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Erinnerung an Bartfeld, Op.31
Clássico • 1858 • Titulo arternativo: Spomienka na Bardejov
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Partitura para dos artistas, parte solo
Título por Autor: Erinnerung an Bartfeld, Op.31
Instrumentação |
Piano, Violino |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Score for two performers, Parte de solo |
movimento(s) |
1 para 1 de 1 |
Arrajador |
Pavel Burdych |
Editora |
Pavel Burdych |
dificuldade |
Medium |
duração |
5'0 |
The peak of Keler's career is probably "Erinnerung an Bartfeld" Op. 31, published in Germany as „Erinnerung an Bartfeld". The composition was written in July 1858 on the route from Bardejov do Debrecín, as it is preserved in one of printed parts. At that time the composer was on his way to 10th regiment of Earl Mazzuchelli, where he had the position of a military bandmaster at that time. 32 bars of Keler's composition were later the inspiration for Johaness Brahms some 11 years later. He used them for his 5th Hungarian dance in absolute version. Period critique accused Brahms of stealing spiritual property of other composers. It is well known that Keler kept friendly relationship with Brahms and he put his dances through detailed analysis. He found ouf that 9 out of 10 Brahms's dances contain melodies that were before introduced in the works of the following composers: Windt, Rizner, Travnik, Sarkozy and others. Written record with the analysis is the part of Keler's heritage. According to František Matúš: „These facts cannot be used to blame Brahms from plagiarism, even if they are credible... Brahms in the title of its first publication warned that it is only musical arrangement, not his own composition. In the other German and Hungarian articles Keler's czardas was introduced as the source for Brahm's 5th Hungarian Dance. More on - www.belakeler.eu
parte Solo
Título por Autor: Erinnerung an Bartfeld, Op.31
Instrumentação |
Violino |
Composição para |
Solo, Piano de Acompanhamento |
Tipo de composição |
Parte de solo |
movimento(s) |
1 para 1 de 1 |
Arrajador |
Pavel Burdych |
Editora |
Pavel Burdych |
duração |
5'0 |
The peak of Keler's career is probably "Erinnerung an Bartfeld", Op. 31, published in Germany as „Erinnerung an Bartfeld". The composition was written in July 1858 on the route from Bardejov do Debrecín, as it is preserved in one of printed parts. At that time the composer was on his way to 10th regiment of Earl Mazzuchelli, where he had the position of a military bandmaster at that time. 32 bars of Keler's composition were later the inspiration for Johaness Brahms some 11 years later. He used them for his 5th Hungarian dance in absolute version. Period critique accused Brahms of stealing spiritual property of other composers. It is well known that Keler kept friendly relationship with Brahms and he put his dances through detailed analysis. He found ouf that 9 out of 10 Brahms's dances contain melodies that were before introduced in the works of the following composers: Windt, Rizner, Travnik, Sarkozy and others. Written record with the analysis is the part of Keler's heritage. According to František Matúš: „These facts cannot be used to blame Brahms from plagiarism, even if they are credible... Brahms in the title of its first publication warned that it is only musical arrangement, not his own composition. In the other German and Hungarian articles Keler's czardas was introduced as the source for Brahm's 5th Hungarian Dance.
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