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Brahms' antiquarian interests, his studies of music from the Renaissance to the Classical periods, show in his work — he edited and helped publish a two-chorus motet by Mozart Venite Populi, he had a collection of sonatas by Scarlatti — and in his composition, his motets Op. 74, his interest in the fugue and the passacaglia (outside of organ music such as Josef Rheinberger's Sonata No. 8 ...
Cello Sonata No. 1(1929) Cello Sonata No. 2 (1934) David N. Baker. Sonata for Violoncello and Piano (1973) (Commissioned by Janos Starker) Granville Bantock. Cello Sonata No. 1 in B minor (1940s) Cello Sonata No. 2 in F-sharp minor (1940s) Samuel Barber. Cello sonata, Op. 6 in C minor (1932) Richard Barrett. nacht und träume (2003 -2008) Béla ...
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;
A cello sonata is piece written sonata form, often with the instrumentation of a cello taking solo role with piano accompaniment. [1] Some of the earliest cello sonatas were composed in the 18th century by Francesco Geminiani and Antonio Vivaldi, and since then other famous cello sonatas have grown to those by Johannes Brahms, Ludwig van Beethoven, Felix Mendelssohn, Fryderyk Chopin, and ...
Op. 120, No. 1, also entitled Opus 120, No. 1 or in its German form, Opus 120, Nr. 1, is a 1986 arrangement for clarinet and orchestra of Johannes Brahms's Clarinet Sonata Op. 120, No. 1 by Italian composer Luciano Berio. As with the original Sonata, the soloist in this arrangement can either be a clarinet or a viola.
This first movement, a sonata form movement in G minor and common time, begins immediately with the first theme, a declamatory statement in straight quarter-notes, stated in octaves for the piano alone. This theme is the opening cell that governs the content of the rest of the musical material in the movement.
While Brahms was hesitant to break the desperation and ultimate futility of the second movement by bringing a blissful return to the first, some see Brahms's return to the orchestral prelude as "a desire on the part of the composer to relieve the gloom of the concluding idea of the text by shedding a ray of light over the whole, and leaving a ...
The Allegro vivace is a sonata form opening with a fragmented cello theme over a tremolo piano part. [3] Its bipartite exposition somewhat unusually traverses F major, C major, and A minor; [4] Roger Graybill argued that the tonal plan may be read as ultimately returning to F major, given the intricate motivic structure of its voice leading. [5]