Variations on a Theme of Haydn, for orchestra in B flat major ("St. Anthony Variations"), Op. 56a
Serenade for orchestra No. 1 in D major, Op. 11
Hungarian Dance for piano, 4 hands, in G minor, WoO 1/1
Hungarian Dance for piano, 4 hands, in F major, WoO 1/3
Hungarian Dance for piano, 4 hands, in E major, WoO 1/10
Perhaps more than other 19th century composers, Johannes Brahms felt intimidated by the imposing figure of Ludwig van Beethoven, and for two decades he found writing a symphony almost impossible in the shadow of such a titan. On the way to composing his Symphony No. 1, Brahms steadied himself for the task by working on several less ambitious orchestral pieces, most notably a symphonic movement in D minor, which was used later in the Piano Concerto No. 1, the Serenade No. 1 in D major, and the Variations on a Theme of Haydn ...
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Perhaps more than other 19th century composers, Johannes Brahms felt intimidated by the imposing figure of Ludwig van Beethoven, and for two decades he found writing a symphony almost impossible in the shadow of such a titan. On the way to composing his Symphony No. 1, Brahms steadied himself for the task by working on several less ambitious orchestral pieces, most notably a symphonic movement in D minor, which was used later in the Piano Concerto No. 1, the Serenade No. 1 in D major, and the Variations on a Theme of Haydn (St. Antony Chorale); the latter two works are included on this hybrid SACD from Tudor. One may regard these pieces as precursors in technique, if not in material: while there are no themes or motives in common, the contrapuntal textures and rich orchestration of the Haydn Variations feel similar to the those of the First Symphony, while the Classically oriented serenade shows how Brahms came to work out problems of symphonic form in a more accommodating framework. This SACD by Robin...
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