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Table of contents
16 Waltzes, Op.39 (Brahms, Johannes)
Why not buy the whole Album? Your selections total more than the whole disc price. Notes Brahms showed an early interest in Hungarian gypsy music, to which he had been introduced by his early acquaintance with Remenyi and his continuing friendship with Joseph Joachim, whose background was similar.
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In the she played gypsy melodies on the piano, some of which were never written down. The group of ten Hungarian Dances for solo piano was published in , after earlier rejection of a smaller group of dances by a less acute publisher than Simrock, who issued the first set of dances in a piano duet version in Whatever the derivation of their rhythmic and melodic material, some of it remembered from the playing of Remenyi or heard in casual cafe performance, the Hungarian Dances are unmistakably stamped with the musical personality of Brahms.
The set of ten Hungarian dances opens with the famous G minor dance, followed by a D minor dance, with a central D major episode, and a third in D minor, with a lively D major middle section. The fourth dance, in F sharp minor, is of a more expressive cast, leading to a more passionate companion in the same key. The sixth of the set, in D flat major, frames a slower C sharp minor section in livelier outer sections, leading to the rhythmic seventh dance and an eighth in A minor in the rhythm of the first. A dance in E minor is succeeded by the final rapid E major that rounds of the work.
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Brahms - 16 Waltzes, Opus 39 - No. 11 in B minor
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They were composed in , and published in , dedicated to the music critic Eduard Hanslick. These waltzes were written for piano four hands , and were also arranged for piano solo by the composer, in two different versions — difficult and simplified. The three versions were published at the same time, and sold well, contrary to the composer's expectations. The waltzes were written while the composer lived in Vienna, a city where he would permanently settle in In the solo versions, some of the keys were altered from the original duet version the last four in the difficult version and No.
An arrangement of five of the waltzes Nos.
Almost all of the waltzes are in a recapitulating binary form. For each waltz, the first half moves to the dominant , the relative major , or a substitute key. Then, the second half begins with a developmental passage that leads back to the main theme and the tonic.
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