Brahms Theme and Variations Op.18b 布拉姆斯 主題 變奏曲 D小調 ブラームス 主題 変奏曲 ニ短調 Score Sheet 譜 樂譜 乐谱 楽譜付き 【Kero】

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Brahms Theme and Variations Op.18b
布拉姆斯 主題 變奏曲 D小調
布拉姆斯 主题 变奏曲 D小调
Brahms Variaciones para piano sobre un tema en re menor
ブラームス 主題 によるの 変奏曲 ニ短調
piano 鋼琴 钢琴 ピアノ
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Brahms #Piano #Pieces

00:00 Thema
01:45 Var 1
03:07 Var 2
04:30 Var 3
05:44 Var 4
07:18 Var 5
07:17 Var 6
09:00 Var 7

Brahms Op.21
No.1 Variations on an Original Theme
原創主題 變奏曲
Variaciones sobre un tema original
創作主題による11の変奏曲 ニ長調
No.2 Variations on a Hungarian Folk Song
匈牙利歌調 主題 變奏曲
Variaciones para piano sobre una canción húngara
ハンガリー民謡の主題による14の変奏曲 ニ長調
Johannes Brahms loved variation form. This is clear from the number of standalone variation sets he composed, as well as the numerous times he turned to variation form for a movement of a sonata or other work. All of these pieces are quite fine, but there’s something about Op. 21, No. 1 that I keep coming back to. Most of its duration occupies an inward, searching space that’s really appealing and hard to leave. Also notable is Brahms’s choice to write an original theme, rather than meditate on a tune of Handel, Haydn, Paganini, or his friend Robert Schumann (that particular set is also very personal, for different specific reasons). The other half of Op. 21 is yet another set, the energetic Variations on a Hungarian Folk Song.
There’s a bigger context to Brahms’ variation explorations. He made no secret that he felt the weight of Beethoven’s shadow, and this piece may have been an attempt to truly master a form for which Beethoven had set an extremely high bar. The Arietta from Beethoven’s Op. 111 sonata is the most advanced and transcendent of all his variations, but Brahms, in his Variations on an Original Theme, achieved some of the same consoling, spirit-cleansing effects as that piece.
Brahms began his career as a pianist. His contribution to the piano music of the 19th century is significant in two respects: following Schubert and Schumann he cultivated the small, lyrical form, while as Beethoven’s successor he admitted large forms such as the piano sonata and variation cycle. His two variation cycles op. 21, published in 1862, place great demands on the performer. In the first cycle, on a lyrical theme in D major, the technique of figurative and contrapuntal alterations is highly developed. The “Variations on a Hungarian Song” should be a refreshing challenge for the advanced pianist, owing to their metrical features and their virtuoso temperament.