• Name: Johannes Brahms
• Birthday: 05/07/1833
• Birth Place: Germany
• Died: 04/03/1897
• Place of Death: Austria
• Period: Romantic
• Genre: Classical

Title	Release
Symphonien & Konzerte	2008
Little Bundle of Sugar	2001
Meet the Classics	2000
Johannes Brahms	1995
Piano Concerti 1 & 2 / Haydn 5	1994
Ein Deutsches Requiem	1991
Sonatas 1 & 2 for Cello & Piano
(260) Academic Festival Overture, for orchestra in C minor ("Akademische Festouvertüre"), Op. 80
(143) Clarinet Quintet in B minor, Op. 115	1964
(199) Concerto for violin, cello & orchestra in A minor ("Double"), Op. 102	1952
(237) Ein deutsches Requiem (A German Requiem), for soprano, baritone, chorus & orchestra, Op. 45 W	2007
(243) Piano Concerto No. 1 in D minor, Op. 15
(335) Piano Concerto No. 2 in B flat major, Op. 83
(122) Piano Quartet No. 1 in G minor, Op. 25	1948
(151) Sonata for cello & piano No. 1 in E minor, Op. 38
(132) Sonata for cello & piano No. 2 in F major, Op. 99 W
(198) Sonata for violin & piano No. 1 in G major ("Regen"), Op. 78	1995
(163) Sonata for violin & piano No. 2 in A major ("Thun"), Op. 100	1995
(204) Sonata for violin & piano No. 3 in D minor, Op. 108	1995
(474) Symphony No. 1 in C minor, Op. 68	1950
(422) Symphony No. 2 in D major, Op. 73
(440) Symphony No. 3 in F major, Op. 90	1964
(410) Symphony No. 4 in E minor, Op. 98
(269) Tragic Overture, in D minor, Op. 81
(124) Variations (25) and Fugue on a Theme of Handel, for piano, in B flat major, Op. 24	1963
(280) Variations on a Theme of Haydn for orchestra in B flat major (St. Anthony Variations), Op. 56a	1990
(453) Violin Concerto in D major, Op. 77	2006
Klänge I ("Aus der Erde quellen Blumen"), duet for soprano, alto & piano, Op. 66/1	2005
(9) Abenddämmerung ("Sei willkommen, Zwielichtstunde!"), song for voice & piano, Op. 49/5	2009
(2) Abendlied ("Friedlich bekämpfen"), quartet for mixed voices & piano, Op. 92/3	1992
(5) Abendregen ("Langsam und schimmernd"), song for voice & piano, Op. 70/4	1982
(13) Abendständchen ("Hör, es klagt die Flöte wieder"), for chorus, Op. 42/1	1998
(2) Abschied ("Ach! mich hält der Gram gefangen"), song for voice & piano, Op. 69/3	1983
(3) Abschiedslied ("Ich fahr dahin"), for chorus (& piano), WoO 34/9	1989
(4) Ach Gott, wie weh tut scheiden, folk song for voice & piano (Deutsche Volkslieder), WoO 33/17	1987
(7) Ach, arme Welt, du trügest mich, motet, Op. 110/2	1995
(5) Ach, englische Schäferin, song for voice & piano, WoO 33/8	1987
(4) Ach, könnt ich diesen Abend, folk song for voice & piano (Deutsche Volkslieder), WoO 33/26	1987
(6) Ach, wende diesen Blick, song for voice & piano, Op. 57/4	1996
(3) Ade! ("Wie schienen die Sternlein so hell"), song for voice & piano, Op. 85/4	1972
(4) Agnes ("Rosenzeit, wie schnell vorbei"), song for voice & piano, Op. 59/5	1987
(11) All mein Gedanken, folk song for voice & piano, WoO 33/30	1987
(4) All meine Herzgedanken, for chorus, Op. 62/5
(20) Alte Liebe ("Es kerhrt die dunkle Schwalbe"), song for voice & piano, Op. 72/1
Altes Minnelied ("Ich fahr dahin, wenn es muss sein"), for female chorus, WoO 37/8	1986
Altes Volkslied ("Verstohlen geht der Mond auf"), folk song for chorus (& piano ad lib), WoO 35/9	2004
(95) Alto Rhapsody, for alto, male chorus & orchestra, Op. 53	2007
Am Gesteine rauscht die Fluth, waltz for vocal quartet & piano, 4 hands (Liebeslieder Waltzes), Op. 52/2
(11) Am Sonntag Morgen zierlich angethan, for voice & piano, Op. 49/1	1940
Am Wildbach die Weiden, for chorus, Op. 44/9
(3) An den Mond ("Silbermond, mit bleichen Strahlen"), song for voice & piano, Op. 71/2	1972
(3) An die Heimat, for 4 voices & piano, Op. 64/1	2003
(20) An die Nachtigall ("Geuss nicht so laut"), song for voice & piano, Op. 46/4	2008
(3) An die Stolze ("Und gleichwohl kann ich anders nicht"), song for voice & piano, Op. 107/1	1973
An die Tauben ("Fliegt nur aus, geliebte Tauben!"), song for voice & piano, Op. 63/4	1973
An ein Bild ("Was schaust du mich so freundlich an"), song for voice & piano, Op. 63/3	1973
(3) An ein Veilchen ("Birg, o Veilchen, in deinem blauen Kelche"), song for voice & piano, Op. 49/2	2008

The stature of Johannes Brahms among classical composers is well illustrated by his inclusion among the "Three Bs" triumvirate of Bach, Beethoven, and Brahms. Of all the major composers of the late Romantic era, Brahms was the one most attached to the classical ideal as manifested in the music of Haydn, Mozart, and especially Beethoven; indeed, Hans von Bülow once characterized Brahms' Symphony No. 1 (1855-1876) as "Beethoven's Tenth." As a youth, Brahms was championed by Robert Schumann as music's greatest hope for the future; as a mature composer, Brahms became for conservative musical journalists the most potent symbol of musical tradition, a stalwart against the "degeneration" represented by the music of Wagner and his school. Brahms' symphonies, choral and vocal works, chamber music, and piano pieces are imbued with strong emotional feeling, yet take shape according to a thoroughly considered structural plan.

The son of a double bassist in the Hamburg Philharmonic Society, Brahms demonstrated great promise from the beginning. He began his musical career as a pianist, contributing to the family coffers as a teenager by playing in restaurants, taverns, and even brothels. Though by his early twenties he enjoyed associations with luminaries like violinists Eduard Reményi and Joseph Joachim, the friend and mentor who was most instrumental in advancing his career was Schumann, who all but adopted him and became his most ardent partisan, and their esteem was mutual. Following Schumann's death in 1856, Brahms became the closest confidant and lifelong friend of the composer's widow, pianist and composer Clara Wieck Schumann. After a life of spectacular musical triumphs and failed loves (the composer was involved in several romantic entanglements but never wed), Brahms died of liver cancer on April 3, 1897.

In every genre in which he composed, Brahms produced works that have become staples of the repertory. His most ambitious work, the German Requiem (1863-1867), is the composer's singular reinterpretation of an age-old form. The four symphonies -- lushly scored, grand in scope, and deeply expressive -- are cornerstones of the symphonic literature. Brahms' concertos are, similarly, in a monumental, quasi-symphonic vein: the two piano concertos (1856-1859 and 1881) and the Violin Concerto (1878) call for soloists with both considerable technical skill and stamina. His chamber music is among the most sophisticated and exquisitely crafted of the Romantic era; for but a single example, his works that incorporate the clarinet (e.g., the Trio in A minor, Op. 114 and the two Sonatas, Op. 120), an instrument largely overlooked by his contemporaries, remain unsurpassed. Though the piano sonata never held for Brahms the same appeal it had for Beethoven (Brahms wrote three to Beethoven's 32), he produced a voluminous body of music for the piano. He showed a particular affinity for variations -- notably, on themes of Schumann (1854), Handel (1861), and Paganini (1862-1863) -- and likewise produced a passel of national dances and character pieces such as ballades, intermezzi, and rhapsodies. Collectively, these constitute one of the essential bodies of work in the realm of nineteenth century keyboard music. ~ All Music Guide, All Music Guide