 | Brahms, Johannes - Scherzo in Eb Minor for Woodwind Quintet Opus 4 Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson |
VoirPDF : Scherzo in Eb Minor (Opus 4) for Woodwind Quintet (39 pages - 952.56 Ko)144x⬇ VoirPDF : Conducteur complet (484.8 Ko) VoirPDF : Flûte (170.21 Ko) VoirPDF : Hautbois (142.8 Ko) VoirPDF : French Cor (155.93 Ko) VoirPDF : Bb Clarinette (144.65 Ko) VoirPDF : Basson (141.21 Ko) MP3 : Scherzo in Eb Minor (Opus 4) for Woodwind Quintet 33x⬇ 545x
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| Compositeur : | Brahms, Johannes (1833 - 1897) | ||||
| Instrumentation : | Quintette à vent : Flûte, Clarinette, Hautbois, Cor, Basson | ||||
| Genre : | Classique | ||||
| Tonalité : | Mi♭ mineur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 11 Janv 2021 Johannes Brahms (1833 – 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna. His reputation and status as a composer are such that he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow. The stature of Johannes Brahms among classical composers is well illustrated by his inclusion among the "Three Bs" triumvirate of Bach, Beethoven, and Brahms. Of all the major composers of the late Romantic era, Brahms was the one most attached to the Classical ideal as manifested in the music of Haydn, Mozart, and especially Beethoven; indeed, Hans von Bülow once characterized Brahms' Symphony No. 1 (1855-1876) as "Beethoven's Tenth." As a youth, Brahms was championed by Robert Schumann as music's greatest hope for the future; as a mature composer, Brahms became the most potent symbol of musical traditio for conservative musical journalists, a stalwart against the "degeneration" represented by the music of Wagner and his school. Brahms' symphonies, choral and vocal works, chamber music, and piano pieces are imbued with strong emotional feeling, yet take shape according to a thoroughly considered structural plan. The son of a double bassist in the Hamburg Philharmonic Society, Brahms demonstrated great promise from the beginning. He began his musical career as a pianist, contributing to the family coffers as a teenager by playing in restaurants, taverns, and even brothels. Though by his early 20s he enjoyed associations with luminaries like violinists Eduard Reményi and Joseph Joachim, the friend and mentor who was most instrumental in advancing his career was Schumann, who all but adopted him and became his most ardent partisan, and their esteem was mutual. Following Schumann's death in 1856, Brahms became the closest confidant and lifelong friend of the composer's widow, pianist and composer Clara Wieck Schumann. After a life of spectacular musical triumphs and failed loves (the composer was involved in several romantic entanglements but never wed), Brahms died of liver cancer on April 3, 1897. In every genre in which he composed, Brahms produced works that have become staples of the repertory. His most ambitious work, the German Requiem (1863-1867), is the composer's singular reinterpretation of an age-old form. The four symphonies -- lushly scored, grand in scope, and deeply expressive -- are cornerstones of the symphonic literature. Brahms' concertos are, similarly, in a monumental, quasi-symphonic vein: the two piano concertos (1856-1859 and 1881) and the Violin Concerto (1878) call for soloists with both considerable technical skill and stamina. His chamber music is among the most sophisticated and exquisitely crafted of the Romantic era; for but a single example, his works that incorporate the clarinet (e.g., the Trio in A minor, Op. 114 and the two Sonatas, Op. 120), an instrument largely overlooked by his contemporaries, remain unsurpassed. Though the piano sonata never held for Brahms the same appeal it had for Beethoven (Brahms wrote three to Beethoven's 32), he produced a voluminous body of music for the piano. He showed a particular affinity for variations -- notably, on themes of Schumann (1854), Handel (1861), and Paganini (1862-1863) -- and likewise produced a passel of national dances and character pieces such as ballades, intermezzi, and rhapsodies. Collectively, these constitute one of the essential bodies of work in the realm of 19th century keyboard music. His Scherzo in Eb Minor (Opus 4) is the earliest work of Brahms that can be accurately dated. Amazingly, the kind of pianism associated with the mature Brahms is already present: parallel thirds and sixths, the thick, chordal style, and the contrapuntal texture. Formally, the strongest influence seems to be Chopin (although Brahms denied this in later years). The independent Scherzo, as developed by Chopin, seems evident throughout. The Scherzo is structured in discrete sections, with two Trios rather than the usual one. Like Chopin's Fourth Scherzo, the Scherzo sections here are actually loosely structured sonata forms, including development. Brahms' willingness to explore unusual key relationships is evident here, as is his interest in thematic coherence and development. This is a remarkable early work. Source: Allmusic (https://www.allmusic.com/artist/johannes-brahms-mn0000 796908/biography) Although originally composed for solo Piano, I created this Interpretation of the Scherzo in Eb Minor (Opus 4) for Woodwind Quintet (Flute, Oboe, Bb Clarinet, French Horn & Bassoon). Partition centrale : | Scherzo in E-flat minor (2 partitions) | | |||
