e-book O Welt, ich muss dich lassen 2 - No. 11 from 11 Choral preludes - Op. posth 122

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Oves Oats ; 4. Medv d The Bear ; 5. Cibuli ka The Little Onion ; 6. Dupak; 7.

Johannes Brahms - Intégrale de l'œuvre pour orgue - Mélodies originales des chorals

Hulan The Uhlan ; 8. Obkro ak Stepping Dance ; 9. Sousedska Peasant Dance ; Ruines d'un chateau; 2. Scherzo; 3. Chant sans paroles Romance in F Minor, Op. Reverie; 2. Polka de Salon; 3. Mazurka de salon Two Pieces, Op.

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Nocturne; 2. Humoresque Six Pieces, Op. Reverie du soir; 3. Feuillet d'album; 4.

‎Brahms, Febel & Reger: Choral Preludes by Andreas Groethuysen & Yaara Tal on Apple Music

Nocturne; 6. Theme original et variations Swan Lake, Op. Fugue a 4 voix; 3. Impromptu; 4. Marche tunebre; 5. Mazurque; 6. Chanson triste; 6. Song without words; 9. Valse in F Minor; Danse Russe Six Pieces, Op. Valse de salon; 2.

Polka peu dansante; 3. Menuetto scherzoso; 4a. Nathalie-valse Early version ; 4b. Nathalie-valse Later version ; 5. Romance in F Major; 6.


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Valse sentimentale Dumka, Op. Impromptu in F Minor; 2. Berceuse; 3. Tendres reproches; 4.


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Danse characteristique; 5. Meditation; 6. Mazurque pour danser; 7. Polacca de concert; 8. Dialogue; 9. Un poco di Schumann; Scherzo-tantaisie; Valse bluette; L'espiegle; Echo rustique; Chant elegiaque; Un poco di Chopin; Valse a cinq temps; Passe lointain; Scene dansante invitation au trepak Piano Concerto No. Now you can quickly locate, view and print the great works of the classical repertoire.

Compared to traditional printed sheet music or music downloads, it is incredibly inexpensive. Peters, G. Schirmer, Carl Fischer, G. Ricordi, Durand and many others. The discs also include biographical and analytical information from Grove's Dictionary of Music and Musicians, Edition. This is the largest and best collection of Russian and Eastern European piano music ever assembled. Although the composition lasts only four and half minutes, its history dated back in The composer then wrote in a letter to a friend about the start of the series.

The first prelude, which took two times longer than the other two is more diversified and resembles Spisak's Duetto Concertante for bassoon and viola. Although as a young man he entertained ambitions to become an organ virtuoso, he wrote only a small number of pieces for the instrument. Beside the Eleven Chorale Preludes , which were posthumously given the opus number , only four shorter organ works without opus number survive from earlier periods.

More By Andreas Groethuysen

The dedicated and skilled composer Brahms was not only thoroughly familiar with the stylistic principles of the past, but put them into practice too, drawing inspiration from the classical Viennese composers with their command of form, employing variation technique, and even creating a Baroque chaconne in his fourth symphony. His chorale preludes are modelled on the north-German Lutheran organ tradition, and inspired particularly by Pachelbel, Buxtehude and Bach.

In this genre too Brahms demonstrated his undisputed mastery, and his command of counterpoint is undoubtly comparable to that of his great seventeenth- and eighteenth-century predecessors. At the same time, some chorale preludes point the way to the twentieth century in terms of bar and rhythm or far-reaching chromaticism. In at least one respect, however, these pieces form an example of nineteenth-century romanticism, as they lend expression to the composer's most personal experience.

Both works may be considered as meditations upon death. In the chorale preludes Brahms the composer seems to want to say farewell to life once and for all. The composition of the first seven was prompted by the death of his beloved friend Clara Schumann. And although Brahms preferred to play down the seriousness of his own illness cancer of the pancreas , he must have realised that these pieces could well be his last.

This would appear from the choice of nine chorales two are set twice upon which they are based. Although the texts of chorale preludes were not sung, the tunes of these old German hymns were familiar enough to the informed listener to bring the intended associations to mind and give the pieces profound spiritual significance. The chorale texts speak of reconcilement with death, resignation and even joyful longing for the world to come. The proud mood betrays great spiritual strength but is at the same time reflective and meditative.

The direction 'forte ma dolce' , which Brahms used frequently here, would seem to typify the entire work, in which vigour and mildness are continually united. I finished this project a year later, in February His orchestral palette was in fact no larger than that of Beethoven. The instrumental developments of his time seem to have been wasted on him, and he was the last great composer to write consistently for natural horns and trumpets.

I therefore took up the challenge to study his orchestral technique and remain faithful to it in my arrangement. The numbering of the chorale preludes in my orchestration deviates from the published version. In one of Brahms' manuscripts pieces 2 - 7 are in a different order, and they are often performed today in this 'authentic' sequence. Later on I discovered that this alternative sequence reveals a certain musical logic. The eleven pieces form a cycle, a kind of discourse, in which their order is indeed of importance. In this sequence the even movements are generally more reflective and subdued than the livelier uneven ones.

This natural contrast between tension and relaxation was helpful to me in creating my orchestrations. In only two of the eleven chorale preludes, the first and seventh, have I employed the full orchestral instrumentation, which is the same as that of Brahms' first symphony: doubled wind plus double bassoon, two pairs of horns, three trombones, two trumpets, timpani and strings.

In all uneven movements the double bassoon and second pair of horns are used, and the trombones too in the fifth and eleventh pieces.

In the even movements the instrumentation is more modest. In the second and eighth it is derived from Brahms' Serenade opus 16, which does not employ violins.