Johannes Brahms - Serenade No. 1, Op. 11 (1860)
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- Опубликовано: 24 июл 2024
- Johannes Brahms (7 May 1833 - 3 April 1897) was a German composer and pianist of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. His reputation and status as a composer are such that 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is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs" of music, a comment originally made by the nineteenth-century conductor Hans von Bülow.
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Serenade No. 1 in D major, Op. 11 (1857-1860)
1. Allegro molto (0:00)
2. Scherzo. Allegro non troppo (D minor) - Trio. Poco più moto (12:56)
3. Adagio non troppo (21:08)
4. Menuetto I - Menuetto II (34:54)
5. Scherzo. Allegro - Trio (39:18)
6. Rondo. Allegro (42:09)
Chamber Symphony of Philadelphia conducted by Anshel Brusilow
Composed in 1857 as a nonet for wind and strings (version lost)
Revised in 1858 for chamber orchestra (version lost)
Revised in 1858 for full orchestra
Arranged for piano 4 hands by Brahms in 1859 or 1860
The final version of the work for orchestra premiered in Hannover, Germany, on March 3, 1860, and was published that same year, making it Brahms’s first orchestral work to appear in print.
Brahms’s serenade was sketched in Detmold, Germany, in 1857-58, when the composer was wintering there as a part-time music teacher in the court of Prince Paul Friedrich Emil Leopold. Then in his mid-20s, Brahms adopted a neoclassical style that was variously reminiscent of the earlier small-orchestra and ensemble works of Wolfgang Amadeus Mozart, Joseph Haydn, Ludwig van Beethoven, Franz Schubert, and others, but he did not set aside his own Romantic sensibilities. The piece has six movements. The jubilant sonata-form first movement, with its distinctive drones, is followed by a rather sombre scherzo. Songlike flute melodies lend an idyllic quality to the third movement, “Adagio non troppo,” and a pair of straightforward, alternately wind- and string-dominated minuets form the third and fourth movements. The penultimate movement is a stately scherzo featuring particularly prominent horn parts, and the piece concludes with a galloping rondo played by the full orchestra.
Originally, the composition was modestly scored for nine wind and string players, but the composer’s friends-notably pianist Clara Schumann and violinist Joseph Joachim-encouraged him to rework the piece for a larger ensemble. Joachim conducted the premiere of the revised, final version, which included brass, timpani, and a larger contingent of woodwinds. Schumann, in turn, ensured the piece’s premiere in Vienna by making its presence on the program a condition of her own concert appearance with the Vienna Philharmonic. 
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Don't understand why some people don't like this piece, it's wonderful
This is a joyful piece from a young Brahms! There is great love and joy in it! Such sentiments are sorely needed in these troubled times!
Certainly sounds like a young Brahms, but ... he wrote this at the same time as the first piano concerto, which sounds like a very magisterial Brahms, not a young Brahms. It has always been borderline incredible to me that he was working on both pieces at the same time (1858, basically), because the concerto is so much more mature, as beautiful as this one is. My theory? Joseph Joachim helped him immensely with the concerto.
Beautiful Brahms...it has much of his ouverture..Accademia...his style is unique how he is capable in repeating musical themes over and over without giving a least sense of annoyance..his brass is wonderful...for me a great genius.
wow. Look at the viola part! Just beautiful
Stupenda partitura di Brahms,padrone delle forme classiche e romantiche, miscelandole per ottenere un capolavoro come questo nel pieno rispetto del suo credo di musica 'astratta'.
Un grandioso ringraziamento a Bartje per questo meraviglioso upload
correlato sia dalla partitura che dalle note informative.
Bravo !
This performance was the first I ever heard of this gorgeous work (way back in 1980), and the one I would like to return to over and over again -- if only it could be released on CD!!!! There are many recordings of the Brahms Serenade No. 1, but few, if any, have the panache and excitement of this one. Brusilow is the only conductor who lets the timpani really pound out the final chords in the last movement.
I wholeheartedly agree!
if i were not allowed to listen to any works by Brahms except for one, then i would choose this one - a youthful work overflowing with Olympian power and beauty from start to finish
Bold statement.
good piece even by brahms standards. i had complete chamber works on cd back in the day. what a jackpot. sym 2 is my fav piece, maybe of all time. relaxing, pure in essence. you also see that style here. (symphony 2 was first my least fav sym. it takes time. these are very mature works.)
This is indeed a piece you feel like coming back to no matter how much time has gone by since the last time you heard it.
Glorious start to the week
Truly great piece of music.
The Minuetto is one of the more tender page of Brahms, it is very "simple" but i can't forget that flute.
Meravigliosa partitura, serenata certo, tuttavia è così straordinariamente ricca di contenuti, colori, grazia, eleganza, melodie potenza, elementi bucolici incastonati in un fantastico equilibrio classico romantico. insomma una tale forza della natura che potrebbe essere definita senza essere eccessivi, sinfonia. Grazie Brahms.
Bhe, ma chi ha detto che la serenata è inferiore alla sinfonia? Secondo me l'elemento che contraddistingue la serenata è l'umore allegro. Le sinfonie spesso sono più drammatiche.
@@ClassicalMusicAndSoundtracks non è una questione di superiorità; ogni forma ha delle specifiche dimensioni; questa serenata è vicina ad essere una sinfonia.
Very similar to the style Dvorak adopted. Very nice and fresh
My wife gave to me a cd of the four hands piano version of the serenades for Christmas, since then I've been listening to them two or three times per day, Brahms is so addictive, along Bach, Verdi, and Beethoven my favorite composer, so many beautiful melodies, they get inside your head and never leave, it's a shame he destroyed most of his work
I don’t believe that for a minute. He destroyed youthful works that were not up to his standard. I believe he reworked youthful melodies into his mature works.
The fifth symphony of Brahms. ;-)
Exactly! Well-put.....Greetings from San Agustinillo!
This came before his 1st symphony, so technically this would be is his "0th" :)
@@marco119w7 What would his second Serenade be then? Or is this the -1st?
@@marco119w7 It would be Symphony n°1 then.
@@marco119w7 After the first symphony.
very cool ❤❤❤
This is an awesome and amazing piece but it’s very scary when you have to play it
The main theme of the Scherzo reminds me a lot of Beethoven's second symphony trio!
In the fifth movement Scherzo, i tend to hear the "Glory to God" (no.18) from the Handel "Messiah". In particular, the presence of the same motif to which GFH sets the text "Good will" seems transparently obvious (IMHO)...
Is it me or does the second movement reminds me of the titular second part of the "Piano Concerto n°2" by the same composer?
Yes, very similar!
23:21 sounds like a mixture of op. 40 2nd movement trio and op. 8 beginning
Eine unglaublich positive und witzige Musik mit immer neuen überraschenden wendungen,seit Jahren versuche ich Menuett ll für mich nachzusingen, Schaffe es aber nicht
The no. 2 is the one without violins, am I right?
It would be awesome if you could upload it so we can se how Brahms manage through orchestration compensate the lack of violins!
Unfortunately the only recording I have is a Hyperion recording and I can't upload that label as it will be blocked. If you have a MP3 without too many copyright issues, please let me know.
@@bartjebartmans such a pity that RUclips doesn't have that library list anymore :(
@klop422 I don't have a RUclips downloader. I had too many issues with it in the past. Not worth the trouble and risk.
I got to perform no. 2 while in grad school. It's a beautiful piece as well, lots of great woodwind passages (I'm a clarinetist). It was so odd to see the principal violist come out to give the A instead of the violinist. Haha
There is a channel called "symphony 7526" and it has uploaded the second serenade with a score recently.
La mejor versión de la Primera Serenata de Brahms. Obra llena de frescura y aliento vital.
¿ Qué orquesta y director la interpretan?
Chamber Symphony of Philadelphia conducted by Anshel Brusilow
certamente questo è un fantastico brano musicale, ma la sua grande piacevolezza all'ascolto è dovuta alla registrazione di gran qualità, che permette di seguire bene le singole linee anche dei tromboni quando sono sovrastati dagli archi leggeri. Signori qui si parla di RCA americana, una registrazione del 1968, in pratica ancora nell'Era d'Oro dell'Alta Fedeltà! L'unica etichetta che potrebbe avvicinarsi a questo risultato oggigiorno è la Reference Recordings e forse la Pentatone, ma un suono così è difficile da ottenere anche con la tecnologia moderna. Godiamoci questa versione perchè in commercio si trova (difficilmente e ad alto prezzo) solo il vinile, mentre su CD questo brano non è stato ancora rimasterizzato e trasferito, con gran peccato!
It would be nice being a composer in a time where you could compose pieces of this duration and numbers then have a performance.
Why can't you do this today?
God! The main theme of the "allegro molto" reminds me of russian korobeiniki from tetris
I like Brahms two Serenades better than his four symphonies because in his Serenades (and his Academic Festival overture) Brahms seemed to be more comfortable as if he could relax and be himself and not have to worry what type of criticism or comments he would receive because this wasn't a "Symphony". Since he had studied music history and the works of previous composers, Brahms was much too aware of what previous composers had written under the name of "Symphony".
Serenades and symphonies are all masterpieces. In fact he never published anything that wasn’t a masterpiece.
@@raymondgood6555 I must politely and respectfully disagree with you about Brahms four symphonies. I first listened to Brahms four symphonies when I was a teenager (fifteen or sixteen) because I could already tell at such a young age that there was something "off" or "missing" in his symphonies. I had a copy of the score for all four symphonies in front of me when I listened to them. Yes I had no trouble reading the symphonic scores and following along with the recordings I was listening to. However, I did not have the tools or the knowledge to analyze Brahms symphonies and break them down and take them apart until after I took music theory courses in college. Yes I did respectfully and politely tell the instructors and the professors at this school how I felt about Brahms symphonies. They did not have a problem with a student who was obviously trying to use his brain and think for himself although they disagreed with me. Besides Brahms works for orchestra, I also like his piano music and have spent many happy and enjoyable hours playing his music on my piano.
@@laurencegray4720 what did u felt was missing in Brahms ‘s simphonyes?
I believe that the original term was “nachtmusik” like the ones by Mozart‘s，wasn't it？serenade would be a mistranslation
No, it has always been the title Serenade. It already appeared in the first edition. Brahms was conservative for music terms in his early age, he used the tranditional Italian music terms in that period of time often.
My favorite moment: 42:40
Menuetto II: Almost Mendelssohn.
Why does this remind me so much of Haydn 104 4th mvmnt.?!
Kevin Punnackal Brahms was consciously after Haydn, Mozart, and early Beethoven all at once. Mozart is in the structure of the work, a Serenade with multiple dance movements. The references to the D-major symphonies of Haydn and Beethoven are made explicitly, and the reference to Haydn 104 is actually used in multiple movements.
He was a Romantic period composer trapped in a classical period body. Or the other way around .
The opening musical sequence right off the bat in this Serenade is: (A-F)-A-G-E. Compare that to the opening of the last movement of Haydn's "London Symphony" No.104, which also begins in the key of D Major and has the similar droning bass-accompanied sequence: A-G-E-(G-F-D). Good observation, Kevin. There's no question that the bucolic moods of both movements of these two masterpieces also match up very well. Brahms and Haydn -- two musical giants, both high on my list of all-time favorite composers.
11:08
11:30
31:21
Who else thinks that a Glockenspiel could work well with the first engagement of the Oboe?
This music is very long,and repeating, lacking imagination.
I suppose you have enough imagination to make greater music yourself, so what are you doing here listening to this while you could be delighting the world with your masterpieces? Go, then and exploit the power of your creativity, though I must warn you, our little minds might not be good enough to appreciate that much greatness and we might end up considering it pure crap
@@ezequielstepanenko3229 He doesn't have to be as good as Brahms to express an opinion. He has every right to not like it, and you have every right to like it. None of us--whether we love the work or dislike the work--would be able to compose a better piece. What we are able to do is irrelevant to whether we are allowed to have our own view. That would be identical to saying that you are only allowed to dislike a movie if you are as gifted a director as the person who directed the movie.
@@ezequielstepanenko3229 too harsh comment. The "if you know better, do it" argument is such a shallow cliché. Do we all have to be chefs to like or dislike apples? If he doesn't find this work creative and finds someone else, that's his business, not yours.