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Johannes Brahms (/ b r ɑː m z /; German: [joˈhanəs ˈbʁaːms] ⓘ; 7 May 1833 – 3 April 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. His music is noted for its rhythmic vitality and freer treatment of dissonance, often set within studied yet expressive contrapuntal textures.
Schicksalslied, which John Lawrence Erb posits is "perhaps the most widely loved of all of Brahms's compositions and the most perfect of his smaller choral works", [1] is sometimes referred to as the "Little Requiem", [1] as it shares many stylistic and compositional similarities with Brahms's most ambitious choral composition.
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).
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 ...
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.
[2] [3] [4] The cradle song was dedicated to Brahms's friend, Bertha Faber, on the occasion of the birth of her second son. [5] [6] Brahms had been in love with her in her youth and constructed the melody of the "Wiegenlied" to suggest, as a hidden counter-melody, a song she used to sing to him. [7] Simrock published Brahms's Op. 49 in November ...