By Barbara Owen
Inspired via Robert and Clara Schumann and Joseph Joachim, Johannes Brahms not just realized to play the organ in the beginning of his profession, but additionally wrote major compositions for the tool because of his early counterpoint examine. He composed for the organ basically sporadically or as a part of higher choral and instrumental works in his next profession. through the ultimate 12 months of his existence, even if, he again to natural organ composition with a collection of chorale preludes--though a lot of those are idea to were revisions of previous works. this present day, the organ works of Johannes Brahms are famous as beautifully-crafted compositions by way of church and live performance organists the world over and became a much-cherished section of the repertoire. earlier, in spite of the fact that, such a lot scholarly bills of Brahms's existence and paintings deal with his works for the organ as a minor footnote in his improvement as a composer. accurately as the selection of organ works isn't wide, the pieces--composed at diversified instances in the course of Brahms's lifetime--help to map his course as a composer, pinpointing a variety of levels in his creative improvement. during this quantity, Barbara Owen bargains the 1st in-depth learn of this corpus, contemplating Brahms's organ works relating to his heritage, equipment, and total creative improvement, his contacts with organs and organists, the impression of his predecessors and contemporaries, and analyses of every particular paintings and its position in Brahms's occupation. Her specialist heritage and research of Brahms's person organ works and their interpretation additionally investigates modern practices relative to the functionality of those items. The book's 3 invaluable appendices current a advisor to variants of Brahms's organ works, a dialogue of the organ in Brahms's international that highlights a few organs the composer could have heard, and a list of the organ transcriptions of Brahms's paintings. mixing detailed insights into composition and function perform, this booklet can be learn eagerly by means of performers, scholars, and students of the organ, Brahms, and the track of the 19th Century.
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Extra resources for The Organ Music of Johannes Brahms
Some of his Viennese Lutheran Background friends were also associated with this church, and even if Brahms never attended the Sunday Gottesdienst there, he might still have been present at a friend’s wedding or funeral and would thus have heard the organ on such occasions. Vienna’s most notable church organs were housed in the large Catholic churches, and Bruckner was at the time the doyen of Catholic church music in the city. Although it is not impossible that Brahms may at some time have heard some of these organs during his long residence in Vienna, it is too much of a stretch of the imagination to suppose that he ever had the occasion (or desire) to actually play any of them.
No less than Brahms’s love of writing counterpoint was his love of performing it, evident in his inclusion of Renaissance motets and Bach cantatas in his choral programs and transcriptions of Bach organ works in his piano recitals. In —coincidental with his early organ and counterpoint studies— he ﬁrst performed his piano transcription of Bach’s Toccata in F Major (presumably BWV ) in concerts given in Kiel and Altona. He also included it in his ﬁrst Viennese solo recital in November .
Among those students in the late s and early s were a Norwegian, Edvard Grieg, who was to become one of his country’s greatest composers, and an American, Dudley Buck, who would return to his homeland to play Bach, compose fugues and chorale preludes (among other things), and help give impetus to the embryonic conservatory movement in the United States. Grieg kept a notebook, which has survived, in which he inscribed some of his contrapuntal exercises—chorale preludes for Richter and organ fugues for Hauptmann.