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Brahms intended the work to be more than simply a set of theme and variations; each variation also has the characteristic of a study. He published it as Studies for Pianoforte: Variations on a Theme of Paganini. The work was dedicated to the piano virtuoso Carl Tausig. It is well known for its harmonic depth and extreme physical difficulty.
Op. 15 Piano Concerto No. 1 in D minor : piano, orchestra 1854–58 original version as Sonata for Two Pianos 1854 (Mvts 2 & 3 are Anh. 2a/2) (discarded), 2nd version as Symphony in D minor in 4 mvts (4th mvt never written) 1854–55 (Mvts 2 & 3 are Anh. 2a/2) (discarded), final version (Piano Concerto) in 3 mvts (only 1st mvt from previous versions, 2nd & 3rd mvts new) 1855–58;
In music, Op. 35 stands for Opus number 35. Compositions that are assigned this number include: Arensky – Variations on a Theme by Tchaikovsky; Barber – A Hand of Bridge; Beethoven – Eroica Variations; Brahms – Variations on a Theme of Paganini; Chausson – String Quartet; Chopin – Piano Sonata No. 2; Fauré – Madrigal; Hába ...
The Piano Quintet in F minor, Op. 34, by Johannes Brahms was completed during the summer of 1864 [1] and published in 1865. [2] [3] It was dedicated to Her Royal Highness Princess Anna of Hesse. As with most piano quintets composed after Robert Schumann's Piano Quintet (1842), it is written for piano and string quartet (two violins, viola and ...
Johannes Brahms – Variations on a Theme of Paganini, Op. 35 (1862–63), for solo piano (2 books) Charles Camilleri – Paganiana, for two pianos; Frédéric Chopin – quotes Niccolò Paganini's Caprice No. 24 in his Rondo à la Krakowiak and includes a variation on the quotation; Eliot Fisk – transcribed all 24 Caprices for solo guitar
The Piano Sonata No. 2 in B ♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin.Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840.
This is perhaps the movement Brahms altered the most between the two versions, with the cello's original smooth second theme in F ♯ major (bar 105)—an apparent allusion to Beethoven's "Nimm sie hin denn, diese Lieder" from An die ferne Geliebte, which is also quoted in Schumann's Fantasie Op. 17—being replaced by a more vigorous ...
Brahms completed an initial setting of Hölderlin's two verses in ternary form with the third movement being a complete restatement of the first. [6] However, Brahms was dissatisfied with this full restatement of the first movement to close the piece, as he felt that it would nullify the grim reality depicted in the second movement. [6]