Brahms - 16 Waltzes Op. 39

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Johannes Brahms

Sixteen Waltzes (German; Sechzehn Walzer), Op. 39, is a set of 16 short waltzes for piano written by Johannes Brahms. They were composed in 1865, and published in 1866, dedicated to the music critic Eduard Hanslick.
These waltzes were written for piano four hands, and were also arranged for piano solo by the composer, in two different versions – difficult and simplified. The three versions were published at the same time, and sold well, contrary to the composer's expectations.
The waltzes were written while the composer lived in Vienna, a city where he would permanently settle in 1872. They were intended as a tribute to the waltz dance form which had become especially fashionable in his adopted city.
In the solo versions, some of the keys were altered from the original duet version (the last four in the difficult version and No. 6 in the easy version). Waltz Number 15 in A major (or A♭) has acquired a life of its own. An arrangement of five of the waltzes (Nos. 1, 2, 11, 14, and 15) for two pianos, four hands was published after the composer's death.
Almost all of the waltzes are in a recapitulating binary form. For each waltz, the first half moves to the dominant, the relative major, or a substitute key. Then, the second half begins with a developmental passage that leads back to the main theme and the tonic.
In 1984, critic Edward Rothstein said that Joseph Smith "made a compelling case for taking them seriously as a unified cycle."

16 Waltzes Op. 39
1. em Si Maior 0:55
2. em Mi Maior 1:29
3. em Sol Sostenido Maior 0:58
4. em mi Menor 1:16
5. em Mi Maior 1:21
6. em Do Sostenido Maior 1:02
7. em Do Sostenido Menor 2:12
8. em Si Bemol Maior 1:35
9. em Re Menor 1:24
10. em Sol Maior 0:35
11. em Si Menor 1:46
12. em Mi Maior 1:35
13. em Si Maior 0:42
14. em Sol Sostenido Menor 1:21
15. em La Bemol Maior 1:35
16. em Do Sostenido Menor 1:21

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Time Stamps:

1. Tempo giusto (B major) 0:00
2. (E major) 0:54
3. (G-sharp minor) 2:23
4. Poco sostenuto (E minor) 3:23
5. (E major) 4:37
6. Vivace (C-sharp major) 6:00
7. Poco più Andante (C-sharp minor) 7:02
8. (B-flat major) 9:14
9. (D minor) 10:49
10. (G major) 12:15
11. (B minor) 12:51
12. (E major) 14:35
13. (C major) 16:13
14. (A minor) 16:54
15. (A-flat major) 18:16
16. (D minor) 19:50

steffen

1, 3, 6, 7, 11, 14 And 16 Are My Favorite Waltzes of The Entire Set.

nachitox

THESE ARE so delightful and i have the good fortune to own a player piano I can hear them live at home off a disk. A played piano is so much brighter and sharper ... lovely ....:-)

stevenb

The 11th is my favorite. The spirit of Schubert, with all its Hungarian grace-notes!!

simonkawasaki

how come are you not writing pianists names??? They did such a huge and great job and they are not acknowledged at all here.

tz

Im playing no. 15 with a violinist!!! So excited, first duet🥰🥰🥰🥰

alexandra

at 3:23 is the heart of the whole thing and the best one of them, the no.4

hshshs

The penultimate piece is the most beautiful.

nicolahacking

Amazing Dear. Many thanks for to share this dear Fantastic

PauloCesarMaiadeAguiar

I love these. Each one so very personal, so spiritually projective of the man at the keyboard with a cigar, who cherished the Bible his mother gave him. A graduate student at San Jose State University played the entire set as part of her Master's program. I'm certain the audience was lulled into more than a Freudian dreamworld replete with subconscious meanderings!

dr.greggrove

Thank you so much for uploading it. I wish we had the name of the performers available. It's (a) shame that such a high-level recording isn't accompanied by the names of those who made it a reality, regardless of the targeted public.

GGMayer

I think they should be taken as a whole, rather similar to the variations, although of course there's nothing wrong with choosing individual waltzes to play. To me the final variation ends on a melancholic note after the mainly happier rhythms of the dance in the previous waltzes, as though the dancers have left, the ballroom is deserted and only the spirit or phantasm of the dancers remains, maybe a metaphor for life. I feel this is typical of Brahms: inner reflection is never far away. Waltz 8 I think contains a phrase anticipating the opening of the 4th symphony.

daisuke