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Showing posts with label Brahms. Show all posts
Showing posts with label Brahms. Show all posts

Friday, December 19, 2025

The Most Memorable Composer Christmases: Mahler, Rachmaninoff, and More

by Emily E. Hogsta

The great composers also experienced a wide variety of Christmas celebrations. Today, we’re looking at five memorable Christmases from the lives of five great composers. (Read Part 1 here: The Most Memorable Composer Christmases: Chopin, Schumann, and More)

Mahler’s Devastating Breakup – 1884

Gustav Mahler

Gustav Mahler

In mid-1883, 23-year-old Gustav Mahler took a job conducting opera at the Königliches Theater in Kassel, Germany.

While there, he began working with 25-year-old coloratura soprano Johanna Richter and fell in love with her. It was his first intense love affair.

We are not sure if Richter reciprocated Mahler’s feelings quite as intensely; only one letter from her survives.

In 1884, he began composing for her, writing lyrics based on folksongs and setting them to music. He called the resulting song cycle Lieder eines fahrenden Gesellen, or Songs of a Wayfarer. His December 1884 was absorbed by the project.   

Despite his passion for Richter, the couple was ultimately doomed.

He spent New Year’s Eve of 1884 with her and wrote to a friend about the experience:

I spent yesterday evening alone with her, both of us silently awaiting the arrival of the new year.

Her thoughts did not linger over the present, and when the clock struck midnight, and tears gushed from her eyes, I felt terrible that I, I was not allowed to dry them.

She went into the adjacent room and stood for a moment in silence at the window, and when she returned, silently weeping, a sense of inexpressible anguish had arisen between us like an everlasting partition wall, and there was nothing I could do but press her hand and leave.

As I came outside, the bells were ringing, and the solemn chorale could be heard from the tower.

Although the relationship didn’t work out, Mahler did reuse ideas from Songs of a Wayfarer in his first symphony, which he composed between 1887 and 1888. He wasn’t about to let his holiday heartbreak go to waste!

Fanny Mendelssohn Hensel Is Disappointed by the Christmas Singing of Papal Singers – 1839

Fanny Mendelssohn-Hensel

Fanny Mendelssohn-Hensel

Felix Mendelssohn and his sister Fanny Mendelssohn were two of the most talented child prodigies in the history of music. They remained close for their entire lives.

Felix, however, was encouraged to pursue a musical career, while Fanny’s musical accomplishments were viewed as mere feminine adornments. (Luckily, her husband understood her talent and encouraged her music-making.)

Long story short, Felix got support that she never did, and in 1830, when Fanny was 24, and Felix was 21, the family sent him on a ten-month trip to Italy…without Fanny. The trip was formative, and Fanny was fascinated by the stories of his travels.   

Happily, Fanny got to go eventually. Between 1839 and 1840, Fanny, her husband, and her baby son Sebastian took their own trip to Italy, following in Felix’s footsteps.

On 1 January 1840, she wrote to her brother, sharing some observations about musical life in Rome:

We’re enjoying a pleasant life here. We have a comfortable, sunny apartment and thus far have enjoyed the nicest weather almost continuously. And since we’re in no particular hurry, we’ve been viewing the attractions of Rome at our leisure, little by little.

It’s only in the realm of music, however, that I haven’t experienced anything edifying since I’ve been in Italy.

I heard the Papal singers 3 times – once in the Sistine Chapel on the first Sunday in Advent, once in the same place on Christmas Eve, and once in St. Peter’s basilica on Christmas day – and have to report that I was astounded that the performances were far from perfect.

Right now, they seem to lack good voices and sing completely out of tune…

One can’t part with one’s trained conceptions so easily.

Church music in Germany, performed with a chorus consisting of a few hundred singers and a suitably large orchestra, assaults both the ear and the memory in such a way that, in comparison, the pair of singers here seemed quite thin in the wide expanses of St. Peter’s.

With respect to the music, a few passages stood out as particularly beautiful. On Christmas Eve, for instance, after the parts had dragged on separately for a long time, there was a lively, 4-part fugal passage in A-minor that was very nice.

I later discovered that it began precisely at the moment when the Pope entered the chapel, and I didn’t know it at the time because women, unfortunately, are placed in a section behind a grille from which they cannot see anything.

This section is far away, and in addition, the air is darkened by the smoke from candles and incense.

On the other hand, I could at least occasionally see the officials on Christmas day in St. Peter’s very well, and found them quite splendid and amusing.

We naturally had a Christmas tree, because of Sebastian, and constructed it out of cypress, myrtle, and orange branches. The branches were very lovely, but it wasn’t the best-looking tree, and Sebastian and I attempted to outdo each other the entire day in feeling homesick.

Johannes Brahms Surprises Clara Schumann – 1865

Black and white collage of composer Johannes Brahms and Clara Schumann

Clara Schumann and Johannes Brahms

Johannes Brahms and Robert Schumann’s wife, virtuoso pianist Clara Schumann, stayed close friends until the end of their lives.

They never had a traditional romance, but they loved each other deeply, and over their decades-long relationship, Brahms spent many holidays with Clara and her children.

At Christmas 1865, Johannes was 32, and Clara was 46. Both had busy performing careers that necessitated frequent travel, and Clara assumed that she wouldn’t be seeing Johannes for the holidays.   

She sent him a traveling bag as a Christmas gift. With the gift, she included a letter talking about her daughter Julie, who had recently been ill.

She wrote, “Thank heaven we have fairly good news of Julie. She has got over the danger of typhoid, but it will be a long time before she has completely recovered.”

The family was worried about Julie’s health, and they didn’t even bother lighting candles on the tree that year.

But then the door opened – and Brahms appeared! He had made a seven-hour journey to Düsseldorf to surprise the family and check in on Julie himself.

Clara wrote in her diary that she was “very pleased and excited.”

Read our article about Christmas with Brahms.

Rachmaninoff Flees Russia – 1917

Kubey-Rembrandt Studios: Sergei Rachmaninoff, 1921

Kubey-Rembrandt Studios: Sergei Rachmaninoff, 1921

The Russian Revolution began in February 1917, leading to Tsar Nicholas II’s abdication in March and a provisional government taking power.

During that year’s October Revolution, a Bolshevik insurrection overthrew the provisional government. Once the Bolsheviks took power, a broader civil war broke out.

The conflict impacted Rachmaninoff’s life deeply. In the spring of 1917, he returned from touring to find that his estate had been seized by the Social Revolutionary Party. He departed, disgusted, and vowed never to return.

He and his family moved to Moscow. As tensions rose throughout the fall, he made edits to his first piano concerto with the sound of bullets flying in the background.   

During this tense time, he received an invitation to give a series of recitals in Scandinavia. He accepted because it would give him and his family an excuse to flee the country.

On 22 December 1917, the Rachmaninoffs got on a train in St. Petersburg, crowded with terrified passengers who feared arrest. Fortunately, the officials who met them were kind.

The following day, they arrived at the Finnish border. To get across it, Rachmaninoff, his wife, and two daughters had to travel in an open peasant sleigh during a blizzard.

They arrived in Stockholm on Christmas Eve. Exhausted, the family stayed in their hotel.

After escaping Russia, Rachmaninoff would go on to a celebrated performing career, but he would compose less and less. Later in his life, he would remark, “I left behind my desire to compose: losing my country, I lost myself also.”

Leonard Bernstein Conducts the Historic Berlin Wall Concert – 1989

Leonard Bernstein

Leonard Bernstein

In November 1989, the Berlin Wall was taken down, signaling the demise of the so-called Iron Curtain that had hung across Europe for a generation.

Conductor and composer Leonard Bernstein helped to organise a performance at the present-day Konzerthaus Berlin. This venue had been burned out during World War II but was reconstructed in the late 1970s and early 1980s, opening just a few years before this concert.

Musicians from all around the world participated, including men and women from Leningrad, Dresden, New York, London, and Paris.

Together on Christmas Day 1989, they performed a concert celebrating the fall of the Berlin Wall.

Bernstein programmed Beethoven’s Ninth Symphony and changed the Ode to Joy to the Ode to Freedom.

It was broadcast all over the world and became one of the most famous orchestral performances of the twentieth century, seen live by around 100 million viewers. How’s that for a memorable Christmas?

Friday, October 17, 2025

Eight of the Saddest Piano Concerto Slow Movements

by Emily E. Hogstad 

If you’re a classical music fan drawn to sad, slow movements in piano concertos, this is the list you’ve been looking for.

Whether it’s Chopin’s gentle melancholy, Ravel’s elegant wistfulness, or Rachmaninoff’s romantic despair, each of these slow movements paints a picture of a particular kind of sadness.

Piano hands close up

© chopinacademy.com

Although every ranking having to do with classical music is subjective, we numbered our picks anyway, from least sad to saddest. Find out which concerto we’ve dubbed the saddest at the end.

8. Chopin: Piano Concerto No. 1, Mov. 2  

Chopin wrote this concerto in 1830 when he was just twenty years old.

The inspiration behind this piece is unclear…but we know there was one.

Frédéric Chopin in 1849

Frédéric Chopin in 1849

In a letter, Chopin wrote a cryptic observation to his best friend (and potential crush or even lover) Tytus Woyciechowski:

“Here you doubtless observe my tendency to do wrong against my will. As something has involuntarily crept into my head through my eyes, I love to indulge it, even though it may be all wrong.”

It’s a mysterious confession. Some believe he’s referring to his other crush, singer Konstancja Gładkowska. Others wonder if he’s referring to Woyciechowski, with whom he exchanged a number of romantic letters as a young man.

Chopin wrote to Woyciechowski about the slow movement in particular:

“It is not meant to create a powerful effect; it is rather a Romance, calm and melancholy, giving the impression of someone looking gently towards a spot that calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening.”

The specific sadness of this music is a gentle, possibly flirtatious melancholy.

7. Brahms: Piano Concerto No. 2, Mov. 3   

Brahms’s second piano concerto covers similar emotional territory to the Chopin Romance. Save for a brief stormy interlude in the centre of the movement, this is not overtly tragic music: it’s more brooding, repressed melancholy.

Johannes Brahms, ca 1875

Johannes Brahms, ca 1875

The movement begins with a soulful cello solo (an idea that Brahms may have lifted from his dear friend Clara Wieck Schumann, who had included similar instrumentation in the piano concerto she’d written as a teenager decades earlier).

The final portion of the movement, where the cello returns again and moves with the piano through a number of keys together, is the absolute epitome of bittersweet regret.

6. Bartók: Piano Concerto No. 3, Mov. 2   

Béla Bartók composed his third piano concerto in 1945 when he was 64 years old. He was terminally ill with leukaemia at the time.

That October, his wife, pianist Ditta Pásztory-Bartók, was set to celebrate her 42nd birthday. He began working on a third piano concerto for her as a birthday present. He was hopeful that after his death, whenever it occurred, she could tour with it and make money.

Béla Bartók in the 1920s

Béla Bartók in the 1920s

Tragically, he died in late September, a month before her birthday. Fortunately, the piano concerto, save for the final seventeen measures, was completed.

The slow movement of this concerto feels like a hushed, tender, intimate goodbye. Regret and wistfulness are mixed in with profound gratitude.

5. Ravel: Piano Concerto, Mov. 2   

Ravel wrote of his piano concerto:

“My only wish…was to write a genuine concerto, that is, a brilliant work, clearly highlighting the soloist’s virtuosity, without seeking to show profundity. As a model, I took two musicians who, in my opinion, best illustrated this type of composition: Mozart and Saint-Saëns…”

Maurice Ravel

Maurice Ravel

In particular, he looked to Mozart’s clarinet quintet for inspiration. That melody is an unusual twenty measures long. In his concerto, Ravel’s melody is an astonishing thirty-four.

“That flowing phrase!” he wrote later. “How I worked over it bar by bar! It nearly killed me!”

This long melody calls to mind a long, wistful train of thought from the middle of the night, when nothing in the darkness interrupts the thought.

This music is sad in a restrained way. A listener can feel a great depth of sorrow hiding just beneath the surface.

4. Shostakovich Piano Concerto No. 2, Mov. 2   

Shostakovich wrote his second piano concerto for his pianist son Maxim’s nineteenth birthday in 1957. Maxim premiered it at his graduation concert at the Moscow Conservatory that May.

Over the past few years, father and son had suffered a great deal together. In 1954, Maxim’s physicist mother, Nina, had died suddenly. Maxim was just sixteen. Shostakovich was forced to become a single father overnight: a role he was completely unprepared to play.

Dmitri Shostakovich composing

Dmitri Shostakovich

The slow movement of this concerto evokes emotions that a father and son might feel upon seeing a son graduate after the death of a beloved wife and mother: pride, yearning, and a sadness that is simultaneously quiet and deeply intimate.

3. Mozart: Piano Concerto No. 23, Mov. 2   

Mozart wrote his 23rd piano concerto in early 1786, two months before the premiere of one of his best-loved operas, The Marriage of Figaro.

A listener can immediately hear the influence of opera here. It’s especially dramatic because the piano is alone when it enters with its atmospheric, aria-like, minor-key melody.

Croce: Mozart Family Portait (detail), 1781

Croce: Mozart Family Portait (detail), 1781

Starting the movement with a solo part creates a kind of sudden, intense intimacy between the soloist, composer, and audience.

2. Beethoven: Piano Concerto No. 4, Mov. 2   

The orchestral introduction to this slow movement is loud and brutally unforgiving. The piano answers with a sense of quiet despair.

That conflict and dialogue create the narrative that drives the entire movement.

Beethoven in 1803

Beethoven in 1803

Three movements into their unnerving conversation, the piano takes over for a solo turn. We discover that the piano still has fight in it, with a series of loud ringing trills, before sinking back down into a whisper again.

When the orchestra returns, it is also quiet, witnessing the piano’s unraveling.

1. Rachmaninoff: Piano Concerto No. 2, Mov. 2   

Here it is: the saddest slow movement of a piano concerto: the Adagio sostenuto from Rachmaninoff’s second piano concerto.

This movement begins with slow, hushed chords in the strings, followed by a mournful chain of arpeggios in the piano.

The winds contribute hushed fragments of a heartbreaking theme to the steady accompaniment of the piano.

When the soloist and the orchestra players begin interacting with one another, it feels like a confessional conversation. The music conveys all kinds of sadness: grief, regret, yearning, and more, appearing in all different types of musical colours and textures.

Kubey-Rembrandt Studios: Sergei Rachmaninoff, 1921

Kubey-Rembrandt Studios: Sergei Rachmaninoff, 1921

Rachmaninoff wrote his second piano concerto while coming out of a severe period of depression. For a while, he was seeing a therapist daily. It seems that writing this concerto helped him to process what he needed to.

His composing career continued for decades afterwards, and this work became one of the most beloved piano concertos ever written. It’s sad music…but it had a happy ending.

Monday, April 21, 2025

Top 10 Romantic composers


Gramophone
Thursday, January 2, 2025

The Romantic period was one of the most innovative in music history, characterised by lyrical melodies, rich harmonies, and emotive expression. Here's our beginner's guide to the greatest composers of the Romantic period

Hector Berlioz (1803-69)

The arch-Romantic composer, Hector Berlioz’s life was all you’d expect – by turn turbulent and passionate, ecstatic and melancholic.

Key recording:

Les Troyens 

Sols incl DiDonato, Spyres, Lemieux; Strasbourg Philharmonic Orchestra / John Nelson (Gramophone's 2018 Recording of the Year) Read the review

Explore Berlioz:

Top 10 Berlioz albums – 10 great Berlioz recordings by Sir Colin Davis, John Nelson, Régine Crespin, Robin Ticciati and more


● Top 10 Baroque composers

● Top 10 Classical era composers

● Top 10 Renaissance composers


Fryderyck Chopin (1810-49)

Few composers command such universal love as Fryderyck Chopin; even fewer still have such a high proportion of all their music in the active repertoire. Yet he is the only great composer who wrote no symphonies, operas, ballets or choral works. His chief claim to immortality relies not on large scale works but on miniature forms.

Key recording:

Piano Concertos No 1 & 2 

Martha Argerich pf Montreal Symphony Orchestra / Charles Dutoit (winner of the Gramophone Concerto Award in 1999) Read the review

Explore Chopin:

The 10 greatest Chopin pianists – Stephen Plaistow recalls the illustrious recorded history of Chopin's oeuvre and offers a personal view of great Chopin interpreters.


Robert Schumann (1810-56)

Robert Schumann is a key figure in the Romantic movement; none investigated the Romantic’s obsession with feeling and passion quite so thoroughly as him. Schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius.

Key recording:

Symphonies Nos 1-4 

Chamber Orchestra of Europe / Yannick Nézet‑Séguin (Editor's Choice, May 2014) Read the review

Explore Schumann:

Robert Schumann: the story of his prolific ‘year of song’ – Richard Wigmore explores the music of and biography behind Robert Schumann’s miraculous year of song, 1840


Franz Liszt (1811-86)

Composer, teacher, Abbé, Casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, Franz Liszt was the very embodiment of the Romantic spirit. He worked in every field of music except ballet and opera and to each field he contributed a significant development.

Key recording:

'Transcendental: Daniil Trifonov plays Franz Liszt'

Daniil Trifonov pf (Recording of the Month, October 2016; shortlisted for Instrumental Award 2017) Read the review

Explore Liszt:

Podcast: exploring the music of Liszt – Editor Martin Cullingford is joined by Gramophone writer and expert on both Liszt and the piano, Jeremy Nicholas to discuss the composers's greatest works, and the greatest recordings of his music. 


Richard Wagner (1813-83)

No composer has had so deep an influence on the course of his art, before or since. Entrepreneur, philosopher, poet, conductor, one of the key composers in history and most remarkable men of the 19th century, Richard Wagner knew he was a genius. He was also an unpleasant, egocentric and unscrupulous human being.

Key recording:

Parsifal

Sols incl Jess Thomas, George London, Hans Hotter; Bayreuth Festival Chorus & Orchestra / Hans Knappertsbusch Read the review

Explore Wagner:

The Gramophone Collection: Wagner's Ring – Mike Ashman visits the musical immortals and the younger gods of today to deliver his verdict on the complete Ring on record.


Giuseppe Verdi (1813-1901)

Giuseppe Verdi was never a theoretician or academic, though he was quite able to write a perfectly poised fugue if he felt inclined. What makes him, with Puccini, the most popular of all opera composers is the ability to dream up glorious melodies with an innate understanding of the human voice, to express himself directly, to understand how the theatre works, and to score with technical brilliance, colour and originality.

Key recording:

Aida

Sols incl Anja Harteros, Jonas Kaufmann, Ekaterina Semenchuk; Coro dell'Accademia Nazionale Di Santa Cecilia, Orchestra dell'Accademia Nazionale di Santa Cecilia / Antonio Pappano (winner of the 2016 Gramophone Opera Award; Recording of the Month, Awards issue 2015) Read the review

Explore Verdi:

Verdi's Otello: a guide to the best recordings – Richard Lawrence finds at least three very special Otellos, and some electric conducting.


Anton Bruckner (1824-96)

Anton Bruckner’s reputation rests almost entirely with his symphonies – the symphonies, someone said, that Wagner never wrote.

Key recording:

Symphony No 9

Lucerne Festival Orchestra / Claudio Abbado (Gramophone's 2015 Recording of the Year) Read the review

Explore Bruckner:

Top 10 Bruckner recordings – A beginner's guide to the music of one of the great symphonic composers.


Giacomo Puccini (1858-1924)

Whatever the atmosphere he wanted to create, Giacomo Puccini’s sound world is unique and unmistakeable with its opulent yet clear-cut orchestration and a miraculous fund of melodies with their bittersweet, tender lyricism. His masterly writing for the voice guarantees the survival of his music for many years to come.

Key recording:

Tosca

Sols incl Maria Callas, Giuseppe di Stefano, Tito Gobbi; Orchestra and Chorus of La Scala Milan / Victor de Sabata Read the review

Explore Puccini:

Maria Callas: the Tosca sessions – Maria Callas’s famous 1953 Tosca, as Christopher Cook reveals for the first time, was riven by tension and driven by a relentless quest for perfection.


Pyotr Il'yich Tchaikovsky (1840-93)

Tchaikovsky is the most popular of all Russian composers, his music combining some nationalist elements with a more cosmopolitan view, but it is music that could only have been written by a Russian. In every genre he shows himself to be one of the greatest melodic fountains who ever lived.

Key recording:

Symphony No 6, Pathétique

MusicAeterna / Teodor Currentzis (Recording of the Month, January 2018) Read the review

Explore Tchaikovsky:

Tchaikovsky's 1812 Overture: the complete guide – How audiences, performers and the composer himself have responded to this iconic and surprisingly controversial work, by Geoffrey Norris.


Johannes Brahms (1833-97)

One of the giants of classical music, Johannes Brahms appeared to arrive fully armed, found a style in which he was comfortable – traditional structures and tonality in the German idiom – and stuck to it throughout his life. He was no innovator, preferring the logic of the symphony, sonata, fugue and variation forms.

Key recording:

Symphonies (Complete)

Gewandhaus Orchestra / Riccardo Chailly (Gramophone's 2014 Recording of the Year) Read the review

Explore Brahms:

Brahms's Symphony No 3: a guide to the best recordings – Richard Osborne surveys the finest recordings of the Third Symphony