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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 ...
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, and Sergei Rachmaninoff among others.
The Piano Trio No. 3 in C minor, Op. 101, by Johannes Brahms is scored for piano, violin and cello, and was written in the summer of 1886 while Brahms was on holiday in Hofstetten, Switzerland. It was premiered on 20 December of that year by Brahms, violinist Jenő Hubay, and cellist David Popper. [1]
The Piano Trio in A major, sometimes attributed to Johannes Brahms as Anh. 4/5, is scored for piano, violin and cello. Brahms is reported to have destroyed many of his works that did not meet his own high standards. This piano trio may be one of the exceptions to have survived.
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.
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In 1879-80, Charles Villiers Stanford wrote a Cello Concerto in D minor for Robert Hausmann. This followed Hausmann's premiering in England Stanford's Cello Sonata, Op. 9, in 1879. It was the first significant British cello sonata. [1] In 1881 Hausmann premiered Max Bruch's Kol Nidrei, Op. 47, which was dedicated to him. [2]
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