| Classic of Mountains and Seas Theodore Presser Co.
Orchestra Concert Band SKU: PR.11642169L Concerto for Orchestra. C...(+)
Orchestra Concert Band
SKU: PR.11642169L
Concerto for
Orchestra. Composed
by Zhou Long. Large
Score. Duration 36
minutes. Theodore Presser
Company #116-42169L.
Published by Theodore
Presser Company
(PR.11642169L). UPC:
680160692118. Chine
se mythology is a
cultural heritage that
has been passed down
through the ages. It is
full of bizarre
andsupernatural artistic
charm. Shan Hai Jing is
like a history book,
which contains many
mythological stories
depictingthousands of
mountains and waters,
geography and humanities,
The Concerto for
Orchestra Shan Hai Jing
is using alarge scyle
orchestra in
multi-movements, inspired
by the anceint
supernatural aesthetics,
and creates an
imaginaryuniverse and
human illusion with an
abstract sound world.
This work is not based on
the story of the ancient
gods, butbased on the
geographical distribution
of the Fivering
Mountains, metaphorical
waters, mountains range,
folkcustoms, and rituals
of the gods, depicting
the north, west, east,
south, and middle
respectively in five
movements.
Thecharacteristics of the
mountain system and the
regional customs.The
first movement, Beishan
Jing (Largo) (page 1-30).
In this movement, folk
music elements such as
the traditionalMongolian
“Humai” and the
traditional Tibetan
“Bon’e’ri” are
used to Ode the folk
customs and heroism of
the vastmountains and
plains and different
ethnic groups.The second
movement, Xishan Jing
(Allegro and Adagio)
(page 31-52). The music
of this movement has the
westernstyle of Gansu and
Qinghai Plateau.The third
movement, Dongshan Jing
(Adagio and Allegro)
(page 53-86). The legend
of great bells that
ringspontaneously without
being struck has origins
in the ancient Classic of
Mountains and Seas, in
which we read:“Upon the
Mountains of Plenty, Nine
Bells ring with Knowledge
of the Frost.”Tales of
those blasts of wind that
pulse like a heartbeat
through caverns in the
limestone cliffs, setting
off a
mysterioussympathetic
ringing from bells
encrusted in frost, led
to “Frost-Bell”
becoming a word during
the Tang dynasty, almosta
millennium after the
Mountains and Seas
classic first
appeared.The fourth
movement, Nanshan Jing
(Adagio and Andante)
(page 87-100) . The music
is characterized by
thewoodwinds and string
harmonics texture
depicting of the cloud
mountain in the south of
the Yangtze River,
Fujian,Guangdong and
Hunan.The fifth movement,
Zhongshan Jing
(Allegretto) (page
101-118) symbolizes the
end of the ritual
ceremony, which isroughly
centered on the sacred
place of Chu. The people
danced together, waving
flowers and hitting the
bronze drums,just like
sending the Divine
Comedy, the scene is
lively, the atmosphere is
Solemn and lively. $92.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classic of Mountains and Seas Theodore Presser Co.
Orchestra Concert Band SKU: PR.11642169S Concerto for Orchestra. C...(+)
Orchestra Concert Band
SKU: PR.11642169S
Concerto for
Orchestra. Composed
by Zhou Long. Study
Score. Duration 36
minutes. Theodore Presser
Company #116-42169S.
Published by Theodore
Presser Company
(PR.11642169S). UPC:
680160692101. Chine
se mythology is a
cultural heritage that
has been passed down
through the ages. It is
full of bizarre
andsupernatural artistic
charm. Shan Hai Jing is
like a history book,
which contains many
mythological stories
depictingthousands of
mountains and waters,
geography and humanities,
The Concerto for
Orchestra Shan Hai Jing
is using alarge scyle
orchestra in
multi-movements, inspired
by the anceint
supernatural aesthetics,
and creates an
imaginaryuniverse and
human illusion with an
abstract sound world.
This work is not based on
the story of the ancient
gods, butbased on the
geographical distribution
of the Fivering
Mountains, metaphorical
waters, mountains range,
folkcustoms, and rituals
of the gods, depicting
the north, west, east,
south, and middle
respectively in five
movements.
Thecharacteristics of the
mountain system and the
regional customs.The
first movement, Beishan
Jing (Largo) (page 1-30).
In this movement, folk
music elements such as
the traditionalMongolian
“Humai” and the
traditional Tibetan
“Bon’e’ri” are
used to Ode the folk
customs and heroism of
the vastmountains and
plains and different
ethnic groups.The second
movement, Xishan Jing
(Allegro and Adagio)
(page 31-52). The music
of this movement has the
westernstyle of Gansu and
Qinghai Plateau.The third
movement, Dongshan Jing
(Adagio and Allegro)
(page 53-86). The legend
of great bells that
ringspontaneously without
being struck has origins
in the ancient Classic of
Mountains and Seas, in
which we read:“Upon the
Mountains of Plenty, Nine
Bells ring with Knowledge
of the Frost.”Tales of
those blasts of wind that
pulse like a heartbeat
through caverns in the
limestone cliffs, setting
off a
mysterioussympathetic
ringing from bells
encrusted in frost, led
to “Frost-Bell”
becoming a word during
the Tang dynasty, almosta
millennium after the
Mountains and Seas
classic first
appeared.The fourth
movement, Nanshan Jing
(Adagio and Andante)
(page 87-100) . The music
is characterized by
thewoodwinds and string
harmonics texture
depicting of the cloud
mountain in the south of
the Yangtze River,
Fujian,Guangdong and
Hunan.The fifth movement,
Zhongshan Jing
(Allegretto) (page
101-118) symbolizes the
end of the ritual
ceremony, which isroughly
centered on the sacred
place of Chu. The people
danced together, waving
flowers and hitting the
bronze drums,just like
sending the Divine
Comedy, the scene is
lively, the atmosphere is
Solemn and lively. $52.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tsunami [Conducteur] Theodore Presser Co.
Chamber Music SKU: PR.16400213S Composed by Dan Welcher. Spiral. Full sco...(+)
Chamber Music SKU:
PR.16400213S Composed
by Dan Welcher. Spiral.
Full score. With Standard
notation. 1+37 pages.
Duration 11 minutes.
Theodore Presser Company
#164-00213S. Published by
Theodore Presser Company
(PR.16400213S). UPC:
680160037636. 8.5 x 11
Landscape
inches. The unusual
combination of cello,
percussion and piano
seems more incongruous
than it actually sounds.
When I first heard the
ensemble Aequalis, in a
full evening program I
was absolutely astonished
at the combination of
lyricism, pulse, and
color. Something about
the mix causes the cello
to sound marimba-like,
the vibraphone to imitate
the cello's harmonics,
and the piano to become a
kind of proto-orchestra
of colors and effects.
Tsunami was
written for Aequalis in
the summer and fall of
1991 with the assistance
of a grant from Chamber
Music America. The title,
the Japanese word for
tidal wave (which is a
misnomer -- tsunamis have
nothing to do with the
tides), refers to the
phenomenon of an undersea
disturbance causing a
huge wall of water to
flood the first land in
its path. The initial
earthquake or volcanic
eruption that sends a
seismic shock through the
water is invisible --
it's only when that shock
wave hits land, recoils,
and takes ocean swells
back with it, that the
wave begins to form. In
successive landings,
recoilings, and
re-landings, this force
finally spends itself,
usually inundating
anything in its path,
sometimes to a depth of
one hundred feet or more.
My piece does not
attempt to depict this
natural cataclysm -- how
could it, with three
instruments? -- but the
form of the first half of
the work is based on it.
The initial percussive
shock that opens the
piece creates a stir in
the form of a cello
motive marked swelling
and employing long
portamenti pushing
upwards. After a second
shock, the cello motive
begins an undersea
journey -- very slow and
lyrical at first --
accompanied by
non-pitched percussion
only. Eventually the
piano joins, first with
echoing bass notes, then
with a rather mechanical
motive high on the
keyboard. This force
grows, the cello line
climbs higher and higher
until another
double-shock is heard --
perhaps the energy has
hit land? Following this,
the percussion becomes
melodic (marimba), and we
now have two lines in
canon accompanied by a
separate line in the
piano. This, too, builds
to a climax, and an even
louder and more vigorous
shock results. Now the
texture is a three-way
canon with cello,
vibraphone, and piano
chasing each other in
ever faster cycles of
sound. The height of this
is a triple cadenza in
which all three players
spend their pent-up
energy, one at a time.
The second part of
the piece follows after a
settling-down, and is
marked Dancing. This is a
rondo, with a recurring
theme (heard first in the
marimba) followed by
three contrasting
sections heard between
reiterations of the main
tune (the form could be
diagrammed A-A-B-A-C-A).
The mood is one of joyous
kinetic energy, with
elements of Eastern or
Balinese gamelan sounds,
and employing several
pentatonic scales (as
does the first half of
the work). It ends in a
vigorous, stomping dance.
--Dan Welcher
 . $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Double bass (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-27(+)
Double bass (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-27
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-27. Published by
Breitkopf and Haertel
(BR.OB-3210-27). ISBN
9790004300732. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violoncello (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-23(+)
Violoncello (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-23
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-23. Published by
Breitkopf and Haertel
(BR.OB-3210-23). ISBN
9790004300725. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Viola (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-19 ...(+)
Viola (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-19
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
12 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-19. Published by
Breitkopf and Haertel
(BR.OB-3210-19). ISBN
9790004300718. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Woodwinds (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-30 ...(+)
Woodwinds (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-30
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Set
of parts. 90 pages.
Duration 43'. Breitkopf
and Haertel #OB 3210-30.
Published by Breitkopf
and Haertel
(BR.OB-3210-30). ISBN
9790004300749. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $92.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 2 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-16 ...(+)
Violin 2 (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-16
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-16. Published by
Breitkopf and Haertel
(BR.OB-3210-16). ISBN
9790004300701. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 1 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-15 ...(+)
Violin 1 (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-15
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo: pno - 2.2.2.2 -
4.2.0.0 - timp - str.
Solo concerto; Romantic.
Part. 8 pages. Duration
43'. Breitkopf and
Haertel #OB 3210-15.
Published by Breitkopf
and Haertel
(BR.OB-3210-15). ISBN
9790004300695. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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