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Table of Contents — 2 Brahms, Johannes Symphony No. 1 in C Minor, Op. 68 Symphony No. 2 in D Major, Op. 73 Symphony No. 3 in F Major, Op. 90 Symphony No. 4 in E Minor, Op. 98 Piano Concerto No. 1 in D Minor, Op. 15 Piano Concerto No. 2 in Bb Major, Op. 83 Violin Concerto in D Major, Op. 77 Concerto for Violin and Cello in A Minor, Op. 102 Academic Festival Overture Alto Rhapsody, Op. 53 Ein deutsches Requiem, Op. 45 Hungarian Dances Nos. 1, 3 & 10 (orch. Brahms) Hungarian Dances Nos. 2 & 7 (orch. Hallen) Hungarian Dance No. 4 (orch. Juon) Hungarian Dances Nos. 5 & 6 (orch. Parlow) Hungarian Dances Nos. 11- 16 (orch. Parlow) Hungarian Dances No. 17 - 21 (orch. Dvorak) Nänie for Chorus and Orch, Op. 82 Schicksalslied, Op. 54 Serenade No. 1 in D Major, Op. 11 Serenade No. 2 in A Major, Op. 16 Tragic Overture Variations on a Theme by Haydn, Op. 56a Table of Contents — 3 Chabrier, Emmanuel Espana Chausson, Ernest Symphony in Bb Major Poeme, Op. 25 Chopin, Frederic Piano Concerto No. 1 in E Minor Piano Concerto No. 2 in F Minor Franck, Cesar Symphony in D Minor Symphonic Variations Psyche Nos. 1-4 Lalo, Edouard Symphonie Espagnole in D Minor Table of Contents — 4 Liszt, Franz Faust Symphony Dante Symphony Piano Concerto No. 1 in Eb Major Piano Concerto No. 2 in A Major Totentanz Les Preludes (Symphonic Poem No. 3) Hungarian Rhapsody No. 1 Hungarian Rhapsody No. 2 Hungarian Rhapsody No. 3 Hungarian Rhapsody No. 4 Hungarian Rhapsody No. 5 Hungarian Rhapsody No. 6 Hungarian Rhapsody No. 13 Mephisto Waltz No. 1 Mephisto Waltz No. 2 Offenbach, Jacques Orpheus in the Underworld Overture Sarasate, Pablo de Carmen Fantasy, Op. 25 Table of Contents — 5 Schumann, Robert Symphony No. 1 in Bb Major (Spring), Op. 38 Symphony No. 2 in C Major, Op. 61 Symphony No. 3 Eb Major (Rhenish), Op. 97 Symphony No. 4 in D Minor, Op. 120 Piano Concerto in A Minor, Op. 54 Cello Concerto in A Minor, Op. 129 Concert Piece for 4 Horns, Op. 86 Introduction and Allegro Appassionato, Op. 92 Genoveva Overture, Op. 81 Manfred Overture in Eb Major, Op. 115 Overture, Scherzo & Finale, Op. 52 Suppe, Franz von Poet and Peasant Overture Light Cavalry Overture.

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Brahms and the Changing Piano
The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano Augustus Arnone The thought beneath so slight a film Is more distinctly seen As laces just reveal the surge Or Mists the Apennine -Emily Dickinson Introduction In recent years, a number of performance practice scholars writing on Brahms's piano music have commented on the prominence of low-lying melodic lines, thickly-written accompaniments, and often dense saturation of the lower register.! For such writers these textural features constitute proof that Brahms could not have intended performance on the modern piano. Firms such as Steinway, Bechstein, and Chickering were manufacturing pianos by the early 1860s, roughly the midpoint of Brahms's life, that already exhibited most of the important design innovations that distinguish modern pianos from earlier ones, and these firms enjoyed enormous success across Europe.2 Performance practice scholars have argued that the increased power and sustain of these pianos create irreparable problems of balance and clarity in much of Brahms's music, implying that he was writing for the lighter and more transparent instruments that predate the modern piano, many of which were still manufactured up until the end of the century. The view that low-lying melodies and densely packed textures in the lower register present an undesirable muddiness on the modern piano was already being elaborated towards the end of the nineteenth century. During the last decades of Brahms's life, several treatises appeared elucidating the fundamental principles of what they proclaimed to be the "modern school of pianoforte playing." Three treatises in particular, those by Hans Schmitt (1893), Aleksandr Nikitich Bukhovtsev (1897), and Adolph Christiani (c.
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Johannes Brahms Symphony No
PH17085.Booklet.Brahms_Booklet 24.01.18 15:12 Seite 1 Edition Günter Profil Hänssler JOHANNES BRAHMS SYMPHONY NO. 4 ACADEMIC FESTIVAL OVERTURE TRAGIC OVERTURE WDR Sinfonieorchester JUKKA-PEKKA SARASTE PH17085.Booklet.Brahms_Booklet 24.01.18 15:12 Seite 2 JOHANNES BRAHMS JOHANNES BRAHMS DEUTSCH Vierte Sinfonie e-moll op. 98 Johannes Brahms war, obzwar schon als Brahms glaubte anfangs, sich nicht In der Wintersaison kam der inzwischen Zwanzigjähriger von keinem Geringeren von dem übermächtigen Vorbild Beet- berühmt gewordene Wahlwiener seinen Seine letzte Sinfonie komponierte Brahms als Robert Schumann als “Berufener” hovens freimachen zu können, der die zahlreichen Konzertverpflichtungen nach; in zwei Phasen: je zwei Sätze in den Som- gepriesen, ein sehr selbstkritischer Ausdrucksmöglichkeiten der Sinfonie so im Sommer pflegte er sich in landschaft- mern 1884 und 1885 in Mürzzuschlag. Im “Spätentwickler”. Von seiner Vaterstadt vollendet ausgeschöpft hatte. Deshalb lich schön gelegenen Standquartieren September des zweiten Jahres war das Hamburg enttäuscht, wo er gerne Diri- gingen seiner „Ersten“ viele bedeutende zu erholen und in deren idyllischer Werk vollendet. Brahms gab das Manu- gent der Philharmonischen Gesellschaft Werke voraus, das “Deutsche Requiem”, Ruhe seinen schöpferischen Plänen skript des ersten Satzes über das Ehepaar geworden wäre, siedelte er sich im das erste Klavierkonzert, die beiden nachzugehen. Herzogenberg der verehrten Clara Schu- Herbst 1862 endgültig in Wien an. Hier großen Orchester-Serenaden sowie die mann zur Kenntnis. Gleichzeitig korres- konnte er einen lebendigeren Kontakt Haydn-Variationen. Im November 1878 Unmittelbar nach Vollendung der Drit- pondierte er mit Hans von Bülow wegen zur Tradition der großen Klassiker ge- endlich, Johannes Brahms war bereits 43 ten Sinfonie 1883 beschäftigte sich der Uraufführung durch dessen berühmte winnen als anderswo.
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Brahms Symphony 2 Gardiner
Brahms Symphony 2 Gardiner 1 Johannes Brahms 1833-1897 1 Alto Rhapsody Op.53 (1869) 12:57 Franz Schubert 1797-1828 2 Gesang der Geister über den Wassern D714 (1821) 12:18 3 Gruppe aus dem Tartarus D583 (1817, arr. Brahms 1871) 2:20 4 An Schwager Kronos D369 (1816, arr. Brahms 1871) 2:28 Symphony No.2 in D major Op.73 (1877) 5 I Allegro non troppo 19:42 6 II Adagio non troppo – L’istesso tempo, ma grazioso 9:28 7 III Allegretto grazioso (quasi andantino) – Presto ma non assai – Tempo I 5:06 8 IV Allegro con spirito 9:05 73:59 Nathalie Stutzmann contralto Orchestre Révolutionnaire et Romantique The Monteverdi Choir John Eliot Gardiner Recorded live at the Salle Pleyel, Paris, November 2007 2 Brahms: Roots and memory John Eliot Gardiner To me Brahms’ large-scale music is brimful of vigour, drama and a driving passion. ‘Fuego y cristal’ was how Jorge Luis Borges once described it. How best to release all that ﬁre and crystal, then? One way is to set his symphonies in the context of his own superb and often neglected choral music, and that of the old masters he particularly cherished (Schütz and Bach especially) and of recent heroes of his (Mendelssohn, Schubert and Schumann). This way we are able to gain a new perspective on his symphonic compositions, drawing attention to the intrinsic vocality at the heart of his writing for orchestra. Composing such substantial choral works as the Schicksalslied, the Alto Rhapsody, Nänie and the German Requiem gave Brahms invaluable experience of orchestral writing years before he brought his ﬁrst symphony to fruition: they were the vessels for some of his most profound thoughts, revealing at times an almost desperate urge to communicate things of import.
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Crane Chorus Crane Symphony Orchestra
JOHANNES BRAHMS A German Requiem JOSEPH FLUMMERFELT, Conductor 2015 Dorothy Albrecht Gregory Visiting Conductor* with the Crane Chorus and the Crane Symphony Orchestra NICOLE CABELL, soprano CRAIG VERM, baritone Saturday, May 2, 2015 at 7:30 pm Hosmer Hall at SUNY Potsdam *The partnership of the Dorothy Albrecht The Lougheed-Kofoed Festival of the Gregory Visiting Conductor Fund, established Arts is made possible by the generosity by Dorothy Albrecht Gregory ’61, and the and artistic vision of Kathryn (Kofoed) Adeline Maltzan Crane Chorus Performance ’54 and Donald Lougheed (Hon. ’54). Tour Fund, established by Dr. Gary C. Jaquay ’67, brings distinguished conductors to The Crane Media Sponsor School of Music for festival performances by the Crane Chorus and Crane Symphony Orchestra, and funds travel for major performances to venues outside of Potsdam. Welcome to the concluding performance of the fourth Lougheed-Kofoed Festival of the Arts, whose scope embracing all the arts, in a continuation of our campus’ historic Spring Festival of the Arts, is generously supported by the visionary gifts of Kathy Kofoed Lougheed ’54 and her husband Don Lougheed (Hon.) ’54. The featured choral-orchestral work on this evening’s program, Johannes Brahms’ beloved German Requiem, had been among those performed most frequently in the Spring Festival, having been featured on nine separate occasions, and having been conducted by some of the iconic figures in the Festival’s history. Helen Hosmer herself conducted it just two years after the beginning of this venerable series, in 1934; and in 1939 her friend and colleague Nadia Boulanger conducted the work.
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Programnotes Brahms Double
Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years.
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II 3/k·YC)) b,~ 1'1 ,~.>u The next work in Brahms oeuvre, and our symphonic second move . PROGRAM ment, is his achingly beautiful Op. 82, Niinie, or "Lament." Again the Ci) I~ /6':; / duality of Brahms vision is evident in the structure of the setting of Schiller's poem. Brahms begins and ends the work in a delicate 6/4 v time, separated by a central majestic Andante in common time. Brahms lD~B~=':~i.~.~~ f~.:..::.?.................... GIU~3-':;') and Schiller describe not only the distance between humanity trapped in ............. our earthly condition and the ideal life of the gods, but also the lament "" that pain also invades the heavens. Not only are we separated from our bliss, but the gods must also endure pain as death separated Venus from Adonis, Orpheus from Euridice, and others. Some consider this music PAUSE among Brahms' most beautiful. r;J ~ ~\.e;Vll> I Boe (5 Traditionally a symphonic third movement is a minuet and trio or a scherzo. For tonight's "choral symphony" the Schicksalslied, or "Song of A "Choral Symphony" -Tragedy to Triumph Fate," fills that role. Continuing the two-fold vision of heaven and earth, Brahms' Op. 54 is set as an other-worldly adagio followed by a fiery ~ TRAGIC OVERTURE Op. 81 .......... L~:.s..:>.................JOHANNES BRAHMS allegro in 3/4 time, thus fulfilling our need for a two-part minuet and trio (1833-1897) movement. A setting of a HOideriein poem, the text again describes the idyllic life of the god's contrasted against the fearful fate of our life on NANIE Op.
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Nuveen Investments Emerging Artist Violinist Julia Fischer Joins the Cso and Riccardo Muti for June Subscription Concerts at Symphony Center
For Immediate Release: Press Contacts: June 13, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] NUVEEN INVESTMENTS EMERGING ARTIST VIOLINIST JULIA FISCHER JOINS THE CSO AND RICCARDO MUTI FOR JUNE SUBSCRIPTION CONCERTS AT SYMPHONY CENTER June 16 – 21, 2016 CHICAGO—Internationally acclaimed violinist Julia Fischer returns to Symphony Center for subscription concerts with the Chicago Symphony Orchestra (CSO) led by Music Director Riccardo Muti on Thursday, June 16, at 8 p.m., Friday, June 17, at 1:30 p.m., Saturday, June 18, at 8 p.m., and Tuesday, June 21, at 7:30 p.m. The program features Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto in D Major with Fischer as soloist. Fischer’s CSO appearances in June are endowed in part by the Nuveen Investments Emerging Artist Fund, which is committed to nurturing the next generation of great classical music artists. Julia Fischer joins Muti and the CSO for Beethoven’s Violin Concerto. Widely recognized as the first “Romantic” concerto, Beethoven’s lush and virtuosic writing in the work opened the traditional form to new possibilities for the composers who would follow him. The second half of the program features Brahms’ Serenade No. 1. Originally composed as chamber music, Brahms later adapted the work for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement serenade is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements. German violinist Julia Fischer won the Yehudi Menuhin International Violin Competition at just 11, launching her career as a solo and orchestral violinist.
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PROGRAM NOTES: “Violin Concerto”
PROGRAM NOTES: “Violin Concerto” I believe that one of the most rewarding aspects of life is exploring and discovering the magic and mysteries held within our universe. For a composer this thrill often takes place in the writing of a concerto…it is the exploration of an instrument’s world, a journey of the imagination, confronting and stretching an instrument’s limits, and discovering a particular performer’s gifts. The first movement of this concerto, written for the violinist, Hilary Hahn, carries a somewhat enigmatic title of “1726”. This number represents an important aspect of such a journey of discovery, for both the composer and the soloist. 1726 happens to be the street address of The Curtis Institute of Music, where I first met Hilary as a student in my 20th Century Music Class. An exceptional student, Hilary devoured the information in the class and was always open to exploring and discovering new musical languages and styles. As Curtis was also a primary training ground for me as a young composer, it seemed an appropriate tribute. To tie into this title, I make extensive use the intervals of unisons, 7ths, and 2nds, throughout this movement. The excitement of the first movement’s intensity certainly deserves the calm and pensive relaxation of the 2nd movement. This title, “Chaconni”, comes from the word “chaconne”. A chaconne is a chord progression that repeats throughout a section of music. In this particular case, there are several chaconnes, which create the stage for a dialog between the soloist and various members of the orchestra. The beauty of the violin’s tone and the artist’s gifts are on display here.
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JOHANNES BRAHMS Born May 7, 1833 in Hamburg; Died April 3, 1897 in Vienna
JOHANNES BRAHMS Born May 7, 1833 in Hamburg; died April 3, 1897 in Vienna. Tragic Overture, Opus 81 (1880) PREMIERE OF WORK: Vienna, December 20, 1880 Vienna Philharmonic Hans Richter, conductor APPROXIMATE DURATION: 13 minutes INSTRUMENTATION: piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings Many of Brahms’ works were produced in pairs: Piano Sonatas, Opus 1 and Opus 2; Piano Quartets, Opus 25 and Opus 26; String Quartets, Opus 51; Clarinet Sonatas, Opus 120; even the first two Symphonies, the sets of Liebeslieder Waltzes and the Serenades. These twin pieces seem to have been the result of a surfeit of material — as Brahms was working out his ideas for a composition in a particular genre, he produced enough material to spin off a second work of similar type. Though the two orchestral overtures of 1880, Academic Festival and Tragic, were also written in tandem, they have about them more the quality of complementary balance than of continuity. Academic Festival is bright in mood and lighthearted in its musical treatment of some favorite German student drinking songs. The Tragic Overture, on the other hand, is somber and darkly heroic. Of them, Brahms wrote to his biographer Max Kalbeck, “One overture laughs, the other weeps.” And further, to his friend and publisher, Fritz Simrock, “Having composed this jolly Academic Festival Overture, I could not refuse my melancholy nature the satisfaction of composing an overture for a tragedy.” Brahms never gave any additional clues to the nature of the Tragic Overture. The Tragic Overture is comparable in form and expression to the first movement of a symphony.
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Unknown Brahms.’ We Hear None of His Celebrated Overtures, Concertos Or Symphonies
PROGRAM NOTES November 19 and 20, 2016 This weekend’s program might well be called ‘Unknown Brahms.’ We hear none of his celebrated overtures, concertos or symphonies. With the exception of the opening work, all the pieces are rarities on concert programs. Spanning Brahms’s youth through his early maturity, the music the Wichita Symphony performs this weekend broadens our knowledge and appreciation of this German Romantic genius. Hungarian Dance No. 6 Johannes Brahms Born in Hamburg, Germany May 7, 1833 in Hamburg, Germany Died April 3, 1897 in Vienna, Austria Last performed March 28/29, 1992 We don’t think of Brahms as a composer of pure entertainment music. He had as much gravitas as any 19th-century master and is widely regarded as a great champion of absolute music, music in its purest, most abstract form. Yet Brahms loved to quaff a stein or two of beer with friends and, within his circle, was treasured for his droll sense of humor. His Hungarian Dances are perhaps the finest examples of this side of his character: music for relaxation and diversion, intended to give pleasure to both performer and listener. Their music is familiar and beloved - better known to the general public than many of Brahms’s concert works. Thus it comes as a surprise to many listeners to learn that Brahms specifically denied authorship of their melodies. He looked upon these dances as arrangements, yet his own personality is so evident in them that they beg for consideration as original compositions. But if we deem them to be authentic Brahms, do we categorize them as music for one-piano four-hands, solo piano, or orchestra? Versions for all three exist in Brahms's hand.
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Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
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The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito.
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