[1889년(56세) 모습]
Johannes Brahms (German: [joˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, he spent much of his professional life in Vienna. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.
Brahms composed for symphony orchestra, chamber ensembles, piano, organ, voice, and chorus. A virtuoso pianist, he premiered many of his own works. He worked with leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire.
Brahms has been considered both a traditionalist and an innovator, by his contemporaries and by later writers. His music is rooted in the structures and compositional techniques of the Classical masters. Embedded within those structures are deeply romantic motifs. While some contemporaries found his music to be overly academic, his contribution and craftsmanship were admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.
Piano Trio 전곡
Piano Trio Op. 8- B-major 00:00 Allegro con brio 11:40 Scherzo: Allegro molto 19:02 Adagio
26:57 Allegro
Piano Trio Op. 87- C-major 34:58 Allegro 45:45 Andante con moto 55:15 Scherzo: Presto
1:00:45 Finale: Allegro giocoso
Piano Trio Op. 101- c-minor 1:08:20 Allegro energico 1:15:56 Presto non ass 1:19:40 Andante grazioso
1:24:30 Allegro molto
Piano Trio Op. 114- a-minor 1:30:53 Allegro 1:39:20 Adagio 1:47:25 Andante grazioso
1:52:45 Allegro
Brahms published three trios for piano, violin and cello, and one trio for piano, clarinet (or violin or viola) and cello. These are all truly large-scale works, comprising four movements each, with a very varied mood and content, all being of the highest quality. In fact Brahms could be one of the composers who most frequently discarded works of his own, that he didn't find worthy of publishing. Nobody knows really how many of his compositions he himself destroyed, as there are no records and no virtually no or at least very few surviving fragments of unfinished or unpublished works. He is rightfully regarded as one of the greatest composers, perhaps in particular when it comes to chamber music, a genre which he payed a lot of attention to. His piano trios have since their publishing been very popular and form the backbone of the romantic piano trio literature.
The first trio in the somewhat unusual key of B-major, is one of the very few works of Brahms ́ that exist in two versions, the first being published in 1854 as op. 8, still bearing a lot of traces of his early style. Ironically, Brahms was never satisfied with this piano trio, and reworked it completely in 1889 (finally published in 1891), preserving almost nothing of the original composition except the second movement. It is this version that is played almost exclusively, not merely as a tribute to Brahms ́ own decision, but also because it is a more mature, better crafted masterpiece.
The second piano trio, in the key of C-major, published as op. 87, but composed 1880-82, has an even denser writing, with the first movement bringing out a lot of rhythmical and harmonic contrast between the strings and the piano. The movement shows us virtually the whole possible range of dynamics in this ensemble. The second movement is the real centerpiece from an emotional point of view, bringing us a set of variations on an original theme of folktune character. Brahms was a true master of the variation form, much in the spirit of Beethoven, and here he reaches the very pinnacle, with a movement virtually soaked in passion. The third movement is an energetic scherzo with a diabolical touch, rich in dissonant harmonics, with a simple, yet vibrant middle section. The finale is a joyful, spirited movement in sonata form, with great contrasts, somewhat revisiting the emotional world of the first movement, albeit with a lighter touch, ending in a thunderous coda.
The third piano trio in c-minor, op. 101, written in 1886, in a short timeframe together with the cello sonata op. 99 and the violin sonata op. 100, is an unusually concentrated work, reflecting some of the changes Brahms made to his compositional style around this period. Its first movement is dense in its rhythmic and harmonic texture, with tightly interlocking string parts, and an orchestral sound in the piano part. The second movement is a short, slightly melancholic scherzo, with a very colourful middle section making frequent use of pizzicato sounds in the strings. The third, slow movement carries a feeling of tranquility, with its beautifully interchanging string and piano motives, preparing for the thunderous finale, where the coda finally changes the key to C-major.
The trio op. 114, originally conceived as a trio for clarinet, which was one of Brahms ́ favourite instruments, can also be played according to his instructions with a violin or viola instead. The trio in the key of a-minor, together with the two clarinet sonatas op. 120, comprise Brahms ́ last chamber music works, written towards the end of his life, for his own pleasure as a retirees.
[참고] 후기 낭만주의 음악, 요하네스 브람스 Johannes Brahms
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