Johannes Brahms 24 Bit

Camerata Quartett gehört zu den führenden polnischen Kammerensembles und genießt während ihrer über 25–jährigen Tätigkeit hohe Anerkennung gleichermaßen beim internationalen Publikum sowie bei der internationalen Fachpresse.

The two sonatas by Johannes Brahms belong to the Olympus of the repertoire for every cellist, where, together with the suites by Bach and the sonatas by Beethoven, they virtually form the Trinity of our Old Testament. My own journey to these works began sometime in the 1980s and is – of course – still ongoing. I have had the opportunity to play both sonatas with many great pianists and thus get to know them from just as many different musical perspectives. Of course, I grew up with countless outstanding recordings, including a largely unknown one of the F Major Sonata by my own teacher William Pleeth with his wife, Margaret Good, which would also one day deserve to be made available to the public again.

As a musician, as a man of ideals, and as a true world citizen, Yehudi Menuhin made an extraordinary mark on his era. The Menuhin Century commemorates the 100th anniversary of his birth on 22 April 1916.

The idea of recording all three Brahms sonatas came to us quite spontaneously. Olivier Roberti and I had played them together and thought: Why not? There was no lengthy deliberation, just the will to do it.

Brahms was a severe critic of his own work, often assailed with uncertainty and reluctant to publish works he considered immature or incomplete. With the exception of the Scherzo in C flat for the Sonata F.A.e. he made his first violin solo work known to the public only at the age of forty five with the publication of the Concerto in D major, op. 77.

Johannes Brahms was a German composer, pianist, and conductor of the Romantic period. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna.

The two piano concertos by Johannes Brahms occupy an uncontested place in the pantheon of the greatest works of this genre. At the same time they play a unique role in the development of the concerto form in the 19th century, particularly in view of their uneven history of reception. When the young Brahms started out searching the limelight in the early 1850s with his first major composition he was facing a musical world torn apart by ideological wars about questions of form, harmony, and the role of programme music.

The second year of the Année de pèlerinagededicated to Italy, is judged overall to be the most important of the three. The whole series of the second year was published in 1858 and was preceded by two compilations which date from 1837 and 1849 respectively. On this recording the three Petrarca Sonnets are presented. The appearance of these Sonnets in Liszt's works dated back to around 1838 as lieder for voice and piano, which were later excellently transcribed for piano solo.

The genre accompanied him for almost his entire creative career: the sacred choral song op. 30 was written by the 23-year-old Johannes Brahms in 1856, the Fünf Gesänge for mixed choir a cappella are his late legacy in the field of secular choral song, composed between 1886 and 1888. In between lie the Drei Gesänge, composed at a time when Brahms was also very practically involved with choral singing as a choirmaster, then the Sieben Lieder for four to eight-part choir and finally his large-scale Mottete op. 74, No. 1 Warum ist das Licht gegeben from 1877 and the sister work O Heiland, reiß die Himmel auf op. 74 No. 2.