The piano intermezzi by Brahms, some of his last compositions, are sets of independent character. Stylistically, they are lyrical and melodic, have an extremely wide emotional range, and are often considered some of the finest character pieces written in the 19th century. Titles * No. 1 in E-flat major * No. 2 in B-flat minor * No. 3 in C-sharp minor
Composed in 1892, these three pieces are a fine representation of Brahms' compositional mastery. Op. 117 is full of serenity, simplicity, thematic transformations and sensitivity to tonal coloring. The music is maintained in its most original form, providing students with an accurate model from which to make a stylistically informed performance.
"The Hinson" has been indispensable for performers, teachers, and students. Now updated and expanded, it's better than ever, with 120 more composers, expertly guiding pianists to solo literature and answering the vital questions: What's available? How difficult is it? What are its special features? How does one reach the publisher? The "new Hinson" includes solo compositions of nearly 2,000 composers, with biographical sketches of major composers. Every entry offers description, publisher, number of pages, performance time, style and characteristics, and level of difficulty. Extensively revised, this new edition is destined to become a trusted guide for years to come.
All solo music not in other two volumes. Waltzes, Scherzo in E Flat Minor, Eight Pieces, Rhapsodies, Fantasies, Intermezzi, etc. Vienna Gesellschaft der Musikfreunde.
As one of the most significant and widely performed composers of the nineteenth century, Brahms continues to command our attention. Rethinking Brahms counterbalances prevailing scholarly assumptions that position him as a conservative composer (whether musically or politically) with a wide-ranging exploration and re-evaluation of his significance today. Drawing on German- and English-language scholarship, it deploys original approaches to his music and pursues innovative methodologies to interrogate the historical, cultural, and artistic contexts of his creativity. Empowered by recent theoretical work on form and tonality, it offers fresh analytical insights into his music, including a number of corpus studies that interrogate the relationships between Brahms and other composers, past and present. The book brings into sharp focus the productive tension that exists between the perceived fixedness of musical texts and the ephemerality of performance by considering how historical and modern performers shape established understandings of Brahms and his music. Rethinking Brahms invites the reader to hear familiar pieces anew as they are refracted through historical, artistic, and philosophical prisms. Bringing us up to the present day, it also gives sustained attention to the resounding impact of Brahms's compositions on new music by exploring works by recent composers who have engaged deeply with his oeuvre. Combining awareness of overarching contexts with perceptive insights into Brahms's music, this book enlivens our understanding of Brahms, providing a dynamic, multifaceted, complex, and invigoratingly fresh portrait of the composer.
