Liebeslieder Walzer By. Indeed, each of these works—Op. To each he quickly responded with a cycle of his own making—the Op. Two years later Brahms considered editing a third group of Schubert dances.
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Liebeslieder Walzer By. Indeed, each of these works—Op. To each he quickly responded with a cycle of his own making—the Op. Two years later Brahms considered editing a third group of Schubert dances. For all their Schubertian background, however, the two sets of vocal waltzes reflect a more contemporary source of influence as well.
Rudorff performed the suite with great success in Berlin on March 19, , employing a quartet of solo singers as Brahms had now requested rather than a small choir as the composer had originally conceived. Reporting to Brahms on this triumph, Rudorff encouraged his friend to take up his pen once more and to publish the entire Op. For his part, Brahms not only had no inclination to do so, but after trying out the suite himself in Budapest with both soloists and choir, lost interest in the orchestral version altogether, which remained unpublished until In view of the large number of dances contained within the original Op.
Surviving manuscripts and other documents show that in some cases the question of the sequence of the eighteen dances and even their keys remained unsettled until it was time to go to press, and that at once time or another Brahms considered releasing the collections in either two or three separate books before finally settling on an undivided plan.
Still, most adjoining dances are in closely related keys, and some waltzes share significant harmonic and motivic material. These features are apparent, too, in the shorter orchestral suite. On the basis of both mood and character and tonal relationships, the nine dances cohere into three groups: 1 Op. At some later point, the suite was reordered slightly, with the removal of Op.
Rudorff clearly sensed this latent tripartite form, and in his Berlin performance, as he explained to Brahms, he made pauses only after the fourth and sixth numbers. But the music rapidly becomes more sophisticated, as Brahms eschews literal repetition—a hallmark of popular Music—in favor of continual variation.
Most striking, perhaps, is the return of the original tune in free inversion twice later in the piece, with corresponding changes in the counterpoint of the accompaniment. The first waltz thus contains within itself a striking contrast between popular and art music, and throughout the rest of the work these opposing forces are played out with a sure hand.
The Liebeslieder Walzer, in short, are quintessential Brahms. Though their charm may derive in part from the contrast in which they stand to his work as a whole, their eternal freshness stems from technique refined in larger forms.
Brahms: Liebeslieder-Walzer op. 52
Program Notes: Brahms' Liebeslieder Waltzes Brahms' move from his birthplace, Hamburg, to Vienna, which took place in stages during the early 's, solidified his status as a professional musician. He held this post for only one year, preferring to devote his time to composing. Brahms' ability to make a living as a composer rested on his output of a rich combination of large concert works, chamber music, songs, choral works, and what would now be considered "popular" music, intended to be purchased as sheet music for performance by amateurs, in the home or on social occasions. In the ethnically diverse, Catholic imperial capital of Vienna, his creative range broadened, from its previous focus on large works in the Prussian and Lutheran cultural tradition, to a wider variety of genres, including texts and musical styles from non-German poets. They consist of eighteen songs in the original set and an additional fifteen in the second. During his first years in Vienna, Brahms was engaged in an ongoing project to edit a number of these works for publication.
Liebeslieder Waltzes, Op.52 (Brahms, Johannes)