{"product_id":"brahms-brahms-1-super-audio-cd","title":"Brahms: Brahms 1 - SUPER-AUDIO CD","description":"\u003cb\u003eTitle: \u003c\/b\u003eBrahms 1\u003cbr\u003e\n                                         \u003cb\u003eArtist: \u003c\/b\u003eBrahms\u003cbr\u003e\n                                         \u003cb\u003eLabel: \u003c\/b\u003eMusicaphon\u003cbr\u003e\n                                         \u003cb\u003eProduct Type: \u003c\/b\u003eSUPER-AUDIO CD\u003cbr\u003e\n                                         \u003cb\u003eUPC: \u003c\/b\u003e4012476569369\u003cbr\u003e\n                                         \u003cb\u003eGenre: \u003c\/b\u003eClassical Artists\u003cbr\u003e\n                                         \u003cb\u003eRelease Date: \u003c\/b\u003e2021-03-19\u003cbr\u003e\n                                         \u003cb\u003eNumber of Discs: \u003c\/b\u003e1\u003cbr\u003e\n                                         \u003cb\u003eAdditional Details: \u003c\/b\u003eHYBRID SACD\u003cbr\u003e\n                                         \u003cbr\u003e\n                                         \n                                         \n                                         During the fourteen years in which he worked on his First Symphony, Brahms was under a high pressure of expectation: in the shadow cast by Beethoven, he was forced to take a compositionally convincing position both with respect to the dominant father figure as well as the \"New German School.\" Moreover, he saw himself associated with friends who pressed him for a first symphony. And, finally, in the 1850s the scrupulous, hard working but at times insecure Brahms suffered setbacks in at least two attempts to form a symphony out of already extensively developed compositional material. Among all these obstacles, Beethoven's \"model\" was undoubtedly the greatest. Concerning this, the following remarks by Brahms have come down to us: he explained to his friend Carl Bargheer of Detmold: \"If one still attempts to write symphonies after Beethoven, then they have to look entirely different.\" Some ten years later, after he had already composed a first version of the opening movement of his First Symphony, he admitted to the conductor Hermann Levi: \"I will never compose a symphony! You have no idea how I feel when I always hear such a giant marching behind me\" - meaning Beethoven. Strauss' tone poem Death and Transfiguration \"is an example of a poetic idea that was retrospectively assigned. Alexander Ritter, poet-musician in Meiningen also gave the new composition the title and program: Ritter initially thought of the title \"Seraphic Fantasy\" - thus a first hint of a metaphysical program - but then decided on \"Death and Transfiguration\". But that's not all: Strauss had a poem by Ritters that existed in two versions preceded the printed score, combining music and poetry. This dedicated program came into being only after the composition had been completed - whether Strauss was creatively guided by a \"poetic idea\" remains to be seen.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTracks:\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e","brand":"Brahms","offers":[{"title":"Default Title","offer_id":41742788198471,"sku":"41353905","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2976\/0132\/files\/3931164-2675330.jpg?v=1749182245","url":"https:\/\/tower.com\/products\/brahms-brahms-1-super-audio-cd","provider":"Tower Records","version":"1.0","type":"link"}