Brahms’s 16 Waltzes for piano duet are one of the three groups of dances he published during the 1860s; the other three being the first ten Hungarian Dances, also for piano duet, and the 18 Liebeslieder-Walzer, op. 52 for piano duet and vocal quartet. All three were composed in a “popular” style and were largely responsible for Brahms’s growing reputation among the general public as well as a significant source of his personal fortune.
The Waltzes have much in common with those of Franz Schubert and are in no way like the grand episodic waltzes of Brahms’s contemporary and friend Johann Strauss II. Brahms’s usual complex compositional traits are not in the forefront here and the sole focus seems to be nothing more than melodic charm (although, no. 16 does manage to slip in a passage in double counterpoint). Despite this, Brahms thought well enough of these miniatures and, as mentioned above, they were quite successful. He later published two arrangements for piano solo—one in keeping with the original duet version and a simplified version for pianists of lesser skill. Joseph DuBose
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16 Waltzes Op. 39 Johannes Brahms
Brahms's 16 Waltzes for piano duet are one of the three groups of dances he published during the 1860s; the other three being the first ten Hungarian Dances, also for piano duet, and the 18 Liebeslieder-Walzer, op. 52 for piano duet and vocal quartet. All three were composed in a "popular" style and were largely responsible for Brahms's growing reputation among the general public as well as a significant source of his personal fortune.
The Waltzes have much in common with those of Franz Schubert and are in no way like the grand episodic waltzes of Brahms's contemporary and friend Johann Strauss II. Brahms's usual complex compositional traits are not in the forefront here and the sole focus seems to be nothing more than melodic charm (although, no. 16 does manage to slip in a passage in double counterpoint). Despite this, Brahms thought well enough of these miniatures and, as mentioned above, they were quite successful. He later published two arrangements for piano solo-one in keeping with the original duet version and a simplified version for pianists of lesser skill.
Classical Music | Music for Duo
Johannes Brahms
Two Waltzes from Op. 39 Play
Recorded on 04/09/2009, uploaded on 06/16/2009
Musician's or Publisher's Notes
Brahms’s 16 Waltzes for piano duet are one of the three groups of dances he published during the 1860s; the other three being the first ten Hungarian Dances, also for piano duet, and the 18 Liebeslieder-Walzer, op. 52 for piano duet and vocal quartet. All three were composed in a “popular” style and were largely responsible for Brahms’s growing reputation among the general public as well as a significant source of his personal fortune.
The Waltzes have much in common with those of Franz Schubert and are in no way like the grand episodic waltzes of Brahms’s contemporary and friend Johann Strauss II. Brahms’s usual complex compositional traits are not in the forefront here and the sole focus seems to be nothing more than melodic charm (although, no. 16 does manage to slip in a passage in double counterpoint). Despite this, Brahms thought well enough of these miniatures and, as mentioned above, they were quite successful. He later published two arrangements for piano solo—one in keeping with the original duet version and a simplified version for pianists of lesser skill. Joseph DuBose
_____________________________________________
16 Waltzes Op. 39 Johannes Brahms
Brahms's 16 Waltzes for piano duet are one of the three groups of dances he published during the 1860s; the other three being the first ten Hungarian Dances, also for piano duet, and the 18 Liebeslieder-Walzer, op. 52 for piano duet and vocal quartet. All three were composed in a "popular" style and were largely responsible for Brahms's growing reputation among the general public as well as a significant source of his personal fortune.
The Waltzes have much in common with those of Franz Schubert and are in no way like the grand episodic waltzes of Brahms's contemporary and friend Johann Strauss II. Brahms's usual complex compositional traits are not in the forefront here and the sole focus seems to be nothing more than melodic charm (although, no. 16 does manage to slip in a passage in double counterpoint). Despite this, Brahms thought well enough of these miniatures and, as mentioned above, they were quite successful. He later published two arrangements for piano solo-one in keeping with the original duet version and a simplified version for pianists of lesser skill.
More music by Johannes Brahms
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Capriccio in d minor, Op 116, No. 7, from Seven Fantasies
Intermezzo in E Major, Op. 116, No. 4, from Seven Fantasies
Schicksalslied, Op. 54
Capriccio in c-sharp minor, from Eight piano pieces, Op. 76
Intermezzo in b minor, Op. 119, No. 1
Klavierstücke op. 118 - VI. Intermezzo
Piano Sonata N° 3 in F minor Op 5 (Mvt 1)
Intermezzo in A Major, from Eight piano pieces, Op. 76
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Sonata in B-flat Major, Op. 30, D617
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Scherzo from "A Midsummer Night's Dream"
"God's time is the best of times"
From A Midsummer Night’s Dream
Moravian Folk Dances
The Pursuite, from The Adventures of Korzinkina
Danse Russe, from Petrushka
Corrente III (arr. Kurtág)
Spanish Dance No. 2 from "La Vida breve"
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