schumann: An Artist's Life based on material found in Diaries and Letters
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for piano four-hands were highly profitable for him and his publisher
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concerto "fared only slightly better this time" than it had in 1859.
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The structure of the Rondo finale is similar to that of the rondo of
1596:(free music score of this composition available. In public domain.)
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Brahms and Avins, pp. 217, 222–223; Avins puts the fault on Otten.
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1477:, transl. Cynthia Klohr, 2012, Scarecrow Press, Lanham, MD, p. 11
1461:, founded not long before in 1882, which gained repute under him.
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and the Berlin Philharmonic Orchestra (2005, Deutsche Grammophon)
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with Bernard Haitink and the Royal Concertgebouw Orchestra (1983)
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and the Berlin Philharmonic Orchestra (1977, Deutsche Grammophon)
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with George Szell and the London Symphony Orchestra (1962, Decca)
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The work reflects Brahms's effort to combine the piano with the
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1471:
Hans von BĂĽlow's Letters to Johannes Brahms: A Research Edition
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with George Szell and the Cleveland Orchestra (1968, Sony)
1514:, ed. Alison Latham, Oxford University Press, 2003,
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In the summer of 1860 Brahms submitted to the publishers
648:, an approach that later was fully realized in Brahms's
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and the London Symphony Orchestra (1973, EMI Electrola)
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in 1858. The composer gave the work's public debut in
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1966:
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660:, both of whose parts are difficult and prominent.
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1568:, Princeton University Press, 2009, a Google book.
1497:Harmony: Forum of the Symphony Orchestra Institute
550:In November 1865 Brahms performed the concerto in
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819:(June 1965), winner of the Grand Prix Du Disque
444:was a leading one in Germany. It had premiered
255:, with the theme in the violins accompanied by
1575:, translated by Joseph Stein, Knopf, New York.
980:SWR Sinfonieorchester Baden-Baden und Freiburg
1665:
514:First successfully performed orchestral piece
8:
1564:Frisch, Walter, and Karnes, Kevin C., eds.,
1016:Symphonieorchester des Bayerischen Rundfunks
1530:The New York Review of Books, July 11, 2013
957:and the Royal Philharmonic Orchestra (1991)
377:, who gave him a letter of introduction to
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1658:
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1328:. New York: Alfred A. Knopf. p. 189.
1291:. New York: Alfred A. Knopf. p. 188.
1258:Brahms and Avins, p. 288. Later, Brahms's
40:
18:
2224:International Johannes Brahms Competition
2030:Variations and Fugue on a Theme by Handel
1604:International Music Score Library Project
1573:Johannes Brahms: His Work and Personality
976:Southwest German Radio Symphony Orchestra
927:and the Chicago Symphony Orchestra (1984)
1408:
1406:
1122:"Piano Concerto No. 1 (Johannes Brahms)"
937:and the London Symphony Orchestra (1985)
876:and the London Symphony Orchestra (1975)
1543:Brahms, Johannes; Avins, Styra (1997).
1074:
1007:(October 14, 2011, Deutsche Grammophon)
1566:Brahms and His World (Revised Edition)
1152:
1150:
1082:
1080:
1078:
787:and the New York Philharmonic (from a
502:wrote a "highly commendatory review".
462:Symphony No. 9 ("Great Symphony")
144:
2311:Piano compositions by Johannes Brahms
2122:"Wiegenlied (Lullaby)", Op. 49, no. 4
450:Piano Concerto No. 5 ("Emperor")
7:
2109:Two Songs for Voice, Viola and Piano
1510:Avins, Styra, "Johannes Brahms", in
1495:Phillip Huscher, "About the cover",
1249:, by Brahms, reprint of 1864 edition
743:and the New York Philharmonic (1955)
280:(D minor → D major) (c. 11 minutes)
2024:Three Intermezzi for piano, Op. 117
1352:, Doubleday, Garden City, NY, p. 76
369:Roles of Joachim and Clara Schumann
432:performed on January 22, 1859, in
14:
2037:Variations on a Theme of Paganini
1546:Johannes Brahms: Life and Letters
641:techniques and the pre-classical
2264:
2255:
2254:
1792:
1156:Brahms and Avins, p. 50, note 44
1040:Swedish Radio Symphony Orchestra
624:Symphonic and chamber techniques
608:is the same as both Beethoven's
590:after Schumann's death in 1856.
470:Symphony No. 3 ("Scottish")
297:
262:
231:
193:
181:
169:
943:with Leonard Bernstein and the
534:five pieces, the Concerto, his
199:III. Rondo (Allegro non troppo)
175:I. Maestoso - Poco piĂą moderato
1984:Four Pieces for Piano, Op. 119
1739:Variations on a Theme by Haydn
1457:In 1887–1892 he conducted the
604:, while the concerto's key of
577:. In 1881 Brahms finished his
1:
2014:Six Pieces for Piano, Op. 118
1486:Brahms and Avins, pp. 593–594
1183:Brahms and Avins, pp. 146–147
945:Vienna Philharmonic Orchestra
885:Israel Philharmonic Orchestra
851:Berlin Philharmonic Orchestra
837:Royal Concertgebouw Orchestra
817:Munich Philharmonic Orchestra
717:London Philharmonic Orchestra
2291:Concertos by Johannes Brahms
1326:Johannes Brahms: A Biography
1289:Johannes Brahms: A Biography
2199:Brahms Museum, MĂĽrzzuschlag
1943:Two String Quartets, Op. 51
1578:Litzmann, Berthold (1913),
1348:Campbell, Margaret (1981),
1032:(2015, Deutsche Grammophon)
1018:(2013, Deutsche Grammophon)
960:Krystian Zimerman with Sir
947:(1985, Deutsche Grammophon)
853:(1972, Deutsche Grammophon)
2327:
2189:Brahms House (Baden-Baden)
1704:Academic Festival Overture
1627:Chicago Symphony Orchestra
1087:Ewen, David (March 2007).
1057:(1963), in a recording by
899:New Philharmonic Orchestra
749:with George Szell and the
731:Chicago Symphony Orchestra
618:Piano Concerto No. 20
487:Neue Zeitschrift fĂĽr Musik
464:, after Schubert's death;
312:The piece is scored for 2
2250:
1729:Symphony No. 4 in E minor
1724:Symphony No. 3 in F major
1719:Symphony No. 2 in D major
1714:Symphony No. 1 in C minor
1687:
1512:Oxford Companion to Music
803:Boston Symphony Orchestra
765:London Symphony Orchestra
650:Piano Concerto No. 2
602:Piano Concerto No. 3
338:(initially 2 in D, 2 in B
288:Piano Concerto No. 3
192:
180:
168:
152:
111:Piano Concerto No. 1
81:22 January 1859
39:
31:
26:
22:Piano Concerto in D minor
1594:Brahms' Orchestral Works
1448:Brahms and Avins, p. 531
1430:Brahms and Avins, p. 337
1421:Brahms and Avins, p. 335
1412:Brahms and Avins, p. 224
1373:Brahms and Avins, p. 190
1361:Brahms and Avins, p. 180
1311:Brahms and Avins, p. 187
1237:Brahms and Avins, p. 245
1201:Brahms and Avins, p. 164
789:concert of April 6, 1962
557:Piano Quartet No. 2
121: 15, is a work for
2306:Compositions in D minor
2194:Brahms Museum (Hamburg)
2060:Fest- und GedenksprĂĽche
2054:Eleven Chorale Preludes
2019:Sixteen Waltzes, Op. 39
1475:Hans-Joachim Hinrichsen
1174:Brahms and Avins, p. 85
1165:Brahms and Avins, p. 61
879:Arthur Rubinstein with
1645:Philharmonia Orchestra
1382:Litzmann, pp. 172–173.
1324:Swafford, Jan (1997).
1287:Swafford, Jan (1997).
1090:Music for the Millions
1042:(2016, Harmonia Mundi)
999:Maurizio Pollini with
689:BBC Symphony Orchestra
532:Breitkopf & Härtel
251:This movement is in a
1400:Litzmann, pp. 200–201
1005:Staatskapelle Dresden
809:Bruno Leonardo Gelber
703:New York Philharmonic
675:Selected performances
579:second piano concerto
2090:Liebeslieder Waltzes
1928:String Quintet No. 2
1923:String Quintet No. 1
1918:String Quartet No. 3
1765:Piano Concerto No. 2
1760:Piano Concerto No. 1
1690:List of compositions
1633:Piano Concerto No. 1
1610:Piano Concerto No. 1
1600:Piano Concerto No. 1
1350:The Great Violinists
1030:Staatskapelle Berlin
1010:Hélène Grimaud with
1001:Christian Thielemann
901:(1976, RCA Red Seal)
691:(November 28, 1932).
442:Gewandhaus Orchestra
46:The composer in 1853
2116:Vier ernste Gesänge
1958:Violin Sonata No. 3
1953:Violin Sonata No. 2
1948:Violin Sonata No. 1
1938:String Sextet No. 2
1933:String Sextet No. 1
1893:Piano Quartet No. 3
1888:Piano Quartet No. 2
1883:Piano Quartet No. 1
1641:Carlo Maria Giulini
1459:Berlin Philharmonic
994:Gewandhausorchester
864:Carlo Maria Giulini
751:Cleveland Orchestra
741:Dimitri Mitropoulos
665:Symphony No. 1
610:Symphony No. 9
585:Biographical points
408:Symphony No. 1
159:Berlin Philharmonic
2229:Musical cryptogram
2219:German Romanticism
2104:Two Motets, Op. 74
2047:Other compositions
2009:Rhapsodies, Op. 79
2004:Piano Sonata No. 3
1999:Piano Sonata No. 2
1994:Piano Sonata No. 1
1979:Fantasies, Op. 116
1858:Cello Sonata No. 2
1853:Cello Sonata No. 1
1571:Gál, Hans (1971),
982:) (April 17, 2005)
931:Stephen Kovacevich
915:Vladimir Ashkenazy
860:Alexis Weissenberg
597:Beethoven symphony
546:Later performances
495:Julius Stockhausen
427:Early performances
414:Piano duo versions
404:concerto structure
249:) (c. 13 minutes)
220:) (c. 20 minutes)
2301:1858 compositions
2278:
2277:
2098:Neue Liebeslieder
1808:Gesang der Parzen
1520:978-0-19-866212-9
1100:978-1-4067-3926-8
1054:The L-Shaped Room
951:Horacio Gutierrez
941:Krystian Zimerman
813:Franz-Paul Decker
785:Leonard Bernstein
723:Arthur Rubinstein
705:(March 17, 1935).
695:Vladimir Horowitz
454:Felix Mendelssohn
396:Julius Otto Grimm
204:
203:
155:Krystian Zimerman
107:
106:
2318:
2268:
2258:
2257:
2182:Related articles
2156:Named for Brahms
2083:Geistliches Lied
1989:Hungarian Dances
1974:Ballades, Op. 10
1913:Piano Trio No. 3
1908:Piano Trio No. 2
1903:Piano Trio No. 1
1868:Clarinet Sonatas
1863:Clarinet Quintet
1796:
1789:A German Requiem
1697:Orchestral works
1674:
1667:
1660:
1651:
1619:Artur Rubinstein
1611:
1602:: Scores at the
1531:
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1493:
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1462:
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1353:
1346:
1340:
1339:
1321:
1312:
1309:
1303:
1302:
1284:
1278:
1277:Litzmann, p. 159
1275:
1269:
1261:Hungarian Dances
1256:
1250:
1244:
1238:
1235:
1229:
1228:Litzmann, p. 147
1226:
1220:
1219:Litzmann, p. 146
1217:
1211:
1208:
1202:
1199:
1193:
1192:Gál, pp. 114–117
1190:
1184:
1181:
1175:
1172:
1166:
1163:
1157:
1154:
1145:
1142:
1136:
1135:
1133:
1132:
1118:
1112:
1111:
1109:
1107:
1084:
1022:Daniel Barenboim
990:Riccardo Chailly
905:Maurizio Pollini
699:Arturo Toscanini
685:Sir Adrian Boult
681:Wilhelm Backhaus
434:Hanover, Germany
343:
342:
329:
328:
301:
266:
235:
197:
196:
185:
184:
173:
172:
145:
95:
94:
88:
86:
72:
70:
44:
19:
2326:
2325:
2321:
2320:
2319:
2317:
2316:
2315:
2296:Piano concertos
2281:
2280:
2279:
2274:
2246:
2209:Brahms-Institut
2177:
2168:Brahms (crater)
2151:
2133:
2042:
1962:
1841:
1780:
1774:
1770:Violin Concerto
1755:Double Concerto
1743:
1734:Tragic Overture
1692:
1683:
1681:Johannes Brahms
1678:
1609:
1590:
1585:
1539:
1534:
1529:
1525:
1509:
1505:
1494:
1490:
1485:
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1399:
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1272:
1257:
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1245:
1241:
1236:
1232:
1227:
1223:
1218:
1214:
1210:Litzmann, p. 39
1209:
1205:
1200:
1196:
1191:
1187:
1182:
1178:
1173:
1169:
1164:
1160:
1155:
1148:
1144:Litzmann, p. 94
1143:
1139:
1130:
1128:
1120:
1119:
1115:
1105:
1103:
1101:
1093:. p. 108.
1086:
1085:
1076:
1072:
1067:
1049:
1026:Gustavo Dudamel
935:Sir Colin Davis
833:Bernard Haitink
799:Erich Leinsdorf
775:Clifford Curzon
677:
646:concerto grosso
626:
587:
548:
528:
516:
482:Ferdinand David
474:violin concerto
466:Robert Schumann
429:
416:
391:
379:Robert Schumann
371:
366:
340:
339:
326:
325:
310:
308:Instrumentation
305:
194:
182:
170:
143:
131:Johannes Brahms
90:
84:
82:
80:
68:
66:
47:
34:Johannes Brahms
17:
12:
11:
5:
2324:
2322:
2314:
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2308:
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2298:
2293:
2283:
2282:
2276:
2275:
2273:
2272:
2262:
2251:
2248:
2247:
2245:
2244:
2240:Op. 120, No. 1
2236:
2231:
2226:
2221:
2216:
2211:
2206:
2201:
2196:
2191:
2185:
2183:
2179:
2178:
2176:
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2170:
2165:
2159:
2157:
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2152:
2150:
2149:
2141:
2139:
2138:Collaborations
2135:
2134:
2132:
2131:
2128:Zigeunerlieder
2124:
2119:
2112:
2106:
2101:
2094:
2086:
2079:
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2050:
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2033:
2026:
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2016:
2011:
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1996:
1991:
1986:
1981:
1976:
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1855:
1849:
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1840:
1839:
1832:
1829:Schicksalslied
1825:
1818:
1811:
1804:
1797:
1784:
1782:
1781:with orchestra
1776:
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1767:
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1588:External links
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968:Hélène Grimaud
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888:
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709:Artur Schnabel
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669:Alfred Brendel
625:
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567:Hans von BĂĽlow
547:
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540:German Requiem
536:first Serenade
527:
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520:First Serenade
515:
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440:. The Leipzig
428:
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375:Joseph Joachim
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16:Piano concerto
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2204:Brahms guitar
2202:
2200:
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1899:
1898:Piano Quintet
1896:
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1876:
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1873:Clarinet Trio
1871:
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1850:
1848:
1846:Chamber music
1844:
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1801:Alto Rhapsody
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1637:Claudio Arrau
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1559:0-19-924773-0
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996:(2006, Decca)
995:
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986:Nelson Freire
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841:
838:
834:
830:
829:Claudio Arrau
827:
824:
823:Rudolf Serkin
821:
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814:
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790:
786:
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748:
747:Leon Fleisher
745:
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679:
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640:
639:chamber music
635:
631:
623:
621:
619:
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584:
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478:concertmaster
475:
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153:Performed by
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129:completed by
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43:
38:
35:
30:
25:
20:
2239:
2214:Brahms-Preis
2173:Brahms Inlet
2146:F-A-E Sonata
2144:
2126:
2114:
2096:
2089:
2081:
2074:
2067:Fünf Gesänge
2066:
2058:
2035:
2028:
1834:
1827:
1820:
1813:
1806:
1799:
1787:
1759:
1623:Fritz Reiner
1579:
1572:
1565:
1551:Google Books
1544:
1526:
1511:
1506:
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1307:
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1242:
1233:
1224:
1215:
1206:
1197:
1188:
1179:
1170:
1161:
1140:
1129:. Retrieved
1125:
1116:
1104:. Retrieved
1089:
1052:
1050:
962:Simon Rattle
955:André Previn
925:James Levine
874:Edo de Waart
847:Eugen Jochum
753:(1958, Sony)
727:Fritz Reiner
713:George Szell
662:
627:
616:'s dramatic
595:
592:
588:
570:
565:
561:
549:
529:
517:
508:
504:
492:
485:
430:
421:
417:
410:until 1876.
392:
372:
311:
274:
253:ternary form
240:
211:
205:
163:Simon Rattle
110:
108:
2163:1818 Brahms
2075:FĂĽnf Lieder
1967:Piano works
1836:Triumphlied
1779:Vocal works
1748:Concertante
1106:18 December
1059:Peter Katin
1047:Use in film
881:Zubin Mehta
843:Emil Gilels
795:Van Cliburn
781:Glenn Gould
733:(1954, RCA)
634:accompanied
526:Publication
389:Composition
352:(D and A),
226:arpeggiated
2285:Categories
1635:played by
1617:played by
1131:2022-11-29
1065:References
1036:Paul Lewis
921:Emanuel Ax
895:Kurt Masur
330:and A), 2
278:non troppo
187:II. Adagio
85:1859-01-22
2077:, Op. 105
2069:, Op. 104
1878:Horn Trio
1709:Serenades
1070:Citations
870:Radu Lupu
737:Myra Hess
630:orchestra
552:Karlsruhe
452:in 1811.
446:Beethoven
344:bass), 2
322:clarinets
284:Beethoven
157:with the
127:orchestra
100:Movements
77:Performed
2260:Category
2234:Three Bs
2111:, Op. 91
2092:, Op. 52
1028:and the
1014:and the
1003:and the
992:and the
974:and the
897:and the
883:and the
849:and the
835:and the
815:and the
801:and the
763:and the
729:and the
715:and the
701:and the
687:and the
656:and the
575:Three Bs
458:Schubert
400:Hans Gál
364:Overview
346:trumpets
341:♭
332:bassoons
327:♭
257:bassoons
213:Maestoso
62:Composed
2242:(Berio)
1822:Rinaldo
1615:YouTube
1537:Sources
1499:, 2012
1266:Simrock
1126:LA Phil
767:(1959,
654:timpani
643:Baroque
606:D minor
438:Leipzig
358:strings
350:timpani
292:D major
276:Allegro
247:D major
218:D minor
135:Hanover
115:D minor
92:Hanover
83: (
67: (
1557:
1518:
1473:, ed.
1332:
1295:
1097:
887:(1976)
839:(1970)
805:(1964)
719:(1938)
614:Mozart
500:Heller
314:flutes
242:Adagio
161:under
2270:Audio
1815:Nänie
1038:with
1024:with
988:with
970:with
953:with
933:with
923:with
907:with
893:with
872:with
862:with
845:with
831:with
811:with
797:with
783:with
769:Decca
759:with
739:with
725:with
711:with
697:with
683:with
383:Clara
354:piano
348:(D),
336:horns
318:oboes
271:Rondo
123:piano
103:three
27:No. 1
1555:ISBN
1516:ISBN
1330:ISBN
1293:ISBN
1108:2009
1095:ISBN
658:horn
612:and
571:well
518:The
472:and
356:and
334:, 4
320:, 2
316:, 2
141:Form
125:and
109:The
69:1858
65:1858
53:Opus
1613:on
1549:at
460:'s
448:'s
286:'s
119:Op.
113:in
32:by
2287::
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1561:.
1338:.
1301:.
1268:.
1134:.
1110:.
978:(
771:)
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259:.
245:(
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