Deutsche Volkslieder, No. 22, Dort in den Weiden


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The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Herein lies the problem with Brahms as a student and exponent of folksong: he lived rather too early to benefit from real, disciplined scholarship in this field, and he trusted his various sources to be as truthful and reliable as he himself would have been.

There were obviously a considerable number of melodies and texts that were indeed gathered from authentic folksong sources, but at a time when there was a vogue for this kind of music, and a market that allowed and encouraged a romanticized view of the form that went back to the Des Knaben Wunderhorn anthology, it was easy for someone like Zuccalmaglio who clearly had a knack for pastiche simply to invent folksong-like ditties and pass them off as age-old material.

It is little wonder that composers of a later age who used folksong material tended to trust the melodies most that they had gathered for themselves. Brahms was particularly proud of the 49 folksong settings with piano accompaniment—42 solo songs and seven songs with solo singer and chorus SATB —published in The practitioners of the so-called music of the future, such as Liszt, Berlioz and Wagner, had no interest in genuine folk music.

It is interesting that there was no great composer in the more modern German tradition who attempted to broach this repertoire and arrange it with greater authenticity.

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Instead the Knaben Wunderhorn settings of Mahler created an even more sophisticated simulacrum of folk music tinged with humour, and irony—a palimpsest of sources old and new, genuine and fake, where so-called authenticity ceased to be an issue of importance or interest. Perhaps the question of authenticity mattered less with a dominant language and culture like German, than with those languages like Hungarian and Czech and to an extent English that were struggling to achieve their independence from the very German tradition that Brahms represented. Nevertheless, when it comes to folksong in Germany there is no composer before or since who has done as much as Johannes Brahms and this may have something to do with the fact that he always identified himself deep down, and with considerable contrariness, as a working-class, rather than a middle-class, artist.

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List of compositions by Johannes Brahms

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Symphony No. Academic Festival Overture. Violin Concerto in D major. Double Concerto in A minor. Violin Sonata No. Piano Trio in A major. Piano Trio No. Brahms wrote several other Piano Trios prior to November Anh. Piano Quintet in F minor. Clarinet Trio in A minor. Clarinet Quintet in B minor.


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Brahms wrote 20 String Quartets prior to these two Anh. String Quartet No. String Quintet No. String Sextet No. Piano Sonata No. Etudes for Piano: Variations on a Theme of Paganini.

Studien 2 "Studies" Book 1: Etude after Fr. Studien 3 "Studies" Book 2: Presto after J. Study for the Left Hand, arr.

Dort in den Weiden steht ein Haus, op. 107 Nr. 31

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Forwoods ScoreStore | Brahms: 42 Folk Songs Volume 2 High Voice published by IMC

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Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden Deutsche Volkslieder, No. 22, Dort in den Weiden
Deutsche Volkslieder, No. 22, Dort in den Weiden

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