#0 ^0||Ai 4°a|EI4. 24#: 7|£4 7|§o^ 7f§®t <4402 °®44. niofvaf ^opi gggo| 45« o|44?|-§ eil, §Ä 301b 2!440||A| H|£0| ^i|A|S|-l^ tt|Of20 § Algol V^-404. CH'S Ol-^ 0| 4§>>°0A| ö §zS7j 0^580 ‘B444 £#’> nj>4 z, ch 'S o|b 0# 7I2-I-L o|d|7|< Tj-BSplz 04. *J44 z AH30 ^0|| Ä>4 OH^SJ- za|§0| 44 0§ ^44. 4£b >afo|0^o||A|-^ z s. €■ #04 ##> £SW44b 544. 34# WFZ Uj|u §z IIl'eMI 4444. CfA| #^445^#>W<i 431444 4#4Zk|<^4 z §4# *M 447fe «F o| o^s. qa-i 7W a D |£ 5 2ZS> Z«tsfz 04. et 341h 4#4 ı4 4 4§S A|L|Z 04 4$4 0#A|7|0, V 0*H V34lh 4h §°5 5444 4A| üfzz* 7|g> 7f a|?|Z 04. o|#4 §44 4z Vho||Ai “?[z< z0 sm ^^Shoih^Sh U||t04 S444AI0«rn hj-s. 4 o^ ä.04.444 0M|o||Aj §4h ‘£f#4 §° t’4z4A|S ^5404*71*!® 242 044 #4 54h h ®» so|44 4s. D sj 44 45404. This work is representative of Brahms' early composing style and it was one of the first to be written in a concerto form. Brahms wrote the piece in between years 1854 and 1857 and it was first performed by Brahms as the pianist and Joseph Joachim as the conductor in November of 1859 at Staatsoper Hannover. When the concerto was first revealed, it was criticized by the public and even hissed by some audiences. However, by the 20th Century, the con certo was turned into a piece that is very much loved by virtuosic pianists. Brahms' composition style can be described as a combi- nation of Bach's graceful solemnity, Beethoven's masculine energy and Schumann's romantic lyricism and unlike Wag ner and Liszt, who strived towards modernism, Brahms was a musical conservative and a traditionalist. Brahms started toestablish his identityasa composer since he was 11 years old and throughout his lifetime, he was a perfectionist like Beethoven, throwing away some of his compositions or taking almost 22 years to compose his first symphony. The first movement Maestoso begins with fierce trills in fortissimo from the orchestra and once the piano solo is in- troduced, although it may seem as if it is moving away from the intense opening, it is not long until the piano builds up the tension to repeat the initial fortissimo trills with both hands, in octaves. The piano and the orchestra explore shifts of keys until the movement ends with a grand d mi- nor chord. In contrast, the second movement Adagio is known to be a lovely portrait of Clara Schumann.The fierce trills from the first movement are now turned into a lyri- cal Ornament in the key of D major and the orchestra and the piano frequently exchange the serene melody line to form a conversation. The last movement Rondo: Allegro non troppo returns back to d minor and Brahms gives an opportunity to let the pianist's virtuosity shine through cadenzas as well as keeping the melody interchange be tween the piano and the orchestra.
