394:"The Handel Variations consist of a theme and twenty-five variations, each of equal length, plus a much longer fugue at the end which provides the climax of the movement in terms of duration, dynamics, and contrapuntal complexity. The individual variations are grouped in such a way as to create a series of waves, both in terms of tempo and dynamics, leading to the final fugue, and superimposed on this overall organization are a number of subordinate patterns. Variations in tonic major and minor more or less alternate with each other; only once is there a variation in another key (the twenty-first, which is in the relative minor). Legato variations are usually succeeded by staccato ones; variations whose texture is fragmentary are in general followed by more homophonic ones. ... the organization of the variation set is not so much concentric—with each variation deriving coherence from its relationship to the theme—as edge-related, with each variation being lent significance by its relationship with what comes before and after it, or by the group of variations within which it is located. In other words, what gives unity to the variation set ... is not the theme as such, but rather a network of 'family resemblances', to use Wittgenstein's term, between the different variations."
1495:. I was in agonies of nervousness, but I played them well all the same, and they were much applauded. Johannes, however, hurt me very much by his indifference. He declared that he could no longer bear to hear the variations, it was altogether too dreadful for him to listen to anything of his own and to have to sit by and do nothing. Although I can well understand this feeling, I cannot help finding it hard when one has devoted all one's powers to a work, and the composer himself has not a kind word for it." Yet in the following spring (April 1862) Brahms wrote, in a note to a critic to whom he was sending a copy of the work, "I am fond of it and value it particularly in relation to my other works".
1421:, from the theme, into contrapuntal relationships involving diminution, augmentation, stretto, building to the final peroration through a long dominant pedal with two distinct ideas above. But the pianism is an equal part of the conception, and in this, the most complex example of Brahms's virtuoso style, the characteristic spacings in thirds, sixths and wide spans between the hands are employed as never before. Indeed, the pianistic factor serves to create the great contrasts within the fugue, which transcends a traditional fugal movement to create a further set of variations, in which many of the previous textures are recalled in the context of the equally transformed fugal theme."
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something actually new and to discover new melodies in the bass give the bass a role at once passive and active. While maintaining the structure of the theme—the passive bass, so to speak—Brahms may actively create melodies and figurative patterns (including melodies "discovered in" the bass), project different contrapuntal textures, and draw on an expanded harmonic vocabulary, sometimes interpreting the melody as the bass of the harmony or regarding major and minor or sharp and flat versions of the same passage as equally valid and available. The result is a great diversity of expression and character founded on a relatively strict conception of the "given" material.
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406:"Brahms takes pains to control the intensity level throughout the twenty-five variations, maintaining a state of flux in the first half, and then keeping the temperature perceptibly low after the peak in Variations 13–15 until the massive 'crescendo' towards the fugue begins in Variation 23. We thus find a sensitivity to motion and momentum that complements—and possibly transcends in importance to the listener—the elegance of structure about which so many authors have (legitimately) enthused.
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402:. Hans Meyer, for example, sees the divisions as nos. 1–8 ('strict'), 9–12 ('free'), 13 ('synthesis'), 14–17 ('strict') and 18–25 ('free'), culminating in the fugue. William Horne emphasizes paired variations: nos. 3 and 4, 5 and 6, 7 and 8, 11 and 12, 13 and 14, 23 and 24. This helps him to group the set as 1–8, 9–18, 19–25, with each group ending with a fermata and preceded by one or more variation pairs. John Rink, focusing on Brahms's dynamic markings, writes,
187:", adding, "Besides a masterful unfolding of ideas concluding with an exuberant fugue with a finish designed to bring down the house, the work is quintessentially Brahms in other ways: the filler of traditional forms with fresh energy and imagination; the historical eclectic able to start off with a gallant little tune of Handel's, Baroque ornaments and all, and integrate it seamlessly into his own voice, in a work of massive scope and dazzling variety."
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538:, moves at a more leisurely pace, providing a sense of calm after two rather busy variations. It also provides a much-needed contrast with the following thunderous variation. Right and left hands alternate and overlap, the left imitating the right in a pattern of three eighth notes. The first note of each group is played staccato, adding to the sense of lightness. The occasional rolled chord adds interest.
1409:, with inversions, augmentation and double counterpoint to match, and a great peroration over a swinging dominant pedal-point". Despite its magnitude, Littlewood suggests, the fugue avoids separation from the rest of the set by its comparable texture. "In this way it systematically creates a web of links between past and present, achieving synthesis rather than quotation or parody." Michael Musgrave in
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theme, the chromaticism of this variation adds to the sense of a world beyond the
Baroque. In the first half the pattern is of phrases rising on the scale with a crescendo, then falling away in a shorter decrescendo. The second half climbs both in pitch and dynamics to a high climax, again falling away quickly. There is a smooth transition to the next variation.
1021:, is a bravura variation building relentlessly toward an exciting climax. It consists of a one-bar pattern, varied only slightly, of two declamatory chords in eighth notes in the higher registers, followed by lower sixteenth notes that echo Handel's original turns. A prominent upbeat creates syncopated energy. It has been called an Ă©tude for Brahms's
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500:(a bit louder), too, clearly separates it from Handel's elegant aria. In tempo the variation seems much more hurried, crisp, even dance-like; each time the right hand "pauses" on an eighth note, the left hand fills in with sixteenth notes. At the end of the two sections, Brahms replaces Handel's decorations with brilliant up- and down-scale runs.
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999:("loose") breaks the dark mood of Variation 13 and returns to the original key. With its extended trills and scalar runs in sixths in the right hand against broken octaves in the left hand, it is a virtuoso showpiece. The mood is of great energy, excitement, and high spirits. It leads without a break into the following variation.
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Numerous accents add further emphasis to the highly rhythmic character of this variation: in some bars in the first half, accents are placed on the last beat of the bar, while in the second half, the accents are yet more numerous, assigned to every beat except the last of each bar. Each half ends in a peak of excitement, marked
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Variation 2 is a subtle piece with a flowing, lilting rhythm. Complexity is added as Brahms uses a favourite technique, found throughout his works, with triple time in one voice—in this case, triplets in the right hand—against duple time in the other. While explicitly recalling the melody of Handel's
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or, if this still seems too high, 10 Friedrichsdors. I very much hope you will not think I plucked the initial fee arbitrarily out of the air. I consider this work to be much better than my earlier ones; I think it is also much better adapted to the demands of performance and will therefore be easier
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One aspect of his approach to variation writing is made explicit in a number of letters. "In a theme for a variations, it is almost only the bass that has any meaning for me. But this is sacred to me, it is the firm foundation on which I then build my stories. What I do with a melody is only playing
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The powerful concluding fugue brings the variation set to a climactic close. Its subject, repeated many times from beginning to end, derives from the opening of Handel's theme. At its most microscopic level, the subject comes solely from the ascending major second from the first two beats in the top
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from the school of
Couperin (Brahms had edited Couperin's music). It uses chords almost exclusively in the root position, perhaps as another reminiscence of "antique" music. In a technique often used by Brahms, the melodic line is hidden in an inner part. This variation opens a lengthy quiet section
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major, Variation 7 is fast, exciting, high-spirited, and fundamentally rhythmic in nature. A sustained drumbeat effect is created by the emphatic repetition of its upper notes and a staccato rhythm throughout all three voices. Because of the repeated upper notes, the focus moves to the inner voices.
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Variation 21 moves to the relative minor (G minor). Like
Variation 19, the theme is hidden, in this case by merely gracing the main notes of the theme in passing, thereby achieving a sense of lightness. It is another example of Brahms' use of polyrhythms, this time pairing three notes against four.
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After the tension of
Variations 7–10, the next two variations are sweet and melodic. Variation 11 uses counterpoint and has a simple, pleasant air with its rock-steady rhythm in the right hand while the left hand simply plays two notes to one. Variations 11 and 12 are another example of the pairing
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Variation 8 continues the rhythmic excitement of
Variation 7, the left hand beating out, on the same note over and over, the same anapestic rhythm as the preceding variation. After a few bars, the two voices of the right hand are flipped. A fermata at the close provides a moment of silence before 9
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published by J. Walsh, London 1733 with five variations). Brahms himself owned a copy of the 1733 First
Edition. The appeal of the aria for Brahms might have been its simplicity: its range is restricted to one octave; the harmony is plain, with every note taken from the B-flat major scale; it "made
210:) and moved out of his family's cramped and shabby apartments in Hamburg to his own apartment in the quiet suburb of Hamm, initiating a highly productive period that produced "a series of early masterworks". Written in a single stretch in September 1861, the work is dedicated to a "beloved friend",
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Variation 13 returns to the tonic minor in a funereal mood. It is the middle variation of the set and, in the view of Denis
Matthews, the emotional centre. Right-hand sixths play against rolled chords in the left, perhaps suggesting muffled drums. For Tovey the lugubrious tone suggests a "kind of
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The light mood of the preceding variation continues in
Variation 22. Often referred to as the "musical-box" variation because of the regularity of its rhythm, underlined particularly by a drone bass, Variation 22 alludes to the Baroque musette, a soft pastoral air imitating the sound music of a
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Identifying the bass as the essence of the theme, ...Brahms advocated using it to control the structure and character of individual variations and of the entire set. But by this he apparently did not mean retaining in the variations the bass line of the theme or even its harmonies ... To invent
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Variation 9 slows the pace of the series, with a sense of grandeur as both treble and bass move in stately, ominous octaves. The piece is highly chromatic, and, like several earlier variations, treble and bass are in contrary motion throughout. Each two-bar phrase begins with two exclamatory
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marking. The melody moves upward at a measured pace in eighth notes while the left hand accompanies with broken chords in sixteenth notes in contrary motion. The mood is peaceful and tranquil. A pairing between this variation and the following one is created by the use of the tonic minor key
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With the "complete failure," as he described it to Clara, of his first large-scale orchestral work, the First Piano
Concerto, the Handel Variations became an important landmark in the developing career of Brahms. Another seven years passed before his reputation was firmly established by
218:. It was presented to her on her 42nd birthday, September 13. At about the same time, his interest in, and mastery of, the piano also shows in his writing two important piano quartets, in G minor and A major. Barely two months later, in November 1861, he produced his second set of
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Another "variation of a variation", paired with the preceding
Variation 17. The accompaniment from the previous variation, which now echoes the melody of the aria, is now syncopated and alternating between the hands, while the "raindrops" are replaced by sweeping arpeggios.
289:, where the variations departed widely from the character of the theme, Brahms's variations expressed and developed the character of the theme. Because the theme for the Handel variations originated in the Baroque era, Brahms included forms such as a siciliana, a musette, a
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around ... If I vary only the melody, then I cannot easily be more than clever or graceful, or, indeed, full of feeling, deepen a pretty thought. On the given bass, I invent something actually new, I discover new melodies in it, I create." The role of the bass is critical.
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Variation 16 continues from Variation 15 as a "variation of variation", repeating the pattern of two high eighth notes followed by a run of lower sixteenth notes. It also forms another pairing with Variation 17. Baroque contrapuntal techniques appear again in this
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In preparation for the climactic final variation, Variation 24 intensifies the excitement, replacing the triplets of Variation 23 with masses of sixteenth notes. Clearly modeled on the preceding, it is another example of Brahms's use of "variation of variation".
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in support throughout, three quarter-note chords to each bar setting the pace followed by a rhythmic eighth-note chord leading to the next bar and emphasizing its first beat. The second half follows a similar pattern, varied mainly by alterations to the turns.
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with legato phrasing, Variation 6 has a hushed, mysterious tone. The pace is measured, as both hands are written mainly in eighth notes with short sequences of sixteenth notes providing variety. Here Brahms uses counterpoint in the form of a two-part
1559:, called for "the music of the future" with new forms and new tonalities—Wagner complimented the work graciously, if not wholeheartedly, saying, "One sees what still may be done in the old forms when someone comes along who knows how to use them".
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chords, as if sounding an alarm. The variation starts an octave higher than Handel's theme, and its repeated two-bar pattern continually ascends, increasing in tension, until the climax, when it reaches a full two octaves higher than Handel.
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Hungarian funeral march", while Malcolm MacDonald sees it as "florid" and "a Hungarian fantasia". Here Brahms abandons the usual repeat signs because each passage that would have been repeated is instead written an octave higher.
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time with "a ceremonial character typical of its period". The harmonic progressions are elementary. Every bar except one has one or two decorations. The melody consists of a one-bar figure in the right hand consisting mostly of a
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An exultant showpiece, Variation 25 ends the variations and leads into the concluding fugue. Its strong resemblance to Variation 1 ties the set together, as they both feature a left hand which fills the pauses in the right.
237:, and in other chamber works. As he appeared on the scene, variations were in decline, "little more than a basis for writing paraphrases of favorite tunes". In Brahms's work the form once again became restored to greatness.
304:, "I am unwilling, at the first hurdle, to give up my desire to see this, my favourite work, published by you. If therefore, it is primarily the high fee that stops you taking it, I will be happy to let you have it for 12
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major). Julian Littlewood observes that the fugue has "a dense contrapuntal argument which recalls Bach more than Handel". Denis Matthews adds that it is "more redolent of one of Bach's great organ fugues than any in
467:; it is repeated in a rising sequence three times followed by a fourth descending repetition; a decorative flourish finishes the first half of the variation, which is then repeated. The left hand plays solid
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The quietness and delicacy of Variation 12 prepares for the return of the dark tonic minor in Variation 13. The left hand is similar to Variation 17, in the same rhythm as the left hand of Handel's theme.
1555:. Despite the great differences between the two men in musical style and an underlying tension based on musical politics—Brahms championing a more conservative approach to music while Wagner, along with
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that Brahms wrote to develop his technique are extant today. The results of these historical studies are seen in his choice of Handel for the theme, as well as his use of Baroque forms, including the
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1394:. The following melodic line of the second measure resembles the second measure of Handel's theme in general trajectory (Brahms's theme is also strikingly similar to the subject of Fugue VI from
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gives an idea of how close the relationship between her and Brahms was, as well as Brahms's sometimes extraordinary insensitivity: "On Dec 7th I gave another soirée, at which I played Johannes'
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voice of Handel's theme. The ascending second is stated twice in sixteenth notes and repeated again a major third higher. This parallels the first measure of Handel's theme, which ascends from B
256:, Op. 24, Brahms did a careful study of "more rigorous, complex and historical models, among others preludes, fugues, canons and the then obscure dance movements of the Baroque period. Two
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Of the overall concept of the work, Malcolm MacDonald writes "Some of Brahms's models in this monumental work are easy enough to identify. In the scale and ambition of his conception both
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major throughout most of the set, varied by only a few exceptions in the tonic minor, and by repeating Handel's four-bar/two-part structure, including the repeats, in most of the work.
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At Variation 23 the rise toward a final climax begins. It is clearly paired with the following Variation 24, which continues its pattern but in a more hurried, more urgent manner.
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Donald Francis Tovey sees a grouping in Variations 14–18, which he describes as "aris one out of the other in a wonderful decrescendo of tone and crescendo of Romantic beauty".
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are frequently emphasized by six-note chords) and climaxes that rise a full octave higher than Handel's theme. The charging, syncopated rhythm places the stress on the last
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an admirably neutral starting-place". While Handel had written only five variations on his theme, Brahms, with the piano as his instrument rather than the more limited
1025:. It breaks the structural mould of Handel's theme by adding one "extra" bar. In Brahms's first autograph, Variations 15 and 16 were positioned in the reverse order.
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In Variation 17, the absence of the sixteenth notes that were so prominent in the preceding two variations gives the impression of a slowing, despite the marking of
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is a closer parallel. But the overall structure is original to Brahms." And MacDonald suggests what might have been a more contemporary source of inspiration, the
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After the mighty sounds of the previous variation, the lyrical fifth variation begins quietly. The change of mood is emphasized by a shift to the tonic minor (B
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Brahms's first variation stays close to the melody and harmonies of Handel's theme while changing its character completely. It uses staccato throughout and its
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Like the preceding variation, this piece is in the tonic minor and features contrary motion, and the motives of the two variations are similar. Marked
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347:. Brahms's use of Handel exemplifies his love of the music of the past and his tendency to incorporate it and transform it in his own compositions.
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The light mood prepares the way for the climactic, concluding section which, in Tovey's words, comes "swarming up energetically out of darkness".
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Minor-key inflections in Variations 2 to 4 increase the distance from Handel and lay the groundwork for Variations 5 and 6, in the tonic minor.
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From the outset, Variation 20 builds toward its climax. In contrast to the preceding variation, there is little of the Baroque in it with its
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374:. "Brahms might well have known that large and often admirable work, published as recently as 1856, which Volkmann based on the so-called '
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Handel's theme is divided into two parts, each four bars in length and each repeated. The elegant aria moves in stately quarter notes in
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and staccato, repeated throughout the work at various pitches. Each note is played twice, adding to the suggestion of a leisurely pace.
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were written in September 1861 after Brahms, aged 28, abandoned the work he had been doing as director of the Hamburg women's choir (
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Brahms also took into careful account the character of the theme, and its historical context. Unlike the great model of Beethoven's
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in Hamburg was a triumph, which she repeated soon afterward in Leipzig. During that winter, Brahms also gave performances of the
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minor). This is the first variation in a key different from Handel's. Numerous small crescendos and decrescendos underscore the
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821:) in the higher registers followed by echoes progressively lower, ending deep in the bass in a series of single notes played
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he had written a number of other sets of variations, as well as using variations in the slow movement of his Op. 1, the
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Echoing the pairing of Variations 5 and 6, the seventh variation is paired with the eighth. Returning to Handel's original B
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1217:(triads in the right hand against octaves in the left hand). Malcolm MacDonald refers to its "organ-loft progressions".
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Brahms had been emulating Baroque models for six years or more. In particular, between the time he wrote his previous
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has ranked it among "the half-dozen greatest sets of variations ever written". Biographer Jan Swafford describes the
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Variations 13 and 14, while very different in character, are paired in being fast and exciting and in their use of
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of almost every beat. Although no tempo indications are given, this variation is often performed at great speed.
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Still not fully established in his career in 1861, Brahms had to struggle to get the work published. He wrote to
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on December 7, when she visited Brahms's home town to give a series of performances, which also included the
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1734:, Urtext Edition, Ed.: Sonja Gerlach, Fing.: Hans-Martin Theopold, G. Henle Verlag HN440, 1988, Foreword.
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362:' must have exercised a powerful if generalized influence; in specific features of form Beethoven's
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in 1868, and it took a full fifteen years before he made his mark as a symphonist with his
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Neunzig, Hands, Peter Sheppard Skaerved, and Mike Mitchell, translated by Mike Mitchell
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Clara Schumann: An Artist's Life Based on Material Found in Diaries and Letters – Vol 2
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and, in general, the frequent use of contrapuntal techniques in many variations.
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1716:, ed. Michael Musgrave, Cambridge University Press, Cambridge, 1999, pp. 24, 28.
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in octaves, including inverted canon for several measures in the second half.
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378:' theme from the Air with Variations in Handel's E major Harpsichord Suite."
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1955:, translated by David Brodbeck, University of Nebraska Press, 2001, p. 108f.
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1772:, ed. Michael Musgrave, Cambridge University Press, Cambridge, 1999, p. 85.
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Unity is maintained, at least in part, by using Handel's key signature of B
343:, enlarged the scope of his opus to 25 variations ending with an extended
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Sleeve notes from a recording by Seta Tanyel (free registration required)
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Following without a pause from the previous number, Variation 15, marked
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2146:"In a Salute to Robbins, Variations Mr. B Might Not Have Considered"
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follows in canonic imitation. The effect is light and exhilarating.
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2125:(1150). Musical Times Publications Ltd.: 936–940 December 1938.
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Rink, John, "Opposition and integration in the piano music", in
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1506:—which had not been well received when Brahms introduced it to
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with arpeggios in contrary motion. It leads seamlessly into 8.
1637:. Label: Musikproduktion Dabringhaus und Grimm. Played on a
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Fourteen Variations on a Hungarian Melody, in D major (1854)
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Hofmann, Kurt, "Brahms the Hamburg musician 1833–1862", in
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This slow, relaxing variation, with its lilting rhythm and
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was a musical form of great interest to Brahms. Before the
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which includes nos. 19–22, "not noticeably interrelated".
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During what was probably the first meeting of Brahms and
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There are various opinions about the organization of the
246:
Eleven Variations on an Original Theme, in D major (1857)
190:
The autograph manuscript of the work is preserved in the
2210:
Variations on a Theme by Händel Op.24 (Brahms, Johannes)
1157:
time, is written in the dance style of a Baroque French
491:
accents are distinctly non-Baroque. The dynamic marking
2005:, Urtext Edition, G. Henle Verlag HN272, 1978, Preface.
1629:
Recordings of the set on a 19th-century piano include:
390:
Nicholas Cook gives the following concise description:
1417:"Brahms brings his subject, derived, like that of the
877:
of variations which is so characteristic of the work.
1806:
Sisman, Elaine R., "Brahms and the Variation Canon",
808:
In contrast to the preceding number, Variation 10 is
183:
as "perhaps the finest set of piano variations since
1997:
1995:
424:
The performer of the audio files in this section is
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2655:
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2201:
Variationen für eine liebe Freundin: aria di Händel
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91:
76:
66:
56:
23:
1908:, J.M. Dent & Sons Ltd., London, 1990, p. 180.
1398:'s Six Preludes and Fugues, Op. 35, also in B
1663:. Label: Da Vinci Classics. Played on a piano by
736:begins and signals the end of the first section.
1900:
1898:
1896:
1894:
1892:
2205:autograph manuscript in the Library of Congress
1567:The piece is often heard in a version that was
268:dance form (Var. 19) from the French school of
2015:
2013:
2011:
1972:
1970:
1882:
1880:
2274:
1854:
1852:
1850:
144:in 1861. It consists of a set of twenty-five
8:
1688:, Ariel Music BBC Publications, 1986, p. 31.
829:. The second half rushes to a great climax.
368:Variations on a Theme of Handel, Op. 26
1652:. Label: Verlag Dohr. Played on a piano by
225:From his earliest years as a composer, the
2281:
2267:
2259:
45:
20:
2833:International Johannes Brahms Competition
2639:Variations and Fugue on a Theme by Handel
2245:Variations and Fugue on a Theme by Handel
2235:Variations and Fugue on a Theme by Handel
2214:International Music Score Library Project
129:Variations and Fugue on a Theme by Handel
1810:, Vol. 14, No. 2 (Autumn, 1990), p. 134.
1514:in January 1858—and the premiere of the
1438:
1431:
1424:
1677:
1985:Quoted by Palmer, John, AllMusic.com,
1551:in January 1863, Brahms performed his
1213:in both treble and bass and its thick
573:
2731:"Wiegenlied (Lullaby)", Op. 49, no. 4
1498:Clara Schumann premiered the work in
7:
2718:Two Songs for Voice, Viola and Piano
2226:based on a recording by Martin Jones
1987:https://www.allmusic.com/work/c40005
1504:Piano Concerto No. 1 in D minor
534:The elegant third variation, marked
328:'s Harpsichord Suite No. 1 in B
16:Piano composition by Johannes Brahms
2920:Composer tributes (classical music)
2633:Three Intermezzi for piano, Op. 117
2144:Macaulay, Alastair (24 June 2008).
1906:Brahms (The Master Musician Series)
1516:Piano Quartet No. 1 in G minor
1659:Alice Baccalini. Johannes Brahms.
336:Suites de pièces pour le clavecin,
14:
2646:Variations on a Theme of Paganini
1921:, Oxford University Press, 1990,
1860:The Variations of Johannes Brahms
1770:The Cambridge Companion to Brahms
1747:, Oxford University Press, 1994,
1713:The Cambridge Companion to Brahms
1661:Piano Music on Period Instruments
1648:Christoph Dohr. Johannes Brahms.
158:Harpsichord Suite No. 1 in B
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2863:
2401:
1633:Hardy Rittner. Johannes Brahms.
1464:
1315:
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574:Problems playing this file? See
559:
242:Two Sets of Variations for piano
222:, Op. 23, for piano four hands.
2900:Piano pieces by Johannes Brahms
1919:Music, Imagination, and Culture
1579:composer and Brahms enthusiast
1460:Variations 23, 24, 15 and Fugue
633:signature and contrary motion.
388:Music, Imagination, and Culture
2593:Four Pieces for Piano, Op. 119
2348:Variations on a Theme by Haydn
1701:, Vintage Books, 1999, p. 228.
136:. 24, is a work for solo
1:
2623:Six Pieces for Piano, Op. 118
1518:. Clara's performance of the
1112:Variations 14, 15, 16, 17, 18
595:The fourth variation, marked
2915:Compositions in B-flat major
1989:accessed on August 14, 2008.
1699:Johannes Brahms: A Biography
1617:by French-Canadian composer
555:Theme and Variations 1, 2, 3
152:, all based on a theme from
2808:Brahms Museum, MĂĽrzzuschlag
2552:Two String Quartets, Op. 51
2173:"Rachel Laurin organ works"
1635:Complete Piano Works Vol. 5
2941:
2798:Brahms House (Baden-Baden)
2313:Academic Festival Overture
1783:Brahms – His Life and Work
1589:Royal Philharmonic Society
2859:
2338:Symphony No. 4 in E minor
2333:Symphony No. 3 in F major
2328:Symphony No. 2 in D major
2323:Symphony No. 1 in C minor
2296:
1832:, Haus Publishing, 2003,
1587:was first performed at a
1407:The Well-Tempered Clavier
1023:Piano Concerto No. 2
324:in the third movement of
106:7 December 1861
44:
32:
2224:Detailed listening guide
2003:Handel Variations op. 24
1953:Brahms Studies, Volume 3
1862:, Plumbago Books, 2004,
1654:Johann Baptist Streicher
252:), Op. 21, and the
166:. They are known as his
2803:Brahms Museum (Hamburg)
2669:Fest- und GedenksprĂĽche
2663:Eleven Chorale Preludes
2628:Sixteen Waltzes, Op. 39
2177:Rachel Laurin's website
1479:Reception and aftermath
235:Piano Sonata in C major
2925:George Frideric Handel
1609:in collaboration with
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154:George Frideric Handel
1591:concert conducted by
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376:Harmonious Blacksmith
334:Major, HWV 434 (
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2699:Liebeslieder Waltzes
2537:String Quintet No. 2
2532:String Quintet No. 1
2527:String Quartet No. 3
2374:Piano Concerto No. 2
2369:Piano Concerto No. 1
2299:List of compositions
2068:, Read Books, 2007,
2064:Litzmann, Berthold,
2055:Musgrave, pp. 57–58.
1904:MacDonald, Malcolm,
1858:Littlewood, Julian,
1785:, Read Books, 2007,
1732:Variations for Piano
1650:Works for Piano Solo
1603:New York City Ballet
1311:Variations 21 and 22
910:Variations 11 and 12
27:on a Theme by Handel
25:Variations and Fugue
2725:Vier ernste Gesänge
2567:Violin Sonata No. 3
2562:Violin Sonata No. 2
2557:Violin Sonata No. 1
2547:String Sextet No. 2
2542:String Sextet No. 1
2502:Piano Quartet No. 3
2497:Piano Quartet No. 2
2492:Piano Quartet No. 1
2117:"London Concerts".
1951:Horne, William, in
1745:The Music of Brahms
1743:Musgrave, Michael,
1643:Steinway & Sons
1487:'s diary about the
1411:The Music of Brahms
948:in the right hand.
846:Variations 9 and 10
364:'Eroica' Variations
360:Diabelli Variations
358:' and Beethoven's '
287:Diabelli Variations
220:Schumann Variations
192:Library of Congress
164:major, HWV 434
2838:Musical cryptogram
2828:German Romanticism
2713:Two Motets, Op. 74
2656:Other compositions
2618:Rhapsodies, Op. 79
2613:Piano Sonata No. 3
2608:Piano Sonata No. 2
2603:Piano Sonata No. 1
2588:Fantasies, Op. 116
2467:Cello Sonata No. 2
2462:Cello Sonata No. 1
2151:The New York Times
2001:Brahms, Johannes,
1808:19th-Century Music
1730:Brahms, Johannes,
1686:Brahms Piano Music
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2910:1861 compositions
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2707:Neue Liebeslieder
2417:Gesang der Parzen
2119:The Musical Times
2107:Swafford, p. 267.
2089:Swafford, p. 234.
2078:978-1-4067-5905-1
1931:978-0-19-816303-9
1872:978-0-9540123-4-2
1842:978-1-904341-17-8
1795:978-1-4067-5582-4
1781:Geiringer, Karl,
1757:978-0-19-816401-2
1684:Matthews, Denis,
1553:Handel Variations
1524:Handel Variations
1520:Handel Variations
1493:Handel Variations
1489:Handel Variations
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1396:Felix Mendelssohn
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400:Handel Variations
320:is taken from an
318:Handel Variations
254:Handel Variations
231:Handel Variations
204:Handel Variations
181:Handel Variations
175:The music writer
169:Handel Variations
148:and a concluding
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61:Handel Variations
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2791:Related articles
2765:Named for Brahms
2692:Geistliches Lied
2598:Hungarian Dances
2583:Ballades, Op. 10
2522:Piano Trio No. 3
2517:Piano Trio No. 2
2512:Piano Trio No. 1
2477:Clarinet Sonatas
2472:Clarinet Quintet
2405:
2398:A German Requiem
2306:Orchestral works
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1917:Cook, Nicholas,
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1533:A German Requiem
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2777:Brahms (crater)
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2379:Violin Concerto
2364:Double Concerto
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2343:Tragic Overture
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216:Robert Schumann
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1485:Clara Schumann
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15:
13:
10:
9:
6:
4:
3:
2:
2937:
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2839:
2836:
2834:
2831:
2829:
2826:
2824:
2821:
2819:
2816:
2814:
2813:Brahms guitar
2811:
2809:
2806:
2804:
2801:
2799:
2796:
2795:
2793:
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2780:
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2696:
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2640:
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2545:
2543:
2540:
2538:
2535:
2533:
2530:
2528:
2525:
2523:
2520:
2518:
2515:
2513:
2510:
2508:
2507:Piano Quintet
2505:
2503:
2500:
2498:
2495:
2493:
2490:
2488:
2485:
2483:
2482:Clarinet Trio
2480:
2478:
2475:
2473:
2470:
2468:
2465:
2463:
2460:
2459:
2457:
2455:Chamber music
2453:
2447:
2446:
2442:
2440:
2439:
2435:
2433:
2432:
2428:
2426:
2425:
2421:
2419:
2418:
2414:
2412:
2411:
2410:Alto Rhapsody
2407:
2404:
2400:
2399:
2395:
2394:
2392:
2386:
2380:
2377:
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2372:
2370:
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2319:
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2308:
2304:
2300:
2295:
2291:
2284:
2279:
2277:
2272:
2270:
2265:
2264:
2261:
2255:
2251:
2247:
2242:
2240:
2239:Leon Fleisher
2236:
2233:
2231:
2228:
2225:
2222:
2220:
2217:
2215:
2211:
2208:
2206:
2202:
2199:
2198:
2194:
2178:
2174:
2168:
2165:
2153:
2152:
2147:
2140:
2137:
2132:
2128:
2124:
2120:
2113:
2110:
2104:
2101:
2095:
2092:
2086:
2083:
2079:
2075:
2074:1-4067-5905-8
2071:
2067:
2061:
2058:
2052:
2049:
2043:
2040:
2034:
2031:
2025:
2022:
2016:
2014:
2012:
2008:
2004:
1998:
1996:
1992:
1988:
1982:
1979:
1973:
1971:
1967:
1961:
1958:
1954:
1948:
1945:
1939:
1936:
1932:
1928:
1927:0-19-816303-7
1924:
1920:
1914:
1911:
1907:
1901:
1899:
1897:
1895:
1893:
1889:
1883:
1881:
1877:
1873:
1869:
1868:0-9540123-4-8
1865:
1861:
1855:
1853:
1851:
1847:
1843:
1839:
1838:1-904341-17-9
1835:
1831:
1825:
1822:
1816:
1813:
1809:
1803:
1800:
1796:
1792:
1791:1-4067-5582-6
1788:
1784:
1778:
1775:
1771:
1765:
1762:
1758:
1754:
1753:0-19-816401-7
1750:
1746:
1740:
1737:
1733:
1727:
1725:
1723:
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1715:
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1707:
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1636:
1632:
1631:
1630:
1624:
1622:
1620:
1619:Rachel Laurin
1616:
1612:
1608:
1605:balletmaster
1604:
1600:
1599:
1598:Brahms/Handel
1595:. The ballet
1594:
1590:
1586:
1585:orchestration
1583:in 1938. The
1582:
1581:Edmund Rubbra
1578:
1574:
1570:
1562:
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1397:
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1331:
1312:
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1259:
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1216:
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1132:
1113:
1096:
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1080:
1078:
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1066:
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1057:
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1024:
1020:
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1007:
1003:
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985:
966:
949:
947:
942:
935:
930:
911:
894:
887:
882:
878:
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866:
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830:
827:
826:
820:
817:
811:
803:
798:
794:
790:
789:
778:
773:
754:
737:
730:
725:
721:
719:
704:
699:
680:
663:
661:
656:
653:
643:
638:
634:
631:
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612:
608:
606:
602:
598:
590:
585:
579:
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529:
524:
520:
516:
510:
505:
501:
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497:
490:
482:
477:
473:
470:
466:
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438:
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429:
427:
419:
417:
407:
403:
401:
395:
391:
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379:
377:
373:
369:
365:
361:
357:
353:
348:
346:
342:
337:
327:
323:
319:
315:
310:
307:
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298:
296:
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288:
282:
277:
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228:
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217:
213:
209:
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197:
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188:
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165:
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118:
104:
100:
97:
94:
90:
79:
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71:
69:
65:
62:
59:
55:
48:
43:
40:
36:
31:
28:
22:
19:
2848:
2823:Brahms-Preis
2782:Brahms Inlet
2755:F-A-E Sonata
2753:
2735:
2723:
2705:
2698:
2690:
2683:
2676:Fünf Gesänge
2675:
2667:
2644:
2638:
2637:
2443:
2436:
2429:
2422:
2415:
2408:
2396:
2200:
2180:. Retrieved
2176:
2167:
2155:. Retrieved
2149:
2139:
2122:
2118:
2112:
2103:
2094:
2085:
2065:
2060:
2051:
2042:
2033:
2024:
2002:
1981:
1960:
1952:
1947:
1938:
1933:, pp. 60–64.
1918:
1913:
1905:
1859:
1829:
1824:
1815:
1807:
1802:
1782:
1777:
1769:
1764:
1744:
1739:
1731:
1711:
1706:
1698:
1693:
1685:
1680:
1660:
1649:
1634:
1628:
1596:
1593:Adrian Boult
1566:
1563:Arrangements
1552:
1546:
1531:
1528:
1523:
1519:
1497:
1492:
1488:
1483:An entry in
1482:
1416:
1410:
1380:
1371:
1368:Variation 25
1355:
1352:Variation 24
1340:
1337:Variation 23
1293:
1282:
1281:bagpipe, or
1279:
1276:Variation 22
1263:
1260:Variation 21
1234:Variation 20
1211:chromaticism
1208:
1198:Variation 20
1179:Variation 19
1149:
1141:
1138:Variation 19
1093:
1090:Variation 18
1076:
1072:
1070:
1067:Variation 17
1050:eighth notes
1039:
1036:Variation 16
1018:
1016:
1013:Variation 15
1001:
996:
994:
991:Variation 14
965:Variation 13
943:
939:
936:Variation 13
891:
888:Variation 12
875:
872:Variation 11
824:
823:
815:
813:
809:
807:
804:Variation 10
787:
786:
782:
734:
717:
708:
651:
649:
647:
629:
621:
600:
596:
594:
535:
533:
517:
514:
495:
492:
486:
450:
442:
439:Theme. Aria
423:
409:
405:
399:
397:
393:
387:
385:
367:
349:
335:
317:
311:
299:
284:
279:
274:
253:
249:
245:
241:
239:
230:
224:
219:
207:
203:
201:
189:
180:
177:Donald Tovey
174:
168:
167:
128:
127:
125:
60:
24:
18:
2772:1818 Brahms
2684:FĂĽnf Lieder
2576:Piano works
2445:Triumphlied
2388:Vocal works
2357:Concertante
1942:Rink, p.86.
1611:Twyla Tharp
1557:Franz Liszt
779:Variation 9
731:Variation 8
705:Variation 7
644:Variation 6
618:Variation 5
591:Variation 4
530:Variation 3
511:Variation 2
483:Variation 1
341:harpsichord
214:, widow of
140:written by
2905:Variations
2894:Categories
2252:played by
2237:played by
2219:Free score
1645:(c. 1860).
1639:overstrung
1625:Recordings
1601:, made by
1512:Gewandhaus
819:energetico
630:espressivo
601:sforzandos
576:media help
489:syncopated
262:sarabandes
208:Frauenchor
198:Background
146:variations
110:1861-12-07
92:Dedication
57:Other name
35:variations
2686:, Op. 105
2678:, Op. 104
2487:Horn Trio
2318:Serenades
2080:, p. 201.
1797:, p. 217.
1573:orchestra
1159:siciliana
1073:piĂą mosso
382:Structure
266:Siciliana
227:variation
185:Beethoven
102:Performed
2869:Category
2843:Three Bs
2720:, Op. 91
2701:, Op. 52
2157:16 April
1844:, p. 70.
1759:, p. 52.
1569:arranged
1544:(1876).
1401:♭
1391:♭
1385:♭
1288:♭
1215:textures
1047:staccato
712:♭
625:♭
597:risoluto
413:♭
356:Goldberg
331:♭
270:Couperin
260:and two
161:♭
77:Composed
2851:(Berio)
2431:Rinaldo
2250:YouTube
2182:11 July
1667:(1875).
1656:(1861).
1577:British
1575:by the
1510:in the
1508:Leipzig
1500:Hamburg
1413:writes,
1283:musette
997:sciolto
316:of the
117:Hamburg
108: (
82: (
2129:
2072:
1925:
1866:
1836:
1830:Brahms
1789:
1751:
1665:Pleyel
1538:Bremen
655:sempre
469:chords
463:and a
326:Handel
293:and a
258:gigues
33:Piano
2879:Audio
2424:Nänie
2131:92368
2127:JSTOR
1672:Notes
1615:organ
1377:Fugue
1077:piano
1043:canon
1019:forte
718:forte
660:canon
536:dolce
493:poco
461:trill
370:, by
345:fugue
314:theme
295:fugue
291:canon
150:fugue
138:piano
2184:2016
2159:2009
2070:ISBN
1923:ISBN
1864:ISBN
1834:ISBN
1787:ISBN
1749:ISBN
1571:for
465:turn
354:'s '
352:Bach
322:aria
312:The
202:The
126:The
84:1861
80:1861
68:Opus
2248:on
1536:in
386:In
156:'s
37:by
2896::
2203:.
2175:.
2148:.
2123:79
2121:.
2076:,
2010:^
1994:^
1969:^
1929:,
1891:^
1879:^
1870:,
1849:^
1840:,
1793:,
1755:,
1721:^
1621:.
825:pp
788:sf
428:.
297:.
194:.
172:.
134:Op
132:,
114::
72:24
2282:e
2275:t
2268:v
2186:.
2161:.
2133:.
1874:.
1150:8
816:f
652:p
578:.
496:f
451:4
112:)
86:)
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