Like Franz Liszt, Johannes Brahms held a deep fascination for the “gypsy” music of Hungary. However, both men’s interest was unknowingly in the Romanticized tunes which only partially represented the genuine folk music of Hungary that would later be scientifically catalogued by Béla Bartók and Zoltán Kodály. Regardless, Brahms’s interest was sparked by the gypsy melodies here heard played by the violinist Eduard Reményi, and further amplified by his later association with Joseph Joachim. He was drawn to the irregular rhythms, exotic sounds, and alternating moods, compelling him to compose against his own logical and conscientious manner. During the summer of 1858, when he spent a great deal of time in Göttingen, Brahms performed for his friends, among them Clara Schumann and five of her children, the first of what would become the Hungarian Dances.
In 1869, the first collection of Hungarian Dances, totaling ten in all, for piano duet was published by Simrock. A few years later, Brahms provided his publisher with a solo piano version. The set was an immense success, becoming some of Brahms’s most recognizable music, and brought considerable profits to the composer. Wanting to capitalize even further on this success, Simrock was able to convince Brahms to composer another set, this time of eleven dances, which appeared in 1880. Following the trend of his later piano music, it is no surprise that the second set of dances were more personal and introspective pieces than the first. Brahms also orchestrated three of the dances (Nos. 1, 3 and 10). The rest, over time, were also orchestrated by others, most notably Antonín Dvořák. With the exception of three dances which Joachim believed to be entirely original compositions, the Hungarian Dances were based on already existing melodies. Brahms himself even considered them arrangements. Though the melodies were not original, their treatment and each dance as a whole is distinctly Brahmsian. Joseph DuBose
Classical Music | Violin Music
Johannes Brahms
Hungarian Dance no. 17 in f-sharp minor Play
Recorded on 01/01/1979, uploaded on 02/21/2009
Musician's or Publisher's Notes
Like Franz Liszt, Johannes Brahms held a deep fascination for the “gypsy” music of Hungary. However, both men’s interest was unknowingly in the Romanticized tunes which only partially represented the genuine folk music of Hungary that would later be scientifically catalogued by Béla Bartók and Zoltán Kodály. Regardless, Brahms’s interest was sparked by the gypsy melodies here heard played by the violinist Eduard Reményi, and further amplified by his later association with Joseph Joachim. He was drawn to the irregular rhythms, exotic sounds, and alternating moods, compelling him to compose against his own logical and conscientious manner. During the summer of 1858, when he spent a great deal of time in Göttingen, Brahms performed for his friends, among them Clara Schumann and five of her children, the first of what would become the Hungarian Dances.
In 1869, the first collection of Hungarian Dances, totaling ten in all, for piano duet was published by Simrock. A few years later, Brahms provided his publisher with a solo piano version. The set was an immense success, becoming some of Brahms’s most recognizable music, and brought considerable profits to the composer. Wanting to capitalize even further on this success, Simrock was able to convince Brahms to composer another set, this time of eleven dances, which appeared in 1880. Following the trend of his later piano music, it is no surprise that the second set of dances were more personal and introspective pieces than the first. Brahms also orchestrated three of the dances (Nos. 1, 3 and 10). The rest, over time, were also orchestrated by others, most notably Antonín Dvořák. With the exception of three dances which Joachim believed to be entirely original compositions, the Hungarian Dances were based on already existing melodies. Brahms himself even considered them arrangements. Though the melodies were not original, their treatment and each dance as a whole is distinctly Brahmsian. Joseph DuBose
More music by Johannes Brahms
Variations on a Theme by Haydn
Paganini variatons
Capriccio in d minor, Op 116, No. 7, from Seven Fantasies
Intermezzo in E Major, Op. 116, No. 4, from Seven Fantasies
Schicksalslied, Op. 54
Capriccio in c-sharp minor, from Eight piano pieces, Op. 76
Intermezzo in b minor, Op. 119, No. 1
Klavierstücke op. 118 - VI. Intermezzo
Intermezzo in A Major, from Eight piano pieces, Op. 76
Intermezzo in e minor, Op. 116, No. 5, from Seven Fantasies
Performances by same musician(s)
Navarra
Serenade, Op. 3
Abandon
Lotus Land (after Scott)
Estrellita, from Canciones Mexicanas
Habanera, Op. 21, No. 2, from Three Spanish Dances
Andante
Mazurka
Violin Concerto
Violin Concerto No. 1, Op. 99
Classical Music for the Internet Era™