Johannes Brahms (7th May 1833–3rd April 1897) was a composer of the Romanti… Read Full Bio ↴Johannes Brahms (7th May 1833–3rd April 1897) was a composer of the Romantic period. Born in Hamburg, Germany, he eventually settled in Vienna, Austria.
Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos, a Violin Concerto, a Double Concerto for violin and cello, and a pair of orchestral overtures, the Academic Festival Overture and the Tragic Overture.
His large choral work Ein deutsches Requiem ("A German Requiem") is not a traditional, liturgical requiem (Missa pro defunctis), but a setting of texts which Brahms selected from the Lutheran Bible. The work was composed in three major periods of his life. An earlier version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and was later finished and used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was later added after the official premiere in 1868. The complete work was then published in 1869.
Brahms's works in variation form include the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Joseph Haydn in versions for two pianos and for orchestra. The final movement of the Fourth Symphony (Op. 98) is also formally a set of variations.
His chamber works include three string quartets, two string quintets and two string sextets, as well as a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets and three piano trios. He composed several instrumental sonatas with piano, including three for violin, two for cello and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms also wrote about 200 songs and is considered among the greatest of Lieder composers (with Schubert and Schumann). His chorale preludes for organ, which he wrote shortly before his death, have become an important part of the organist's repertoire.
Brahms never wrote an opera, nor did he ever write in the characteristic late-19th-century form of the tone poem, strongly preferring to compose absolute music that does not refer to an explicit scene or narrative.
Despite his reputation as a serious composer of large, complex musical designs, some of Brahms's most widely known and commercially successful compositions during his life were aimed at the thriving contemporary market for domestic music-making, and are small-scale and popular in intention. These included his arrangements of popular dances, in Hungarian Dances, the Waltzes Op. 39 for piano duet, the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied, Op. 49 No 4 (published in 1868). This last item was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber, and is universally known as Brahms' Lullaby.
Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos, a Violin Concerto, a Double Concerto for violin and cello, and a pair of orchestral overtures, the Academic Festival Overture and the Tragic Overture.
His large choral work Ein deutsches Requiem ("A German Requiem") is not a traditional, liturgical requiem (Missa pro defunctis), but a setting of texts which Brahms selected from the Lutheran Bible. The work was composed in three major periods of his life. An earlier version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and was later finished and used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was later added after the official premiere in 1868. The complete work was then published in 1869.
Brahms's works in variation form include the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Joseph Haydn in versions for two pianos and for orchestra. The final movement of the Fourth Symphony (Op. 98) is also formally a set of variations.
His chamber works include three string quartets, two string quintets and two string sextets, as well as a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets and three piano trios. He composed several instrumental sonatas with piano, including three for violin, two for cello and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms also wrote about 200 songs and is considered among the greatest of Lieder composers (with Schubert and Schumann). His chorale preludes for organ, which he wrote shortly before his death, have become an important part of the organist's repertoire.
Brahms never wrote an opera, nor did he ever write in the characteristic late-19th-century form of the tone poem, strongly preferring to compose absolute music that does not refer to an explicit scene or narrative.
Despite his reputation as a serious composer of large, complex musical designs, some of Brahms's most widely known and commercially successful compositions during his life were aimed at the thriving contemporary market for domestic music-making, and are small-scale and popular in intention. These included his arrangements of popular dances, in Hungarian Dances, the Waltzes Op. 39 for piano duet, the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied, Op. 49 No 4 (published in 1868). This last item was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber, and is universally known as Brahms' Lullaby.
Alto Rhapsody
Johannes Brahms Lyrics
Instrumental
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Renzo
As I am listening to and watching this performance, I am in awe of what it takes to make it all happen: My thoughts go back to the genius of Brahms. I consider how, after much refinement, these magnificent instruments have been so delicately crafted....the fine woods worked into their shapes, the glowing brasses. I think of the effort and the talent that each player and each member of the chorus, the conductor and the brilliant soloist has brought to this moment.
And I am bursting with pride for my species !
If aliens came here and asked to see the best we can produce, I would give such as this as evidence.
German original
English translation
Aber abseits wer ist's?
Im Gebüsch verliert sich sein Pfad;
hinter ihm schlagen die Sträuche zusammen,
das Gras steht wieder auf,
die Öde verschlingt ihn.
But who is that apart?
His path disappears in the bushes;
behind him the branches spring together;
the grass stands up again;
the wasteland engulfs him.
Ach, wer heilet die Schmerzen
dess, dem Balsam zu Gift ward?
Der sich Menschenhaß
aus der Fülle der Liebe trank!
Erst verachtet, nun ein Verächter,
zehrt er heimlich auf
seinen eigenen Wert
In ungenügender Selbstsucht.
Ah, who heals the pains
of him for whom balsam turned to poison?
Who drank hatred of man
from the abundance of love?
First scorned, now a scorner,
he secretly feeds on
his own merit,
in unsatisfying egotism.
Ist auf deinem Psalter,
Vater der Liebe, ein Ton
seinem Ohre vernehmlich,
so erquicke sein Herz!
Öffne den umwölkten Blick
über die tausend Quellen
neben dem Durstenden
in der Wüste!
If there is on your psaltery,[3]
Father of love, one note
his ear can hear,
then refresh his heart!
Open his clouded gaze
to the thousand springs
next to him who thirsts
in the wilderness!
Renzo
Johannes Brahms: Alto Rhapsody, op. 53 (1869)
- Adagio - Poco andante - Adagio
Text: Harzreise im Winter by Johann Wolfgang von Goethe
Iceland Symphony Orchestra
Hannu Lintu, conductor
Jamie Barton, soloist
Karlakórinn Fóstbræður, choir
Árni Harðarson, choir conductor
Renzo
German original
English translation
Aber abseits wer ist's?
Im Gebüsch verliert sich sein Pfad;
hinter ihm schlagen die Sträuche zusammen,
das Gras steht wieder auf,
die Öde verschlingt ihn.
But who is that apart?
His path disappears in the bushes;
behind him the branches spring together;
the grass stands up again;
the wasteland engulfs him.
Ach, wer heilet die Schmerzen
dess, dem Balsam zu Gift ward?
Der sich Menschenhaß
aus der Fülle der Liebe trank!
Erst verachtet, nun ein Verächter,
zehrt er heimlich auf
seinen eigenen Wert
In ungenügender Selbstsucht.
Ah, who heals the pains
of him for whom balsam turned to poison?
Who drank hatred of man
from the abundance of love?
First scorned, now a scorner,
he secretly feeds on
his own merit,
in unsatisfying egotism.
Ist auf deinem Psalter,
Vater der Liebe, ein Ton
seinem Ohre vernehmlich,
so erquicke sein Herz!
Öffne den umwölkten Blick
über die tausend Quellen
neben dem Durstenden
in der Wüste!
If there is on your psaltery,[3]
Father of love, one note
his ear can hear,
then refresh his heart!
Open his clouded gaze
to the thousand springs
next to him who thirsts
in the wilderness!
Renzo
@MadameHeinz :
Mark Twain spoke about the Mississippi River.
As a young boy, he would lie along the banks and watch the water slip by. It fired his dreams and his imagination. The river was an object of mystery and wonder. How he loved it.
Then, he piloted his own boat for two years. As a pilot, he had to look at the river in a different way.A technical way. He had to be able to read currents and guide his craft through dangerous waters. The river was never the same to him. It had lost its mystery and wonderment.
It had become pedestrian and dull.
Part of his work day.
Sometimes knowing too much about a thing robs you of the pleasure it might otherwise give you.
I'll hang with those here who are thrilled by Ms. Barton's imperfect instrument.
Hood Roberts
I have tried on many occasions to sing the male part (baritone) of the Alto Rhapsody but have found it impossible to do as I am always weeping uncontrollably. This is undoubtedly my favorite performance.
Trendev1
Although the sound quality is not so good, listen to the Kathleen Ferrier performance with the London Philharmonic Choir & Orchestra conducted by Clemens Krauss. Hers was and remains the greatest, most glorious contralto voice ever, bar none. Despite the inferior, 1947 mono sound, the profoundly moving artistry and quality of Ferrier's voice soars above all, and her vibrato is never unbridled or intrusive. It is transcendentally beautiful. It will truly have you weeping.
M&G
@Trendev1 you're preaching to the choir in my case: I practically worship Our Kaff! But Jamie does a wonderful job here and is clearly an artist to follow.
Renzo
As I am listening to and watching this performance, I am in awe of what it takes to make it all happen: My thoughts go back to the genius of Brahms. I consider how, after much refinement, these magnificent instruments have been so delicately crafted....the fine woods worked into their shapes, the glowing brasses. I think of the effort and the talent that each player and each member of the chorus, the conductor and the brilliant soloist has brought to this moment.
And I am bursting with pride for my species !
If aliens came here and asked to see the best we can produce, I would give such as this as evidence.
German original
English translation
Aber abseits wer ist's?
Im Gebüsch verliert sich sein Pfad;
hinter ihm schlagen die Sträuche zusammen,
das Gras steht wieder auf,
die Öde verschlingt ihn.
But who is that apart?
His path disappears in the bushes;
behind him the branches spring together;
the grass stands up again;
the wasteland engulfs him.
Ach, wer heilet die Schmerzen
dess, dem Balsam zu Gift ward?
Der sich Menschenhaß
aus der Fülle der Liebe trank!
Erst verachtet, nun ein Verächter,
zehrt er heimlich auf
seinen eigenen Wert
In ungenügender Selbstsucht.
Ah, who heals the pains
of him for whom balsam turned to poison?
Who drank hatred of man
from the abundance of love?
First scorned, now a scorner,
he secretly feeds on
his own merit,
in unsatisfying egotism.
Ist auf deinem Psalter,
Vater der Liebe, ein Ton
seinem Ohre vernehmlich,
so erquicke sein Herz!
Öffne den umwölkten Blick
über die tausend Quellen
neben dem Durstenden
in der Wüste!
If there is on your psaltery,[3]
Father of love, one note
his ear can hear,
then refresh his heart!
Open his clouded gaze
to the thousand springs
next to him who thirsts
in the wilderness!
tony bennett
Nice comment. I'm still moved by the genius of Brahms who allowed that wonderful long pause before the final two notes, so that when the music finally subsides the remaining silence is STILL part of the piece. Love it when the audience respects that.
John Cronin
Well put!
L. Bach
Was für eine durchgeformte Altstimme! Großer Atem, wunderbares Timbre, zauberhaftes Piano, überzeugende Interpretation - seit langer Zeit mal wieder Gänsehaut!
helgeevju
It is written (on the cover of her Pearl LP) that the now-forgotten Norwegian/British contralto Lorri Lail once in Stockholm during the 1930s sang the Alto Rhapsody on short notice, so sensationally that it had to be repeated twice! There is no record of that performance, but I could go on listening to this one again and again!
Robin Blankenship
I rather suspect that Johnny Broom had something to do with that.
Kenan Ibrahimov
Heartbreaking Performance one of my favourite Brahms works. Soloist is gorgeous.