Die 3 violinsonaten

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Die 3 violinsonaten

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dc.contributor.other Johannes Brahms es
dc.contributor.other Pinchas Zukerman es
dc.contributor.other Daniel Barenboim es
dc.coverage.spatial Manhattan Center, New York es
dc.date.accessioned 2012-07-28T04:27:49Z
dc.date.available 2012-07-28T04:27:49Z
dc.date.copyright 1985 es
dc.date.issued 2012-07-27
dc.identifier.uri http://hdl.handle.net/123456789/666
dc.description.abstract 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 for conservative musical journalists the most potent symbol of musical tradition, 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 twenties 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 nineteenth century keyboard music. © AMG, All Music Guide es
dc.description.tableofcontents Sonate G-dur Op. 78; Vivace ma non troppo, Adagio, Allegro molto moderato-- Sonate A-dur Op. 100; Allegro amabile, Andante tranquillo- Vivace- Andante- Vivace di più- Andante- Vivace, Allegretto grazioso (quasi Andante)-- Sonate d-moll Op. 108; Allegro, Adagio, Un poco presto e con sentimento, Presto agitado-- es
dc.format.medium 1 CD-Rom. (67min., 51 seg) Digital; 4 3/4 plg es
dc.language.iso en es
dc.rights Uninorte F.M.Estéreo es
dc.subject.lcc 23698773 es
dc.subject.lcsh Sonatas (Violin and piano) es
dc.title Die 3 violinsonaten es
dc.title.alternative The violin sonatas = Les sonates pour violon es
dc.title.alternative El violín sonatas 3: las sonatas para violín sonatas para violín es
dc.language.rfc3066 eng es
dc.rights.holder Profesor, Dr. Volker Scherliess es
dc.identifier.classification 028941598929 es
dc.subject.cdu Bra.02 es


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Files Length Size Format View Description
1. Sonate G-dur Op. 78- Vivace ma non troppo.mp3 11:08 10.17Mb Unknown mp3
2. Sonate G-dur Op. 78- Adagio.mp3 8:11 7.486Mb Unknown mp3
3. Sonate G-dur Op. 78- Allegro molto moderato.mp3 8:55 8.151Mb Unknown mp3
4. Sonate A-dur Op. 100- Allegro amabile.mp3 9:02 8.250Mb Unknown mp3
5. Sonate A-dur ... i più- Andante- Vivace.mp3 7:11 6.571Mb Unknown mp3
6. Sonate A-dur ... azioso (quasi Andante).mp3 5:44 5.243Mb Unknown mp3
7. Sonate d-moll Op. 108- Allegro.mp3 8:22 7.648Mb Unknown mp3
8. Sonate A-dur Op. 100- Adagio.mp3 4:48 4.385Mb Unknown mp3
9. Sonate A-dur ... esto e con sentimiento.mp3 3:02 2.782Mb Unknown mp3
Sonate A-dur Op. 100- Completo.wav 21:53 220.8Mb WAV audio wav
10. Sonate d-moll Op. 108 - Presto Agitato.mp3 5:47 7.945Mb Unknown mp3
Sonate G-dur Op. 78- Completo.wav 28:08 283.9Mb WAV audio wav
Sonate d-moll op. 108- Completo.wav 21:57 221.5Mb WAV audio wav

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