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More by Johannes Brahms
While in Germany they were married and decided on a joint career as duo-pianists. Babin served in the U. THE NORMAL events of a burgeoning career had brought Brahms to Vienna frequently, and sometimes for rather prolonged visits, before he finally decided to make his permanent home there in Seven years earlier he had given his first Viennese piano recital, performing works by himself and Robert Schumann Edward Hanslick's review of this concert is one of the classics of music criticism. The following year Brahms was offered the direction of the Wiener Singakademie and he produced four concerts for them, programming two major works by Bach, one by Schumann, a number of seventeenth-century polyphonic choruses, and a whole concert of his own music.
He was not yet prepared to settle down. So he returned to the roving life of the artist. By , however, when Brahms was thirty-six years old, Vienna had become increasingly attractive to him. This lovely city was henceforth to be his home.
Johannes Brahms - Relationships - MusicBrainz
At first he lived in a hotel, but in he moved into the apartment in Karlsgasse 4 —two rooms to which he subsequently added a third for his extensive library — where he lived to the end of his life. He enjoyed complaining about how useless his life was in the Austrian Capital, but he understood deeply that the attractions which he had discovered by were now necessities for him, both socially and artistically.
Thus his complaints about his useless life were only pretenses; and equally pretended was his interest in directorships that feil vacant now and then in German cities —he would inquire into them and inevitably find them unsuitable. He was by now a thorough Viennese. What Vienna and the whole Austrian countryside had come to mean to him is quite clearly reflected in his two sets of Liebeslieder Waltzes. A native Viennese could not have captured more completely the charm, the gaiety, the amorousness of Austrian music.
Whether slow or fast, joyous or wistful, the music dances to a typically Viennese pulse. Brahms did not suddenly discover this quality in a flash of inspiration.
It had rather been growing in him through the years of his visits. And so it was not accidental that the first set of the Waltzes, Opus 52, was composed during the first year of residence in Vienna. The music be- spoke not only his joy in this transplantation but also a sense of relief in having purged himself, in the Requiem completed just the year before, of all those feelings of grief and spiritual depression that he had been harboring since the death of Schumann and of his own beloved mother.
He cherished the Waltzes in a special way and wrote to his publisher that it gave him great pleasure to see them in print. The success of the publication guaranteed a warm reception for the Neue Liebeslieder, Opus 65, five years later. We learn from Geiringer's study of the Brahms sketch-books and original manuscripts that this second set contains some material left over from the first; and it appears that, in his usual fashion, Brahms kept the whole material by him for some time before it took final shape and was submitted for publication.
Charming and slight as these little pieces are, as compared to his great German and English texts enclosed A Seraphim Stereophonie recording playable on Stereo phonographs only This true Stereo, microgroove recording was taped using the finest available multiple-channel techniques for spatial Separation and realism. It should be played only with a Stereo Cartridge and Stylus. Knowing that this music originated as song, we might well take a brief look at the texts.
They are by Friedrich Daumer, an obscure poet of the time whose work seems to have attracted hardly anyone's attention but Brahms'. His verse is by no means distinguished; but it is not un- skillfully made, and its imagery and Sentiment were sufficient to set Brahms' creativity in motion. The subject matter is of course love and its attendant joys and sorrows, its fulfillments and disappointments. The imagery is largely taken from nature: sun, moon, and stars, birds and flowers, shady nooks and darksome woods, mountain torrents and stormy seas — these and other aspects of the natural world interpret love's moods.
Indeed, the "locale" of the poems is rural rather than urban, just as the origins of the Viennese waltz are to be found in the Austrian country dances. A partial exception is the final song of the Neue Liebeslieder. Here Brahms used a poem by Goethe which, with its reference to the Muses and to "Love's barbed arrows," introduces the imagery of classical Greek poetry. But the spirit is still romantic, and the poem is an eloquent conclusion to the double set of love-songs.
Related Wahre, wahre deinen Sohn - No. 5 from Neue Liebeslieder Waltzes Op. 65
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