In Brahms' earliest sets of variations, especially those of Op. 9, the melody is of primary importance. His later studies of Beethoven, however, led to a new variation approach, in which he adhered instead to a theme's basic phrase structure and harmonic pattern. As with the Händel Variations, Op. 24, the eight Variations on a Theme of Haydn, Op. 56a, are bound by a consistent harmonic motion; at times, this is the only perceptible remnant of the original theme. Since its first performance in Vienna, on November 2, 1873, this has been among Brahms' most popular compositions -- a sprawling masterwork based on the simplest of thematic germs, very much in the tradition of Bach's Goldberg Variations and Beethoven's Diabelli Variations.
Brahms composed both the orchestral and two-piano versions of the Variations on a Theme of Haydn in the summer of 1873, while at the Starnberger See near Munich; during the same months, he completed the String Quartets, Op. 51. The piano variations, Op. 56b, were published first, in 1873 by Simrock in Berlin; the orchestral setting in 1874, also by Simrock.
Commonly referred to as the "St. Anthony" variations, the piece is based on a theme from the first of a set of six Divertimenti (Feldparthien) -- for many years thought to be by Haydn, but now thought to be by Haydn's pupil, Ignace Pleyel -- the second movement of which is based on an old Burgenland (an Austrian state that abuts Hungary) chant entitled, "Chorale St. Anthony."
Brahms shatters the stately atmosphere of the theme with a pulsating horn passage in the first variation, in which the melodic aspect of the theme has all but disappeared. A great outburst from the strings accents the second variation, while the third returns to the character of the theme, if not the original rhythm and pitches. A climbing woodwind tune traces the general shape of the theme in the quiet fourth variation, while the fifth takes off at lightning speed, emphasizing the falling intervals in the original theme. Brass and winds initiate the martial sixth variation, in which the theme is easily recognized. The seventh variation has some of the character of a Strauss waltz, while slithering contrapuntal lines noodle their way through the eighth. The work closes with a passacaglia in which the theme, gently articulated at first by the woodwinds at the opening, returns with the force of the full orchestra. The repeated, five-measure bass line of the passacaglia is derived from the main theme; because the bass line provides the variation material in this last segment, what we have are variations on a variation of the original theme.
Johannes Brahms, (born May 7, 1833, Hamburg [Germany]—died April 3, 1897, Vienna, Austria-Hungary [now in Austria]), German composer and pianist of the Romantic period, who wrote symphonies, concerti, chamber music, piano works, choralcompositions, and more than 200 songs. Brahms was the great master of symphonic and sonata style in the second half of the 19th century. He can be viewed as the protagonist of the Classical tradition of Joseph Haydn, Mozart, and Beethoven in a period when the standards of this tradition were being questioned or overturned by the Romantics.
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The young pianist and music director
The son of Jakob Brahms, an impecunious horn and double bass player, Johannes showed early promise as a pianist. He first studied music with his father and, at age seven, was sent for piano lessons to F.W. Cossel, who three years later passed him to his own teacher, Eduard Marxsen. Between ages 14 and 16 Brahms earned money to help his family by playing in rough inns in the dock area of Hamburg and meanwhile composing and sometimes giving recitals. In 1850 he met Eduard Reményi, a Jewish Hungarian violinist, with whom he gave concerts and from whom he learned something of Roma (gypsy) music—an influence that remained with him always.
The first turning point came in 1853, when he met the violin virtuoso Joseph Joachim, who instantly realized the talent of Brahms. Joachim in turn recommended Brahms to the composer Robert Schumann, and an immediate friendship between the two composers resulted. Schumann wrote enthusiastically about Brahms in the periodical Neue Zeitschrift für Musik, praising his compositions. The article created a sensation. From this moment Brahms was a force in the world of music, though there were always factors that made difficulties for him.
The chief of these was the nature of Schumann’s panegyric itself. There was already conflict between the “neo-German” school, dominated by Franz Liszt and Richard Wagner, and the more conservative elements, whose main spokesman was Schumann. The latter’s praise of Brahms displeased the former, and Brahms himself, though kindly received by Liszt, did not conceal his lack of sympathy with the self-conscious modernists. He was therefore drawn into controversy, and most of the disturbances in his otherwise uneventful personal life arose from this situation. Gradually Brahms came to be on close terms with the Schumann household, and, when Schumann was first taken mentally ill in 1854, Brahms assisted Clara Schumann in managing her family. He appears to have fallen in love with her; but, though they remained deep friends after Schumann’s death in 1856, their relationship did not, it seems, go further.
The nearest Brahms ever came to marriage was in his affair with Agathe von Siebold in 1858; from this he recoiled suddenly, and he was never thereafter seriously involved in the prospect. The reasons for this are unclear, but probably his immense reserve and his inability to express emotions in any other way but musically were responsible, and he no doubt was aware that his natural irascibility and resentment of sympathy would have made him an impossible husband. He wrote in a letter, “I couldn’t bear to have in the house a woman who has the right to be kind to me, to comfort me when things go wrong.” All this, together with his intense love of children and animals, goes some way to explain certain aspects of his music, its concentrated inner reserve that hides and sometimes dams powerful currents of feeling.
Between 1857 and 1860 Brahms moved between the court of Detmold—where he taught the piano and conducted a choral society—and Göttingen, while in 1859 he was appointed conductor of a women’s choir in Hamburg. Such posts provided valuable practical experience and left him enough time for his own work. At this point Brahms’s productivity increased, and, apart from the two delightful Serenades for orchestra and the colourful first String Sextet in B-flat Major (1858–60), he also completed his turbulent Piano Concerto No. 1 in D Minor (1854–58).
By 1861 he was back in Hamburg, and in the following year he made his first visit to Vienna, with some success. Having failed to secure the post of conductor of the Hamburg Philharmonic concerts, he settled in Vienna in 1863, assuming direction of the Singakademie, a fine choral society. His life there was on the whole regular and quiet, disturbed only by the ups and downs of his musical success, by altercations occasioned by his own quick temper and by the often virulent rivalry between his supporters and those of Wagner and Anton Bruckner, and by one or two inconclusive love affairs. His music, despite a few failures and constant attacks by the Wagnerites, was established, and his reputation grew steadily. By 1872 he was principal conductor of the Society of Friends of Music (Gesellschaft der Musikfreunde), and for three seasons he directed the Vienna Philharmonic Orchestra. His choice of music was not as conservative as might have been expected, and though the “Brahmins” continued their war against Wagner, Brahms himself always spoke of his rival with respect. Brahms is sometimes portrayed as unsympathetic toward his contemporaries. His kindness to Antonín Dvořák is always acknowledged, but his encouragement even of such a composer as the young Gustav Mahler is not always realized, and his enthusiasm for Carl Nielsen’s First Symphony is not generally known.
In between these two appointments in Vienna, Brahms’s work flourished and some of his most significant works were composed. The year 1868 witnessed the completion of his most famous choral work, Ein deutsches Requiem (A German Requiem), which had occupied him since Schumann’s death. This work, based on biblical texts selected by the composer, made a strong impact at its first performance at Bremen on Good Friday, 1868; after this, it was performed throughout Germany. With the Requiem, which is still considered one of the most significant works of 19th-century choral music, Brahms moved into the front rank of German composers.
Brahms was also writing successful works in a lighter vein. In 1869 he offered two volumes of Hungarian Dances for piano duet; these were brilliant arrangements of Roma tunes he had collected in the course of the years. Their success was phenomenal, and they were played all over the world. In 1868–69 he composed his Liebeslieder (Love Songs) waltzes, for vocalquartet and four-hand piano accompaniment—a work sparkling with humour and incorporating graceful Viennese dance tunes. Some of his greatest songs were also written at this time.
Maturity and fame
By the 1870s Brahms was writing significant chamber works and was moving with great deliberation along the path to purely orchestral composition. In 1873 he offered the masterly orchestral version of his Variations on a Theme by Haydn. After this experiment, which even the self-critical Brahms had to consider completely successful, he felt ready to embark on the completion of his Symphony No. 1 in C Minor. This magnificent work was completed in 1876 and first heard in the same year. Now that the composer had proved to himself his full command of the symphonic idiom, within the next year he produced his Symphony No. 2 in D Major (1877). This is a serene and idyllic work, avoiding the heroic pathos of Symphony No. 1. He let six years elapse before his Symphony No. 3 in F Major (1883). In its first three movements this work too appears to be a comparatively calm and serene composition—until the finale, which presents a gigantic conflict of elemental forces. Again after only one year, Brahms’s last symphony, No. 4 in E Minor (1884–85), was begun. This work may well have been inspired by the ancient Greek tragedies of Sophocles that Brahms had been reading at the time. The symphony’s most important movement is once more the finale. Brahms took a simple theme he found in J.S. Bach’s Cantata No. 150 and developed it in a set of 30 highly intricate variations, but the technical skill displayed here is as nothing compared with the clarity of thought and the intensity of feeling.
Gradually Brahms’s renown spread beyond Germany and Austria. Switzerland and the Netherlands showed true appreciation of his art, and Brahms’s concert tours to these countries as well as to Hungary and Poland won great acclaim. The University of Breslau (now the University of Wrocław, Poland) conferred an honorary degree on him in 1879. The composer thanked the university by writing the Academic Festival Overture (1881) based on various German student songs. Among his other orchestral works at this time were the Violin Concerto in D Major (1878) and the Piano Concerto No. 2 in B-flat Major (1881).
By now Brahms’s contemporaries were keenly aware of the outstanding significance of his works, and people spoke of the “three great Bs” (meaning Bach, Beethoven, and Brahms), to whom they accorded the same rank of eminence. Yet there was a sizable circle of musicians who did not admit Brahms’s greatness. Fervent admirers of the avant-garde composers of the day, most notably Liszt and Wagner, looked down on Brahms’s contributions as too old-fashioned and inexpressive.
Brahms remained in Vienna for the rest of his life. He resigned as director of the Society of Friends of Music in 1875, and from then on devoted his life almost solely to composition. When he went on concert tours, he conducted or performed (on the piano) only his own works. He maintained a few close personal friendships and remained a lifelong bachelor. He spent his summers traveling in Italy, Switzerland, and Austria. During these years Brahms composed the boldly conceived Double Concerto in A Minor (1887) for violin and cello, the powerful Piano Trio No. 3 in C Minor (1886), and the Violin Sonata in D Minor (1886–88). He also completed the radiantly joyous first String Quintet in F Major (1882) and the energetic second String Quintet in G Major (1890).
In 1891 Brahms was inspired to write chamber music for the clarinet owing to his acquaintance with an outstanding clarinetist, Richard Mühlfeld, whom he had heard perform some months before. With Mühlfeld in mind, Brahms wrote his Trio for Clarinet, Cello, and Piano (1891); the great Quintet for Clarinet and Strings (1891); and two Sonatas for Clarinet and Piano (1894). These works are perfect in structure and beautifully adapted to the potentialities of the wind instrument.
In 1896 Brahms completed his Vier ernste Gesänge (Four Serious Songs), for bass voice and piano, on texts from both the Hebrew Bible and the New Testament, a pessimistic work dealing with the vanity of all earthly things and welcoming death as the healer of pain and weariness. The conception of this work arose from Brahms’s thoughts of Clara Schumann, whose physical condition had gravely deteriorated. On May 20, 1896, Clara died, and soon afterward Brahms himself was compelled to seek medical treatment, in the course of which his liver was discovered to be seriously diseased. He appeared for the last time at a concert in March 1897, and in Vienna, in April 1897, he died of cancer.
Aims and achievements
Brahms’s music complemented and counteracted the rapid growth of Romantic individualism in the second half of the 19th century. He was a traditionalist in the sense that he greatly revered the subtlety and power of movement displayed by Haydn, Mozart, and Beethoven, with an added influence from Franz Schubert. The Romantic composers’ preoccupation with the emotional moment had created new harmonic vistas, but it had two inescapable consequences. First, it had produced a tendency toward rhapsody that often resulted in a lack of structure. Second, it had slowed down the processes of music, so that Wagner had been able to discover a means of writing music that moved as slowly as his often-argumentative stage action. Many composers were thus decreasingly concerned to preserve the skill of taut, brilliant, and dramatic symphonic development that had so eminently distinguished the masters at the turn of the 18th and 19th centuries, culminating in Beethoven’s chamber music and symphonies.
Brahms was acutely conscious of this loss, repudiated it, and set himself to compensate for it in order to keep alive a force he felt strongly was far from spent. But Brahms was desirous not of reproducing old styles but of infusing the language of his own time with constructive power. Thus his musical language actually bears little resemblance to Beethoven’s or even Schubert’s; harmonically it was much influenced by Schumann and even to some extent by Wagner. It is Brahms’s supple and masterful control of rhythm and movement that distinguishes him from all his contemporaries. It is often supposed that his sense of movement was slower than that of his most admired predecessor, Beethoven, but Brahms was always able to vary the pace of his musical thought in a startling manner, often tightening and speeding it without a change of tempo. It is a question of subtlety in command of tonality, harmony, and rhythm, and no 19th-century composer after Beethoven is able to surpass him in this respect. At all periods in Brahms’s work one finds a great variety of expression—from the subtly humorous to the tragic—but his larger works show an increasing mastery of movement and an ever-greater economy and concentration. Ultimately, Brahms’s power of movement stems partly from a source that may seem paradoxical. He was the most deeply versed of Classical composers in the music of the distant past, and he took the lessons he learned from the polyphonic school of the 16th century and applied them to the forms and the instrumental and vocal resources of his own time. Thus it was by way of a new approach to texture, drawn from very old models, that he revitalized a 19th-century rhythmic language that had been in danger of expiring from textural and harmonic stagnation.
In his orchestral works Brahms displays an unmistakable and highly distinctive deployment of tone colour, especially in his use of woodwind and brass instruments and in his string writing, but the important thing about it is that colour is deployed, rather than laid on for its own sake. A close relationship between orchestration and architecture dominates these works, with the orchestration contributing as much to the tonal colouring as do the harmonies and tonalities and the changing nature of the themes. As in the concerti of Mozart and Beethoven, such an attitude to orchestration proves in Brahms to be peculiarly adapted to the more subtle aspects of the relation between orchestra and soloist. The Classical concerto had achieved in Mozart’s mature works for piano and orchestra an unsurpassable degree of organization, and Beethoven had further extended the genre’s scale of design and range of expression. The higher subtleties of such works inevitably escaped many subsequent composers; Felix Mendelssohn had “abolished” the opening orchestral tutti, or ritornello, and had been followed in this regard by many other lesser composers. Brahms saw that this was essentially debilitating and set himself to recover the depth and grandeur of the concerto idea. Like Mozart and Beethoven, he realized that the long introductory passage of the orchestra, far from being superfluous, was the means of sharpening and deepening the complex relationship of orchestra to solo, especially when the time came for recapitulation, where an entirely new and often revelatory distribution of themes, keys, instrumentation, and tensions was possible. Many of Brahms’s contemporaries thought him reactionary on this account, but the result is that Brahms’s concerti have withstood wear and tear far better than many works thought in their day to outshine them.
At the other end of the scale, Brahms was a masterly miniaturist, not only in many of his fine and varied songs but also in his terse, cunningly wrought, intensely personal late piano works. As a song composer, he ranged from the complex and highly organized to the extremely simple, strophic type; his melodic invention is always original and direct, while the accompaniments are deeply evocative without ever being merely picturesque. The late piano music, usually of small dimension but wide implication, is generally expressive of a profound isolation of mind and heart and is therefore not readily approachable, while its apparent overall tone and mood may seem to the superficial ear monotonous. But each individual piece has a quiet and intense quality of its own that renders the occasional outburst of angry passion the more potent; the internal economy and subtlety of these works is extraordinary.
Brahms’s musical range is finally attested by his choral music. His choral writing combines the commonsense solidity of Handel’s with a contrapuntal skill worthy of Bach—yet it achieves total independence. A German Requiem, one of the choral masterpieces of its period, shows all his characteristics in this field together with an ability to integrate solo and tutti with the same kind of subtlety as in the concerti. The spaciousness and grandeur of this work’s lines and the power of its construction place Brahms’s underlying melancholy within the scope of a large, objective, nonreligious humane vision. Thus he is distinct from the self-regarding Romantic; his essential quality is perhaps stoicism.Karl GeiringerRobert SimpsonThe Editors of Encyclopaedia Britannica