It’s actually kind of depressing, looking at my desk; it is now devoid of the textbooks that usually weigh it down. This year had many enjoyable aspects, one of which, for once(!), was the academics. My senior classes were great, and relatively stress free. I usually pulled all-nighters to watch…
Take a look at this image, You see embedded spirals of green, pinkish-orange, and blue? Incredibly, the green and the blue spiralsare the same color.
The reason they look different colors is because our brain judges the color of an object by comparing it to surrounding colors. In this…
Brahms - Piano Concerto No. 2 in B-flat major, Op. 83
I. Allegro non troppo
II. Allegro appassionato
III. Andante
IV. Allegretto graziosoDaniel Barenboim, piano
Münchener Philharmoniker
Sergui Celibidache, cond.“I don’t mind telling you,” Brahms wrote to his friend Elizabet von Herzogenberg in July 1881, “that I have written a tiny, tiny piano concerto in B-flat with a tiny, tiny wisp of a scherzo.” When, some days later, he sent the finished manuscript to Billroth, it was accompanied by a note which read simply: “Here are some small piano pieces.”
Brahms’ Second Concerto is in fact a fifty-minute behemoth, a “symphony with piano” of the greatest ambition in which the solo writing, while brilliant, is always clearly in partnership with the orchestra and in the service of genuine musical development. It is a more extraordinary work than his earlier Concerto in D minor, though it took considerably longer to enter the standard repertoire.
From the beginning, Brahms discards traditional procedure: the poignant opening horn call is answered by a brilliant cadenza which launches the condensed exposition. The Andante movement features, unusually, a cello solo; Brahms would later rework this material into the Lied “Immer leiser wird mein Schlummer.” The concerto’s finale is a refreshingly light finish to this expansive, heavy essay, but escalates toward a virtuosic display of the highest order at its close.
Liszt said to Brahms of this concerto, “At first reading this work seemed to me a little gray in tone; I have, however, gradually come to understand it. It is pregnant with the character of a distinguished work of art, in which thought and feeling move in noble harmony.”
- When you study music, the most important thing to learn is strict counterpoint.
- Writing variations is something good for the beginner.
- Usually the best ideas flow from the hand and mind without particular effort; these are the ideas which will endure in your compositions.
- Never begin the working-out of a composition before the whole thing has taken definite form as an outline on paper or in your head. When ideas come to you, go for a walk: then you will discover that the thing which you thought to be a complete idea was only the beginning of one.


