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
Johannes Brahms Biography
Born: May 7, 1833
Died: April 3, 1897
German composer, pianist, and conductor
The German composer (writer of music), pianist, and conductor Johannes Brahms was one of the most significant composers of the nineteenth century. His works combine the warm feeling of the Romantic period with the control of classical influences such as Johann Sebastian Bach (1685–1750) and Ludwig van Beethoven (1770–1827).
Johannes Brahms was born in Hamburg, Germany, on May 7, 1833, the son of Johann Jakob and Christina Nissen Brahms. His father, an innkeeper and a musician of moderate ability, taught him to play violin and piano. When Brahms was six years old he created his own method of writing music in order to get the melodies he created on paper. At the age of seven he began studying piano under Otto Cossel. He played a private concert at the age of ten to obtain funds for his future education. Also at ten years old he began piano lessons with Eduard Marxsen (1806–1887).
To help out his family, Brahms gave music lessons and played the piano in taverns and local dance halls while in his early teens. The constant work proved to be a strain on him and affected his health. Brahms was offered a chance to take a long rest at Winsen-an-der-Luhe, Germany, where he conducted a small male choir for whom he wrote his first choral compositions. Upon his return to Hamburg he gave several concerts, but after failing to win recognition he continued playing at taverns, giving inexpensive piano lessons, and arranging popular music for piano.
Impressing other musicians
In 1850 Brahms met the Hungarian violinist Eduard Reményi, who introduced him to gypsy dance songs that would influence his later compositions. In the next few years Brahms composed several works for piano. Reményi and Brahms went on several successful concert tours in 1853. They met the German violinist Joseph Joachim (1831–1907), who introduced them to Franz Liszt (1811–1886) at Weimar, Germany. Liszt received them warmly and was greatly impressed with Brahms's compositions. Liszt hoped to recruit him to join his group of composers, but Brahms declined; he was not really a fan of Liszt's music. Joachim also wrote a letter praising Brahms to the composer Robert Schumann (1810–1856).
In 1853 Brahms met Schumann and his wife Clara. Schumann's enthusiasm for the young composer knew no bounds. Schumann wrote articles praising Brahms and also arranged for the publication of Brahms's first compositions. During 1854 Brahms wrote the Piano Trio No. 1, the Variations on a Theme of Schumann for piano, and the Ballades for piano. Also that year Brahms was summoned to Düsseldorf, Germany, when Schumann had a breakdown and attempted suicide. For the next few years Brahms stayed close to the
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Works of the middle years
Brahms's Piano Concerto in D Minor (1858) was performed the next year with Joachim conducting in the German cities of Hanover, Leipzig, and Hamburg. Only in Hamburg was it favorably received. Brahms was also appointed conductor of a ladies' choir in Hamburg, for whom he wrote the Marienlieder. In 1860 Brahms became enraged after hearing claims that all musicians were accepting the experimental musical theories of the "New German" school headed by Liszt. He criticized many of these musicians in the press. During this period Brahms moved to Hamburg and buried himself in composing, throwing in frequent public appearances.
In 1863 Brahms gave a concert in Vienna, Austria, to introduce his songs to the Austrian public. Brahms also met the composer Richard Wagner (1813–1883) at this time. Although Brahms had criticized Wagner in the press, each was still able to admire some things in the other's work on occasion. In 1863 Brahms became conductor of the Singakademie in Vienna. A year later he resigned, but for the rest of his life Vienna was home to him. He began to do what he had always wished: to make composing his main source of income. As his fame and popularity grew, he composed more and more with only some occasional teaching and performing. In 1865 Brahms's mother, long separated from her husband, died. During the next year Brahms worked on the German Requiem in her memory.
The next years saw an increase in composing activity. Brahms's most important publications were the Variations on a Theme of Paganini for piano, the String Sextet in G Major, and several song collections. It is not always possible to date Brahms's compositions exactly because of his habit of revising a work or adding to it frequently. Thus, the German Requiem, practically finished in 1866, was not published in its final form until 1869. It was also given its first complete performance that year.
Brahms's father died in 1872. After a short holiday, Brahms accepted the post of artistic director of the Gesellschaft der Musikfreunde (Friends of Music) in Vienna. Masterpieces continued to pour from his pen. He composed, went on concert tours chiefly to improve his own music, and took long holidays. He now had plenty of money and could do as he pleased. He resigned as conductor of the Gesellschaft der Musikfreunde in 1875, for even those duties had become a burden to him. That summer he worked on his Symphony No. 1 and sketched the Symphony No. 2.
In 1880 the University of Breslau offered Brahms a doctor's degree, in appreciation of which he wrote two orchestral concert pieces. By this time he had discovered Italy, and for the rest of his life he vacationed there frequently. Vacations for Brahms meant composing, and he produced symphonies (long and complicated compositions for symphony orchestras), piano and violin concertos (music written for one or more instruments), and many other compositions and publications.
Much of the credit for the worldwide acceptance of Brahms's orchestral works was due to the activities of their great interpreter, Hans von Bülow, who had transferred his loyalty from the Liszt-Wagner camp to Brahms. Bülow exerted tremendous energy in seeing that Brahms's compositions received properly executed performances.
When he was about sixty years old, Brahms began to age rapidly, and his production decreased sharply. He often spoke of having arrived at the end of his creative activity. Nonetheless, the works of this last period are awesome in their magnificence and concentration, and the last of his published works, the Vier ernste Gesänge (Four Serious Songs), are among the high points of his career. Brahms's health took a turn for the worse after he heard the news of the death of Clara Schumann in 1896. On April 3, 1897, he died of cancer of the liver. He was buried next to Beethoven and Franz Schubert (1797–1828) and was honored by Vienna and the entire musical world.
For More Information
Geiringer, Karl. Brahms, His Life and Work. 3rd ed. New York: Da Capo Press, 1982.
May, Florence. The Life of Johannes Brahms. 2nd ed. St. Clair Shores, MI: Scholarly Press, 1977.
Swafford, Jan. Johannes Brahms: A Biography. New York: Alfred A. Knopf, 1997.