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The instrument adds two strings to the standard six—a low A (a 5th below the standard low E), and a high A (a 4th above the standard high E), giving A E A D G B E A. [1] The guitar's frets are fanned to allow for the different string lengths. The player holds the guitar like a cello, with a cello-like post from the bottom of the guitar to the ...
Fünf Gesänge (Five songs), Op. 104, is a song cycle of five part songs for mixed choir a cappella by Johannes Brahms. Composed in 1888 when Brahms was a 55-year-old bachelor, the five songs reflect an intensely nostalgic and even tragic mood. Brahms has chosen texts which centre on lost youth, summer turning into fall and, ultimately, man's ...
The earliest known recording of any movement of Hungarian Dances was a condensed piano-based rendition of Hungarian Dance No. 1, from 1889, played by Brahms himself, and was known to have been recorded by Theo Wangemann, an assistant to Thomas Edison. The following dialogue can be heard in the recording itself, before the music starts:
D. 366 No. 17 for piano solo is the same Ländler as D. 814 No. 1 for piano duet; #17 in Brahms' set is a piano solo arr. of D. 814 No. 1, though markedly different from Schubert's piano solo version D. 366 No. 17; published 1869 A. deest: Christoph Willibald Gluck: Paride ed Elena: Gavotte in A major (arr. by JB) piano 4-hands [4] published 1901
The first version, under the title Brahms Waltz, used only Brahms' Op. 39, No. 15, and premiered on 22 June 1975, at the Hamburg State Opera. The expanded version, which featured more Brahms waltzes, premiered on 15 June 1976, during Ballet Rambert's 50th anniversary gala, at the Sadler's Wells Theatre, London, and is dedicated to Marie Rambert.
There are earlier string sextets by Luigi Boccherini (two sets of six each). However, between Boccherini and Brahms, very few for string instruments without piano seem to have been written or published, whereas within the decades following Brahms's two examples, a number of composers, including Antonín Dvořák, Peter Ilyich Tchaikovsky, Joachim Raff, Max Reger, Arnold Schoenberg, and Erich ...
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The long violin solo is reminiscent of some of Beethoven's later works: the late quartets and Missa Solemnis. The third, scherzo-like movement, has an easy spirit yet is full of complex rhythms and interwoven textures. The fourth movement begins with a slow introduction, where a new melody competes with "gloomy dramatic rhetoric". [1]
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