One of Weidman's major works was " Brahms Waltzes ", which was dedicated to Doris Humphrey " because it was the kind of movement she loved and could dance so beautifully ".

Brahms maintained a Classical sense of form and order in his works – in contrast to the opulence of the music of many of his contemporaries.

German Classical is among the most performed in the world ; German composers include some of the most accomplished and popular in history, among them Johann Sebastian Bach, Ludwig van Beethoven, Franz Schubert, Johannes Brahms, and Richard Wagner.

This strict adherence to forms used in the Classical Period earned Brahms a reputation for being musically " conservative.

Classical composers who have used csárdás themes in their works include Emmerich Kálmán, Franz Liszt, Johannes Brahms, Léo Delibes, Johann Strauss, Pablo de Sarasate, Pyotr Ilyich Tchaikovsky and others.

He has written respected musical biographies of Charles Ives and Johannes Brahms, as well as the introductory Vintage Guide to Classical Music ".

The Romantic sonata form was an especially congenial mold for Brahms, who felt a strong affinity with the composers of the Classical era.

* Classical Notes-Johannes Brahms Double Concerto

Brahms ' antiquarian interests, his studies of music from the Renaissance to the Classical periods, show in his work — he edited and helped publish a two-chorus motet by Mozart Venite Populi, he had a collection of sonatas by Scarlatti — and in his composition, his motets op.

Steinberg's Command recording of the Brahms Symphony No. 2 with the Pittsburgh Symphony Orchestra was nominated for a Grammy for Classical Album of the Year in 1962.

Nationalist composers emerged in Central Europe, Russia, Scandinavia, Spain and Britain: the music of Dvorak, Smetana, Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner, Sibelius, Vaughan Williams, Bartók and many others drew upon folk melodies.

The early Romantic composers had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer.

Brahms considered giving up composition when it seemed that other composers ' innovations in extended tonality would result in the rule of tonality being broken altogether.

Features of the ' Brahms style ' were absorbed in a more complex synthesis with other contemporary ( chiefly Wagnerian ) trends by Hans Rott, Wilhelm Berger, Max Reger and Franz Schmidt, whereas the British composers Hubert Parry and Edward Elgar and the Swede Wilhelm Stenhammar all testified to learning much from Brahms's example.

Brahms was a lifelong friend of Johann Strauss II, though they were very different as composers.

* Brahms by Malcolm MacDonald is a biography and discussion of virtually everything Brahms composed, along with chapters examining his position in Romantic music, his devotion to Early Music, and his influence on later composers.

Trained by the great classical music composers Brahms and Mahler, he was one of the first composers who primarily wrote music for motion pictures, and as such is often referred to as " the father of film music ".

In the 19th century German composers continued to write motets occasionally, notably Felix Mendelssohn and Johannes Brahms ( in German ) and Anton Bruckner ( in Latin ).

As time progressed, and as the Romantic period saw changes in accepted modification with composers such as Berlioz, followed by Johannes Brahms and eventually Gustav Mahler, the 20th century saw that instrumentation could practically be hand-picked by the composer.

In creating his own music, he tended to avoid the more monumental composers as models, finding relatively little kinship with or inspiration from Beethoven, Brahms, Tchaikovsky, Berlioz or Franck.

A world capital of music, the city played host to composers such as Brahms, Bruckner, Mahler and Richard Strauss.

Music by late-Romantic composers such as Richard Wagner and Johannes Brahms is now played with a fairly continuous vibrato.

Famous composers from the second half of the century include Johann Strauss II, Brahms, Liszt, Čajkovskij, Verdi, and Wagner.

Some composers considering metronome-tempo-marks to have only little value, or to hinder creative musical interpretation: Johannes Brahms said: " I am of the opinion that metronome marks go for nothing.

Many notable composers, including Felix Mendelssohn, Richard Wagner, Giuseppe Verdi and Johannes Brahms, have criticised the use of the metronome.

The household was frequently visited by prominent cultural figures, among them the composers Johannes Brahms, Gustav Mahler, Josef Labor, and Richard Strauss, with whom the young Paul played duets.

While his early music was inspired by composers such as Brahms and Grieg, he soon started to develop his own style, first experimenting with progressive tonality and later diverging even more radically from the standards of composition still common at the time.

Later composers of the chorale prelude include Johannes Brahms and Max Reger.

his use of ' additive rhythm ', where irregular groupings of notes create a fluid pulse quite unlike the rigid beat of previous classical composers such as Beethoven or Brahms.

Walter made many highly acclaimed recordings of other great Germanic composers, such as Mozart, Haydn, Beethoven, Schubert, Johannes Brahms, Johann Strauss Jr., and Anton Bruckner, as well as of Bach, Wagner, Schumann, Dvorak, Richard Strauss, Tchaikovsky, Smetana, and others.

Although known for his performances of the French repertoire, his chief love was the music of German composers, above all Brahms.

After his early piano lessons with Otto Cossel, Brahms studied piano with Eduard Marxsen, who had studied in Vienna with Ignaz von Seyfried ( a pupil of Mozart ) and Carl Maria von Bocklet ( a close friend of Schubert ).

Ragtime ( with Joplin's work at the forefront ) has been cited as an American equivalent of minuets by Mozart, mazurkas by Chopin, or waltzes by Brahms.

The symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets.

This first concert consists of music by Vivaldi ( at a time when he was still seldom played ), Mozart, and Brahms.

Despite his performing repertoire being concentrated largely on the works of Beethoven, Schubert, Mozart and Brahms, almost all of his own compositions ( none of which are in the active repertoire ) are atonal.

* 1996 Brahms / Beethoven / Mozart: Clarinet Trios ( Sony 57499 )

As a soloist and conductor, he is probably best known for his interpretations of the core classical repertoire, including Mozart, Beethoven, Schubert, Brahms and Bartók.

Also of great interest are recordings from the 1950s of his rehearsals of Mozart, Mahler, and Brahms, which give insight into his musical priorities and into the warm and non-tyrannical manner ( as contrasted with some of his colleagues ) with which he related to orchestras.

Under Boult it recorded a wide range of music from Bach to Mozart and Beethoven, Brahms, Wagner and Elgar.

The programme consisted of short pieces by Berlioz and Arnold Bax, and symphonies by Mozart ( the Linz ) and Brahms ( the Fourth ).

* 1991: Wolfgang Amadeus Mozart: Symphony No. 36, Johannes Brahms: Symphony No. 2, Vienna Philharmonic, Philips.

* 1996: Ludwig van Beethoven: " Coriolan " Overture, Wolfgang Amadeus Mozart: Symphony No. 33, Johannes Brahms: Symphony No. 4, Bavarian State Orchestra, Deutsche Grammophon.

In addition to the French repertoire with which, to his occasional irritation, he was generally associated, he programmed Mozart, Beethoven, Brahms and Wagner, as well as later composers including Granados, Schoenberg, Scriabin, Shostakovich, Sibelius, Richard Strauss and Vaughan Williams.

Other classic recordings by Fischer include Bach keyboard concertos, miscellaneous solo Bach works, such as the Chromatic Fantasy and Fugue, various concertos and sonatas by Mozart and Beethoven, Schubert's " Wanderer " Fantasie and Impromptus, and Brahms ' Second Concerto, conducted by Wilhelm Furtwängler.

* Trios with clarinet include masterpieces by Mozart, Beethoven, Brahms and Bartok ; many more works are listed in the articles Clarinet-violin-piano trio, Clarinet-viola-piano trio and Clarinet-cello-piano trio.

The collection includes autograph scores, sketches, composer-emended proofs and first editions of major works by Mozart, Bach, Beethoven, Brahms, Schumann, Chopin, Schubert, Liszt, Ravel, Stravinsky, Copland and other masters of the classical music canon.

Schenker's primary theoretic aims were to prove the superiority of music of the common practice period ( especially the music of Johann Sebastian Bach, Carl Philipp Emanuel Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Fryderyk Chopin, and Johannes Brahms ) over more modern music such as that of Richard Wagner, Igor Stravinsky, and Arnold Schoenberg, and to show that most of the established music theory teaching of the time, with an emphasis on the theories of his contemporary Hugo Riemann, was misleading and useless for an understanding of the " masterworks.

Noted for its smooth, sophisticated style, its seamless ensemble playing, and its sensitive interpretation, the quartet made some 200 recordings, among them the complete quartets of Ludwig van Beethoven, Johannes Brahms, and Wolfgang Amadeus Mozart.

For concerts as well as recordings of string quintets ( Mozart, Franz Schubert, Johannes Brahms, Anton Bruckner ) and string sextets ( Brahms ) they invited regularly Cecil Aronowitz as second viola and William Pleeth as second cello.

** Boston Symphony Chamber Players for Boston Symphony Chamber Players-Works of Mozart, Brahms, Beethoven, Fine, Copland, Carter, Piston

* Mozart / Brahms: Clarinet Quintets ( 1999 ) Deutsche Grammophon

** Emanuel Ax, Yo-Yo Ma & Richard Stoltzman for Brahms / Beethoven / Mozart: Clarinet Trios