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A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, and soprano and baritone soloists, composed between 1865 and 1868.
An early version of the second movement was first composed in 1854 after Robert Schumann's attempted suicide (and later used in his first piano concerto). Most of the Requiem was composed after Brahms's mother's death in 1865. He added the fifth movement after the 1868 premiere, and in 1869 the final work was published.
The third movement in C minor is a waltz-like ternary movement in 3 8 time. Instead of the rapid scherzo standard in 19th-century symphonies, Brahms created a unique kind of movement that is moderate in tempo (poco allegretto) and intensely lyrical in character. [7]
2.1 Two-piano and timpani version by Brahms ... This is a non-exhaustive list of recordings of Johannes Brahms' A German Requiem (Ein deutsches Requiem), Op. 45 (1868 ...
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 third movement, a scherzo and trio, begins in F minor with a musical quotation of the beginning of the finale of Felix Mendelssohn's Piano Trio No. 2, Op. 66. In contrast to the tumult of the scherzo, the trio in D ♭ major is calm and lyrical, and the accompanying bass too refers to Beethoven's "fate motif". Once the trio brings back the ...
Joachim had adopted the Romantic German phrase "Frei aber einsam" ("free but lonely") as his personal motto. The composition's movements are all based on the musical notes F-A-E, the motto's initials, as a musical cryptogram. Schumann assigned each movement to one of the composers. Dietrich wrote the substantial first movement in sonata form.
The second movement is a tempestuous scherzo (ternary form) in compound duple meter in C minor, the same key as the first movement. Donald Francis Tovey argues that Brahms puts the scherzo in the same key as the first movement because the first movement does not sufficiently stabilize its own tonic and requires the second movement to "[furnish] the tonal balance unprovided for by the end of ...
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