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Brahms stayed with Clara in Düsseldorf, becoming devoted to her amid Robert's insanity and institutionalization. The two remained close, lifelong friends after Robert's death. Brahms never married, perhaps in an effort to focus on his work as a musician and scholar. He was a self-conscious, sometimes severely self-critical composer.
Brahms completed an initial setting of Hölderlin's two verses in ternary form with the third movement being a complete restatement of the first. [6] However, Brahms was dissatisfied with this full restatement of the first movement to close the piece, as he felt that it would nullify the grim reality depicted in the second movement. [6]
Nänie (the German form of Latin naenia, meaning "a funeral song" [1] named after the Roman goddess Nenia) is a composition for SATB chorus and orchestra, Op. 82 by Johannes Brahms, which sets to music the poem "Nänie" by Friedrich Schiller. Brahms composed the piece in 1881, in memory of his deceased friend Anselm Feuerbach.
Hermine Spies (also Spieß) was considered to be one of the leading alto singers of the late 19th century, and an exceptional interpreter of the works of Johannes Brahms, whom she knew personally. Spies struck up a close friendship with the much older Brahms in the late 1870s, and he composed a number of songs for her and accompanied her on the ...
Geistliches Lied (English: "Sacred Song" or "Spiritual Song"), Op. 30, by Johannes Brahms is an 1856 work for four-part mixed chorus accompanied by organ or piano.The composition is in the form of a double canon set to text by Paul Flemming.
A German Requiem, to Words of the Holy Scriptures, Op. 45 (German: Ein deutsches Requiem, nach Worten der heiligen Schrift) by Johannes Brahms, is a large-scale work for chorus, orchestra, and soprano and baritone soloists, composed between 1865 and 1868.
The Zigeunerlieder (Gypsy songs), Op. 103 and Op. 112 Nos. 3–6, are a song cycle for four singers (or choir) and piano by Johannes Brahms (Op. 103 Nos. 1–7 and 11 exist also in an arrangement for solo voice and piano made by Brahms himself).
Brahms composed the two motets based on Biblical texts and chorales but without a liturgical occasion in mind. He first wrote O Heiland, reiß die Himmel auf as individual settings of the five stanzas of Friedrich von Spee's Advent song "O Heiland, reiß die Himmel auf", possibly in 1863/64. [2]