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Praeludium und Fuge in A minor

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The scandalous neglect of British and US-American concert hall organ-music is still going strong until today. By Wolfram Syré

The scandalous neglect of British and US-American concert hall organ-music is still going strong unt...

Uploaded by: sanden (05/30/17)
Composer: Brahms, Johannes
Sample Producer: Sonus Paradisi
Sample Set: Doesburg Martinikerk Walcker Organ
Genre: Romantic
Description:
I chose to present this piece of Brahms, as never done by anyone, here on Concert Hall.

Same piece:
Link for the wonderful performance on Cavaillé-Coll.

https://m.youtube.com/watch?v=3Z6-oZX_Pyo

In 1850, when Brahms was still a young pianist and composer, he referred to his aspiration to become a virtuoso of the organ. Though he found the complex instrument more difficult to dominate than he had thought, he began to seriously make up for the organ. Among his first attempts, there were two preludes and fuge, a conscious emulation of a form developed in the Baroque period, but filtered through Brahms's harmonic language. He considered both of these works as beginner projects, not worthy of being published, and seemed to think that the manuscripts had been destroyed. They were actually found long after, and published in 1927, thirty years after the death of the composer.

The "Praeludium und Fuge in A minor", apparently the first essay of Brahms's organ composition, was sent to Clara Schumann as a gift to celebrate the composer's birthday in 1856. The lack of maturity and elegance found there is more than compensated by Its energy and youthful impetuosity, but not to the detriment of experimentation, with counterproductive antiquities of ancient tradition. Specifically, the subject of the escape - already anticipated in the pedal section of the short prelude - also appears in inversion, before another transformation for augmentationem. Like many of Bach's first preludes and leaks, Brahms's counterpoint dissolves towards the end in the free style of the prelude, and the final sentence of the subject is almost buried with a furious rage of notes.
Performance: Live
Recorded in: Stereo
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