Overview
Johannes Brahms is considered one of the most important composers in music history. He is often referred to, along with Bach and Beethoven, as one of the ” Three Great Bs ” – a trio that significantly shaped the German classical music tradition .
Here is an overview of his life, his work, and his unique style:
1. Life and personality
Brahms was born in Hamburg in 1833 and spent a large part of his professional life in Vienna, the center of the music world at that time.
Humility and perfectionism: Brahms was extremely self-critical. He destroyed many of his early sketches because they did not meet his own high standards . He worked on his first symphony, for example, for almost 20 years.
The Schumann connection: Early in his career, he was hailed as a “genius” by Robert Schumann . He maintained a lifelong, deep, and emotionally complex friendship with Schumann’s wife, the pianist Clara Schumann.
The traditionalist: At a time when composers like Wagner and Liszt wanted to revolutionize music through dramatic programs, Brahms remained true to classical forms (symphony, sonata, quartet).
2. Musical style
Brahms ‘ music combines the strict structure of the Baroque and Classical periods with the emotional depth of Romanticism.
“ Absolute music ” : In contrast to Wagner’s operas, Brahms wrote music that stands on its own and does not have to tell an extramusical story .
Complexity : He was a master of counterpoint ( similar to Bach) and used complex rhythms (such as triplets against duples), giving his music a dense, almost ” autumnal” texture.
Folk music influences : He loved German folk music and Hungarian gypsy rhythms, which is particularly evident in his famous Hungarian dances .
3. Important Works
Brahms left behind a tremendous legacy in almost all genres, with the exception of opera.
Orchestral works
4 symphonies, 2 piano concertos, violin concerto
Choral music
A German Requiem (his breakthrough work)
Chamber music
Piano Quintet in F minor, Clarinet Quintet
piano music
Hungarian dances , intermezzos, piano sonatas
Vocal music
Over 200 songs (e.g. the famous ” Lullaby ” )
4. His legacy
Although often labeled “conservative ” during his lifetime, Brahms paved the way for modernism . The composer Arnold Schoenberg later even called him ” Brahms the Progressive , ” as his method of ” developing variation” (the constant alteration of small motifs) strongly influenced 20th-century music.
History
Johannes Brahms ‘ life story is a tale of deep sense of duty, suppressed passion, and an almost paralyzing respect for the giants of the past.
It began in the impoverished alleys of Hamburg’s alleyways . As the son of a town musician, young Johannes had to play piano in the harbor taverns from an early age to supplement the family income – a harsh school that shaped his reserved but warm -hearted character . But his talent was too great for the dives, and so, as a young man, he set out into the world with his music in tow .
The decisive turning point occurred in 1853 when the 20-year- old Brahms knocked on the door of Robert and Clara Schumann in Düsseldorf . Robert Schumann was so impressed that he published a famous article entitled ” New Paths,” in which he heralded Brahms as the coming messiah of German music . This early fame was both a blessing and a curse for Brahms: he now felt obligated to live up to this enormous expectation.
Shortly thereafter, Robert Schumann plunged into a deep mental crisis and was committed to an asylum. During this time, Brahms became Clara Schumann’s rock . He cared for her children and her finances, while a love blossomed between them that continues to puzzle biographers to this day . Although they never married after Robert’s death, Clara remained his closest confidante and most rigorous critic until the end of her life.
His artistic life was marked by the ” shadow of Beethoven . ” Brahms had such a reverence for Beethoven’s legacy that he claimed he constantly heard ” a giant marching ” behind him . This led to him not completing his first symphony until he was 43 – a work so monumental that it was promptly dubbed ” Beethoven’s Tenth.”
In his later years in Vienna, Brahms became an institution. With his characteristic flowing beard and rather casual style of dress, he was a familiar figure in the city. Despite his wealth, he lived modestly in a simple apartment and secretly supported young talents or needy relatives .
Behind the bourgeois facade, however, lay a melancholic man. His music became increasingly intimate and autumnal with age. When Clara Schumann died in 1896, Brahms lost his anchor in life. Just a year later , in April 1897, he died in Vienna. He left behind a body of work that reconciled the strict logic of Classicism with the burning emotionality of Romanticism and proved that one does not have to destroy tradition to create something entirely new.
Chronological History
The life journey of Johannes Brahms can be described as a long, steady ascent that began in the Elbgassen alleys of Hamburg and ended in the musical Olympus of Vienna.
It all began in May 1833, when Brahms was born into modest circumstances in Hamburg. His early years were marked by hard work; as early as age ten, he performed publicly as a pianist to support his family financially .
The major breakthrough came in 1853. On a concert tour, he met the violinist Joseph Joachim, who introduced him to Robert Schumann. Schumann’s enthusiastic article ” Neue Bahnen” (New Paths) catapulted the young, shy Brahms into the limelight of the music world. But these years were also overshadowed by personal tragedy : After Schumann’s collapse and death in 1856, Brahms’s lifelong, fateful bond with Clara Schumann deepened.
In the 1860s, Brahms began to solidify his own distinctive style. He moved permanently to Vienna, which became his adopted home. A profound personal loss , the death of his mother in 1865, inspired him to compose one of his most important works: ” A German Requiem . ” The premiere of the complete version in 1868 at Bremen Cathedral definitively established him as a composer of international renown.
Despite this success, the pressure of tradition remained strong. It wasn’t until 1876, after almost two decades of hesitation and revision, that he dared to publish his First Symphony . The ice was broken, and in the following ten years, until 1885, he composed his three further symphonies in rapid succession, which today belong to the core repertoire of every orchestra .
In the 1880s and early 1890s , Brahms enjoyed the status of a living classic. He traveled extensively, often to Italy or for summer holidays in the Alps, where many of his late masterpieces were composed. His beard became his trademark during this period, as did his fondness for the simple Viennese tavern culture.
Towards the end of his life, around 1890, he actually announced his retirement from composing . However, his encounter with the clarinetist Richard Mühlfeld inspired him once again to create a series of intimate, autumnal chamber music works.
The final chapter closed in 1896, when the death of Clara Schumann deeply shook him . His own health deteriorated rapidly, and on April 3, 1897, Johannes Brahms died of liver cancer in Vienna. He was buried in an honorary grave in the Vienna Central Cemetery, just steps from the graves of Beethoven and Schubert, with a large turnout from the public .
Style(s), movement ( s) and period(s) of music
Johannes Brahms is the great architect of High and Late Romanticism . His music was a paradox in his time: it was perceived by many as conservative and “old, ” while in reality it contained one of the most innovative compositional techniques in the entire history of music.
Epoch and current
Brahms was active in the second half of the 19th century. While the music world was splitting into two camps, he stood at the forefront of the ” traditional” current . He rejected the program music of Franz Liszt and Richard Wagner, who attempted to fuse music with literature or painting. Instead, Brahms championed the idea of absolute music. For him , music needed no external narrative; its meaning lay solely in its inner logic and form.
Style: A bridge between worlds
His style can be described as a profound synthesis. He took the strict structures of the Baroque (such as Bach’s fugue and counterpoint) and the clear forms of Classicism (such as Beethoven’s sonata form) and filled them with the highly emotional, dense, and harmonically complex content of Romanticism.
A certain ” autumnal” melancholy is typical of his style. His textures are often thick and heavy, characterized by complex rhythms such as the superimposition of two- and three-bar sensibilities . Furthermore, elements of nationalism are often found, as he organically wove German folk songs and Hungarian rhythms into his classical works.
Old or new? Traditional or radical?
Brahms was moderate in form, but radical in detail.
Traditional: He rigidly adhered to symphonies, quartets, and sonatas even when these genres were already considered outdated. In this respect, his music struck his contemporaries as a look back into the past.
Innovative: Within these old forms, Brahms was a revolutionary of structure. He invented ” developing variation . ” This means that he did not simply repeat themes, but allowed an entire, monumental work to grow from a tiny motif of only three or four notes , which he constantly transformed .
This technique was so advanced that it later became the foundation for modernism . Decades later, the radical modernist Arnold Schoenberg wrote a famous essay entitled ” Brahms the Progressive . ” He recognized that Brahms had pushed tonality to its limits and paved the way for 20th -century neoclassicism and atonality .
In summary, Brahms was not an avant-gardist of loud sounds , but a master of inner renewal. He was the ” conservative revolutionary ” who proved that one must perfectly master the old in order to make the new possible .
Characteristics of Music
The music of Johannes Brahms is characterized by a fascinating combination of mathematical rigor and deeply felt emotion . He was a master of tonal architecture , whose works often resemble a densely woven tapestry in which every thread has meaning.
Here are the key features that make his style so distinctive:
1. The developing variation
This is perhaps Brahms’s most important technical characteristic. Instead of simply repeating a theme or merely embellishing it slightly, he took a tiny musical kernel — often just two or three notes — and let the entire work grow from it. Each new idea is a logical continuation of the previous one. This makes his music extremely compact and intellectually dense; there is hardly any “filler . ”
2. Rhythmic complexity
Brahms loved to obscure the tempo of music. He often used:
Hemiolas: A shift in rhythm where a 3/4 time signature suddenly feels like a 2/4 time signature .
Polyrhythm: The simultaneous playing of ” two against three” (e.g., the right hand plays triplets while the left plays eighth notes). This creates a flowing, often restless or urgent feeling that is typical of his style.
3. The “ autumnal” timbre
Brahms ‘ orchestration and piano writing are often described as ” autumnal” or ” dark.” He favored the middle and lower registers. In his orchestral works, the horns, violas, and clarinets often dominate . His piano writing is massive, with many wide passages and full chords in the lower register, producing a rich, warm, but sometimes heavy sound.
4. Melody and folk songs
Despite all the complexity , Brahms was a gifted melodist. His themes are often inspired by German folk music or Hungarian rhythms (the ” Gypsy style ” ). These melodies often sound melancholic, yearning , and very songlike. Extensive phrases that breathe over many bars are typical.
5. Harmony and Counterpoint
Brahms was a fervent admirer of Johann Sebastian Bach. He masterfully integrated Baroque techniques such as fugues and canons into the Romantic sound world. His harmony is bold and often employs sudden key changes or melancholy minor chords , but always remains grounded in tonality . He uses dissonances deliberately to build emotional tension that often resolves only after a long time .
6. The preference for “ absolute music ”
A crucial characteristic is the absence of programs. Brahms did not write tone poems about landscapes or heroes. His music is “absolute , ” meaning that its beauty and meaning lie purely in the tones , the harmonies, and the form itself. He trusted that pure musical logic was sufficient to express the deepest human emotions .
Effects and influences
Johannes Brahms left an influence that extended far beyond his own compositions. He was not only a preserver of tradition, but also a pioneer of the radical upheavals of the 20th century.
His work can be divided into three major areas of influence:
1. The influence on the contemporary music world
Brahms acted as a massive counterweight to the ” New German School” around Richard Wagner and Franz Liszt.
The aesthetic split: He proved that the classical genres (symphony, string quartet) were by no means dead. Through him, the idea of absolute music – that is, music without extramusical action – remained a serious concept.
A patron of talent: Brahms used his power in Vienna to support young composers . Without his active help and recommendations to publishers, Antonín Dvořák , for example , would never have achieved his worldwide breakthrough. Brahms recognized the potential of Bohemian folk music in Dvořák ‘s works and paved the way for him.
2. Pioneer of modernism ( “ Brahms the Progressive ” )
For a long time, Brahms was considered the “conservative ” composer. This changed radically through the influence of Arnold Schoenberg , the founder of twelve -tone music.
Structural revolution: Schönberg analyzed Brahms ‘ works and showed that his method of ” developing variation” (the constant , minute change of motifs) was the real engine of modernity.
Dissolution of symmetry: Brahms often broke with regular time signatures and created irregular phrase lengths . This rhythmic and structural freedom massively influenced the composers of the Second Viennese School.
3. Influence on national schools and genres
Brahms ‘s handling of folk music and his mastery of form had an impact throughout Europe:
In England: Composers such as Edward Elgar and Hubert Parry were strongly influenced by Brahms ‘ orchestral sound, which contributed to the revival of the British musical tradition.
In chamber music: He set standards for the density and seriousness of small ensembles. Composers up to and including Max Reger built directly upon Brahms ‘ complex counterpoint.
Choral music: With his ” German Requiem,” he created a new kind of sacred music that broke free from liturgical constraints and placed humanity and its solace at its center. This influenced the development of choral music well into the 20th century.
Summary of the estate
Brahms ‘ greatest influence lies in the reconciliation of past and future. He taught subsequent generations that one doesn’t have to break the strict rules of Bach and Beethoven to be modern, but rather that one can stretch and refine them until something entirely new emerges. He made music ” intellectually resilient ” without losing its emotional impact.
Musical activities other than composing
1. The piano virtuoso
Brahms began his career as a pianist and remained so throughout his life. In his youth, he earned his living through concert tours, often together with the violinist Eduard Reményi or later with Joseph Joachim.
Performer of his own works: He was the first performer of his own piano concertos and chamber music works. His playing was described as powerful, less concerned with outward brilliance, but focused on orchestral fullness and structural clarity.
Ambassador of the classics: In his piano recitals, he championed the works of Bach, Beethoven, and Schumann, thus helping to keep their legacy alive in the public consciousness.
2. The conductor
Brahms was a sought-after conductor, both for his own orchestral works and for the great classical repertoire.
Permanent positions: From 1857 to 1859, he directed the choir and orchestra at the court in Detmold. Later , in Vienna, he took over the direction of the Vienna Singakademie (1863–1864 ) and finally the prestigious position as artistic director of the Society of Friends of Music (1872–1875 ).
Guest conducting engagements: He traveled throughout Europe to perform his symphonies with the leading orchestras of the time (such as the Meiningen Court Orchestra) . His conducting style was considered precise and deeply faithful to the score.
3. The choir director
Working with choirs was a recurring theme throughout his life. In Hamburg, he founded the Women’s Choir in 1859, for which he not only arranged music but also intensively directed rehearsals. This practical experience with the human voice formed the foundation for his later major choral works, such as the “German Requiem.”
4. The musicologist and editor
Brahms was one of the first composers to study music history scientifically. He possessed a significant collection of original manuscripts (including those by Mozart and Schubert).
Complete editions: He actively participated in the first historical-critical complete editions of the works of Schumann, Chopin and François Couperin .
Rediscovery of old music: He unearthed forgotten works of the Baroque and Renaissance periods and adapted them for the performance practice of his time, which was very unusual for a Romantic composer at that time .
5. The educator and mentor
Although he never held a formal professorship at a conservatory, he worked behind the scenes as a powerful mentor . While he rarely gave official piano lessons, he reviewed the manuscripts of numerous young composers and gave them detailed, often bluntly honest feedback. His correspondence reveals him as a meticulous proofreader who placed great value on technical perfection.
6. The lawyer and expert
Brahms was a member of various committees, including the jury for the Austrian State Scholarship. In this role, he reviewed countless scores and decided on the financial support of young artists . His most important discovery in this context was Antonín Dvořák , whose talent he recognized and whom he heavily promoted with publishers and concert promoters .
Activities besides music
Away from the sheet music and concert stages, Johannes Brahms was a man with very pronounced , almost ritualistic habits. He was not a man of glittering salons, but sought solace in nature, in silence, and in an almost bourgeois simplicity .
Here are his main activities outside of music:
The passionate hiker and nature lover
Brahms was a self-confessed ” nature lover ” . Hiking was not merely a leisure activity for him , but a vital routine.
Summer retreat: He spent most of the year in the city, but in summer he was drawn to the mountains or lakes (such as Ischl, Thun or Portschach). There he often spent his mornings hiking for hours through the forests .
The early bird : He usually got up around five in the morning to be out and about in the early morning light . Many of his musical ideas didn’t originate at the piano, but during these long walks , in the rhythm of his steps.
The well-read bibliophile
Brahms possessed an impressive education and a huge private library. He was an obsessive reader and collector of books .
Literature and history: His interests ranged from German poetry and classics (Goethe, Schiller) to historical textbooks and contemporary literature . He didn’t just read for entertainment, but studied texts in depth .
Manuscript collector: Besides books, he passionately collected original manuscripts by other great composers, as well as historical documents. This collection was a private sanctuary for him .
The enthusiastic traveler
Although he loved Vienna as his permanent residence, he was always drawn to distant lands, especially Italy.
Longing for Italy: He undertook a total of nine trips to Italy. He was less interested in social life than in architecture, fine art, and the Mediterranean light. He often traveled incognito or accompanied by close friends and enjoyed exploring the artistic treasures of the south as a simple tourist.
The social hub in the inn
Although Brahms was a bachelor and lived alone, he was by no means a hermit. His most important social activity was regularly visiting the inn.
The regulars’ table: In Vienna, he was a regular at the restaurant ” Zum roten Igel ” (The Red Hedgehog) . There he met with friends for food and drinks. He loved the simple, down- to- earth cuisine and was known for being a sociable , if sometimes sarcastic, conversationalist .
Quiet generosity : He often used his walks to give sweets to children. He was a secret philanthropist who gave considerable sums to needy friends or relatives, but never made a big deal of it .
The simple life: Coffee and tobacco
Two things were indispensable in his daily life: strong coffee and cigars.
Coffee ritual: He was a connoisseur and prepared his coffee himself with almost religious care, usually very strong .
A passionate smoker: Brahms was almost always seen with a cigar. This was as much a part of his appearance as his distinctive bushy beard.
As a player
When considering Johannes Brahms as a “ player”, one must distinguish between two sides: the passionate pianist, whose playing style divided the experts, and the private lover of social and entertainment games, who found relaxation from the hard everyday life of composition in playing.
Here is a portrait of Brahms in the role of the player:
1. The pianist: Power instead of elegance
Brahms was not a ” beautiful player ” in the sense of a Frédéric Chopin or Franz Liszt. He was an orchestral player.
Physicality and power : Contemporaries described his piano playing as enormously powerful. He didn’t simply strike the keys; he seemed to treat the piano like an entire orchestra. His playing was characterized by a deep, rich bass line and a preference for wide sweeps and octave leaps.
Mind over technique: In his later years, he neglected daily practice , which led to his playing sometimes becoming technically somewhat imprecise. But this hardly bothered him; he was concerned with the intellectual content. The famous pianist Clara Schumann particularly admired his ability to make the structure of a work completely transparent.
The young virtuoso: In his youth, however, he was quite a brilliant technician. On his travels (for example with the violinist Reményi ) , he impressed audiences by transposing the most difficult pieces, such as Beethoven’s sonatas, from memory into other keys when the piano on site was out of tune.
2. The gambler in everyday life: cards and socializing
Privately, Brahms was a passionate devotee of classic board games. For him , games were the social glue that connected him to his circle of friends.
Skat and Tarock: In Viennese coffee houses and in his summer residences, card games were an integral part of his daily routine. He was particularly fond of Skat and Tarock, which was popular in Vienna . He enjoyed the down-to – earth atmosphere , the tactical thinking, and the uncomplicated exchange with his fellow players.
Winning and losing: Brahms was considered a passionate but also headstrong player. He could be very focused when playing cards, but never lost his sense of humor . For him, gambling was one of the few ways to let go of his extreme perfectionism.
3. The playful collector: Tin soldiers
An almost touching aspect of his character was his lifelong fondness for tin soldiers.
Strategy on the carpet: Well into adulthood, Brahms owned a collection of toy soldiers. It is said that he would kneel on the floor of his study and play with these figures, reenacting battles or building formations.
Childlike disposition : This playful trait formed a strong contrast to his often gruff, gruff exterior . It shows that he had retained a certain childlike curiosity and the ability to completely immerse himself in play – a quality that can also be found in the motivic playfulness of his music.
4. Playing with Music: Riddles and Variations
Brahms was also a “ player” in his music – albeit on a highly intellectual level.
Musical jokes: He loved to hide little musical puzzles or quotations in his works (e.g. the “ FAE ” motif for “ Free but lonely ” ).
For him , the genre of variation was a great game of possibilities : ” What else can I get out of this one theme?” This compositional game with rules and their artful breaking was his true lifeblood.
Musical Family
The story of Johannes Brahms ‘ family is the tale of social and musical ascent. His talent didn’t fall from the sky, but was deeply rooted in the craft-based musical tradition of his ancestors, even though he was the only one to make it to the top of the world.
The father: Johann Jakob Brahms
Johann Jakob was the most influential musical figure in Johannes ‘ childhood. He was a classic town musician, a down-to – earth craftsman of sound .
Versatility: He was proficient on several instruments, especially the double bass and the French horn. He earned his living in Hamburg dance halls, pubs, and eventually at the Hamburg City Theatre.
Support and conflict: He recognized his son’s talent early on and enabled him to receive a solid education. Nevertheless, there were points of friction: While the father saw music as a practical craft for earning a living, Johannes strove for the highest artistic ideals . Later , when Johannes was famous , he supported his father financially until his death.
The mother: Johanna Erika Christiane Nissen
Although she was not a musician in the professional sense, she had an enormous influence on the composer’s emotional world.
Background: She was 17 years older than her husband and came from a middle- class family that had become impoverished. She was a deeply religious , gentle woman.
A musical monument: Her death in 1865 deeply shook Brahms. Many musicologists see his grief for her as one of the main motivations for the composition of his most famous choral work, ” A German Requiem ” .
The siblings: Elisabeth and Fritz
Brahms had two siblings whose lives remained closely intertwined with his , but who lived in the shadow of his fame.
Fritz Brahms: He was the younger brother and also became a musician. He worked as a piano teacher in Hamburg. He was considered talented, but suffered throughout his life from the comparison with his more famous brother. In Hamburg, he was mockingly called the ” false Brahms , ” which strained the relationship between the brothers .
Elisabeth Brahms: His older sister led a rather secluded life. Johannes provided for her financially throughout his life and maintained regular correspondence with her.
The “ Elective Affinities ” : The Schumanns
One cannot speak of Brahms ‘ family without mentioning Robert and Clara Schumann . Although they were not blood relatives, they formed his ” chosen musical family ” .
Robert Schumann: He was the father figure and mentor who made Brahms ‘ career possible .
Clara Schumann: She was the most important person in Brahms ‘s life – a mixture of surrogate mother, muse, closest friend, and unattainable lover. He consulted with her about every note he wrote.
The Schumann children: Brahms was like an uncle to the Schumann children. After Robert’s death, he cared for them intensively and remained closely connected to them for decades .
The ancestors: craftsmen and farmers
Going further back in the ancestral line , one finds no famous musicians , but rather innkeepers, craftsmen, and farmers from northern Germany. Johannes Brahms was proud of this Lower Saxon heritage. He believed that his tenacity , diligence, and down-to-earth nature — qualities he also valued in his music — derived directly from these ancestors.
Relationships with composers
Johannes Brahms’s relationships with his contemporaries were characterized by unconditional loyalty , deep divisions , and an almost legendary bluntness . He was not a man of diplomatic small talk – those who were friends with him had to endure his merciless honesty.
Here are the most important direct relationships with other composers:
Robert Schumann: The Discoverer and Mentor
The encounter in 1853 was the Big Bang of Brahms ‘s career. The young, shy Johannes arrived in Düsseldorf on foot . After just one recital, Schumann was so shaken by Brahms ‘s genius that he praised him in his article ” Neue Bahnen” (New Paths) as the one ” called to express the highest ideal of the age . ” This almost messianic pronouncement was a lifelong burden for Brahms : he felt obligated never to disappoint Schumann’s prophecy .
Richard Wagner and Franz Liszt: The “ hereditary enemies ”
Brahms was at the center of the so-called ” music controversy” of the 19th century.
Wagner: The two were polar opposites in the music world. Wagner saw Brahms as a backward – looking ” guardian of chastity ” in music; Brahms, in turn , rejected Wagner’s gigantism and the fusion of music and drama. Nevertheless, the relationship was more complex: Brahms secretly admired Wagner’s craftsmanship and once called himself ” the best Wagnerian ” because he understood Wagner’s scores better than many of his followers .
Liszt: During a visit to Weimar, Brahms is said to have fallen asleep during a performance by Liszt – an affront that Liszt’s camp never forgave him for. Brahms detested the ” music of the future” and the cult of personality surrounding Liszt.
Antonín Dvořák : The Generous Patron
This is one of the most beautiful friendships in music history. When Brahms sat on the jury for the Austrian state scholarship, he discovered the scores of the then still poor and unknown Dvořák .
Active help: Brahms recommended him to his own publisher Simrock and even corrected Dvořák ‘s proofs to save the younger man work.
Quotes: Brahms once said about him: “ That fellow has more ideas than all of us combined. Anyone else could cobble together a main theme from his offcuts . ” Dvořák remained deeply grateful to Brahms throughout his life.
Johann Strauss (son): Mutual admiration
It would be hard to believe, but the serious symphonist Brahms and the “Waltz King ” Strauss were close friends. Brahms was a great admirer of Viennese lightness.
The famous dedication : On the fan belonging to Strauss ‘s wife Adele, Brahms painted the opening bars of the waltz ” The Blue Danube” and wrote underneath: ” Unfortunately not by Johannes Brahms.” ### Giuseppe Verdi: Respect from afar Although they lived in completely different worlds (opera vs. symphony), Brahms deeply respected the Italian. Regarding Verdi’s Requiem, Brahms said: ” Only a genius could write something like that.” Verdi, on the other hand, remained rather distant from the ” learned” music of the North German composer , but acknowledged Brahms ‘s importance.
Pyotr Ilyich Tchaikovsky: A Cool Meeting
The two met in Leipzig in 1888. They found each other personally agreeable, but musically they had little in common. Tchaikovsky noted in his diary that he considered Brahms ‘ music ” dry” and “cold ,” while Brahms felt alienated by the Russian’s emotional exuberance.
Bruckner and Mahler: The Viennese Neighbors
an almost hostile distance between Brahms and Bruckner. Brahms mockingly called Bruckner’s symphonies ” symphonic giant snakes ” . The Viennese music scene was split into ” Brahmsians” and ” Brucknerians” —a reconciliation never occurred.
Gustav Mahler: The young Mahler visited the elderly Brahms in Bad Ischl. Although their musical worlds were very different, Brahms was impressed by Mahler’s personality and his talent as a conductor.
Similar composers
The spiritual relatives (The role models)
Brahms often sounded “similar” to his predecessors because he masterfully adapted their techniques.
Robert Schumann: As his mentor, he is the most obvious parallel. The romantic intimacy, the predilection for poetic piano music, and the dense, often somewhat “earthy ” orchestral textures connect the two. If you like Brahms’s songs or his early piano pieces , Schumann is the next logical step.
Ludwig van Beethoven: In terms of structure and motivic development, Beethoven is the ” father” of Brahms. Especially in the symphonies, one senses the same dramatic force and the urge to build an entire universe from a tiny motif.
Contemporaries with a similar “vibe ”
Antonín Dvořák : Although Dvořák often sounds more ” folkloric” and sunny, the architecture of his symphonies and chamber music is massively influenced by Brahms. The two share a preference for rich melodies and a very solid, classical form.
Heinrich von Herzogenberg: He was a contemporary and close friend of Brahms. His music often resembles Brahms’s so closely that it almost sounds like a copy. Brahms himself was sometimes amused by this , sometimes annoyed. For listeners who want ” more Brahms than Brahms,” Herzogenberg is a hidden gem.
The successors (Brahms tradition in the 20th century)
Max Reger: If you love the complexity and dense counterpoint of Brahms, Reger is the next step . He took Brahms ‘s technique of ” developing variation” and the organ tradition of Bach to the extreme. His music is often even denser and more chromatic, but breathes the same serious spirit.
Edward Elgar: The Briton is often referred to as the ” English Brahms.” His symphonies and concertos possess that typical Brahmsian blend of heroic splendor and a very private, almost shy melancholy . A predilection for low brass and full string sections is another common thread.
Wilhelm Stenhammar: The most important Swedish composer of this period wrote music that is very much in the Nordic tradition, but with the technical skill of Brahms. His Second Symphony is a wonderful example of this ” Nordic Brahms style ” .
A modern relative (structurally)
Arnold Schoenberg (early works): Before Schoenberg invented atonality , he composed in a late Romantic style deeply rooted in Brahms. Works such as ” Verklärte Nacht” or his String Quartet No. 1 demonstrate how Brahms ‘s dense motivic work can be translated into modernity .
Relationships
As a practicing musician, Johannes Brahms was deeply rooted in the network of the great performers of his time. He did not seek contact with superficial virtuosos , but rather with musicians who – like himself – placed the work above self-promotion. His relationships with soloists and orchestras were often lifelong collaborations.
Here are the most important direct relationships to the performing musicians of his time:
Joseph Joachim (The Violinist)
‘s relationship with Joseph Joachim was the most important artistic partnership of his life . Joachim was the leading violinist of his era and the one who opened the door to the Schumanns for Brahms .
Advisor and premierer : Brahms sent Joachim almost all of his works for strings for proofreading. Joachim gave technical advice for the famous Violin Concerto Op. 77 and played the premiere .
The reconciliation : After a long – standing rift (due to a private matter of Joachim’s), Brahms composed the Double Concerto for Violin and Cello to musically restore the friendship.
Clara Schumann (The Pianist)
Although she also composed, she was above all Brahms’s most important pianist. She was the most important ambassador of his piano music.
The first authority: Before Brahms published a work , he would play it for her or send her the manuscript. Her judgment on playability and effect was law for him.
Interpreter: She interpreted his works throughout Europe and solidified his reputation as an important composer for piano and chamber music.
Richard Mühlfeld (The Clarinetist)
Without this musician, Brahms’ late works would look completely different . After Brahms had actually wanted to give up composing, he heard Richard Mühlfeld, the clarinetist of the Meiningen court orchestra, play in 1891 .
The “Miss Clarinet ” : Brahms was so enchanted by Mühlfeld ’s warm, lyrical tone (which he affectionately called “Miss Clarinet”) that he wrote the Clarinet Quintet, the Trio, and two sonatas for him . These works are now among the most important repertoire for this instrument.
Hans von Bülow and the Meiningen Court Chapel
Hans von Bülow was one of the most important conductors of the 19th century. He was originally a fervent follower of Wagner , but later switched to the camp of Brahms with almost religious zeal .
The “ Brahms Orchestra ” : Bülow transformed the Meiningen court orchestra into an elite ensemble that served as Brahms’s “ testing laboratory.” Here he could rehearse and perfect his 4th Symphony in peace before it was presented to the world .
The “ Three Bs ” : Von Bülow coined the famous slogan of the “ Three Bs” (Bach, Beethoven, Brahms) and contributed significantly to the canonization of Brahms as a classic .
Julius Stockhausen (The Baritone)
Stockhausen was the most important singer in Brahms’s circle. He played a key role in bringing the art song out of private salons and into the public concert hall .
, Stockhausen created song recitals that set new standards . He was the first to perform complete cycles such as the Magelone Romances . His warm, versatile baritone was the ideal for which Brahms wrote many of his more than 200 songs.
The Vienna Philharmonic and the Musikverein
Vienna was Brahms’ adopted home, and his relationship with the Vienna Philharmonic was close, although sometimes overshadowed by typical Viennese intrigues .
Artistic center: Brahms served for many years as director of the concerts of the Society of Friends of Music (in the famous Musikverein ). The Philharmonic Orchestra premiered his Second and Third Symphonies. The orchestra’s playing style was decisively shaped by Brahms’s demands for precision and rich sound .
Relationships with non-musicians
Johannes Brahms was a man who, despite his fame, sought simplicity and cultivated deep, often decades-long friendships with people who were not professional musicians. He enjoyed surrounding himself with intellectuals, scientists, and philanthropists who challenged his sharp mind and sometimes dry humor .
Here are the most important relationships with non-musicians in his life:
Theodor Billroth (The Surgeon)
‘ friendship with the world- famous surgeon Theodor Billroth was one of the most significant in his life. Billroth was a gifted amateur musician, but his true importance to Brahms lay in his role as a scientific interlocutor .
The first critic: Brahms often sent Billroth his manuscripts even before publication . He valued Billroth’s judgment as an educated layman and his understanding of the logical structure of music.
Scientific exchange: The two engaged in intensive discussions about the parallels between medical research and musical composition. The ” Billroth Letters” are today an important document for understanding Brahms ‘s working methods .
Max Klinger (The painter and sculptor)
Brahms had a deep affinity for the visual arts, and his relationship with Max Klinger was characterized by mutual artistic inspiration .
Brahms Fantasy: Klinger created a famous graphic cycle entitled ” Brahms Fantasy ” , in which he translated the composer’s music into visual worlds .
Symbolism: Brahms was fascinated by Klinger’s ability to depict dark, mythological and profound themes , which often corresponded to the autumnal and serious mood of his own music.
Elisabeth von Herzogenberg (The Confidante)
Although she was the wife of the composer Heinrich von Herzogenberg, she had a very unique, intellectual relationship with Brahms. She was a highly educated woman and an excellent connoisseur of his music.
Correspondence: The correspondence between Brahms and Elisabeth is among the most insightful writings on music. Brahms confided his doubts to her and accepted her often sharp criticism. She was, for him, a kind of ” female conscience” regarding his artistic work.
Victor Widmann (The poet and pastor)
The Swiss pastor and writer Joseph Victor Widmann was one of Brahms ‘ closest travel companions.
Italian Journeys: Brahms undertook many of his beloved trips to Italy together with Widmann. Widmann was responsible for the cultural context ; he explained the architecture and literature of the south to Brahms .
Literary advisor: Widmann repeatedly tried to persuade Brahms to write opera libretti, but this always failed due to Brahms ‘ skepticism towards musical theatre. Nevertheless, the literary exchange between the two remained an integral part of Brahms ‘ life.
Hanslick and the critics
Although Eduard Hanslick was the most influential music critic in Vienna, he shared a deep private friendship with Brahms that went beyond purely professional matters.
Aesthetic alliance: Hanslick was the intellectual leader of the Brahms circle in Vienna. He provided the theoretical foundations for Brahms ‘s music . The two often spent their free time together, hiking and discussing art history and philosophy.
The “ common people ”
Brahms had a remarkable relationship with the people he encountered in everyday life – innkeepers, servants and especially children.
The philanthropist in hiding: He financially supported many non-musicians in his circle, often anonymously or under the pretext of repaying old debts. In his favorite Viennese pub , ” Zum roten Igel” (The Red Hedgehog), he was treated not as ” the great composer , ” but as a valued , down- to- earth guest, which he greatly enjoyed.
Music genres
Johannes Brahms was a true universalist of music, mastering almost every genre of his time – with one notable exception: opera. He avoided the stage , concentrating instead on the purity of sound and the depth of expression.
Here is an overview of the musical worlds he moved in:
Symphonic and orchestral music
Brahms ‘ contribution to the symphony was the answer to the genre’s crisis after Beethoven. He created four monumental symphonies, considered pinnacles of absolute music. In addition to the symphonies, he composed significant concertos, including two monumental piano concertos, a violin concerto, and the Double Concerto for Violin and Cello. These works are characterized by the soloist not only displaying virtuosity but also merging symphonically with the orchestra. Furthermore, he composed overtures and famous orchestral variations (e.g. , on a theme by Haydn).
Chamber music
For many experts, chamber music is the heart of his oeuvre. In genres such as the string quartet, the piano quintet, and the violin sonatas, he was able to refine his technique of ” developing variation” to its utmost. His chamber music is often very dense, dialogic, and characterized by an enormous emotional range — from heroic power to elegiac restraint . His late clarinet works, in particular, are considered the pinnacle of chamber music intimacy .
Vocal and choral music
Brahms was one of the most important choral composers of his era . His major work here is ” A German Requiem . ” Unlike the traditional Latin Requiem Mass, it is a work of consolation for the bereaved, based on German biblical texts. It combines Baroque polyphony (fugues) with Romantic harmony. In addition, he composed numerous motets and secular songs , which demonstrate his deep roots in the Protestant church music tradition and folk song.
The art song
Brahms left behind over 200 songs for voice and piano , placing him in the direct lineage of Schubert and Schumann. His songs range from simple, folk-like melodies (such as the famous ” Lullaby ” ) to highly complex, philosophical cycles like the ” Four Serious Songs , ” which he composed shortly before his death. The piano is never merely an accompanist, but an equal partner, offering a psychological interpretation of the text’s mood.
The piano music
The piano was Brahms’s own instrument. His catalogue of works begins with large-scale, almost orchestral piano sonatas by the young, impetuous and energetic composer . In middle age, he concentrated on variations (e.g. , on themes by Handel or Paganini). His late piano works, on the other hand, consist of short, meditative pieces such as intermezzos, capriccios, and rhapsodies, often described as his ” diary entries” in sound — intimate , melancholic, and of the highest compositional maturity.
Important solo piano works
Johannes Brahms ‘ piano works are a reflection of his artistic development: they begin with the orchestral force of a young genius and end in the intimate, almost whispering melancholy of a man looking back on his life .
Here are his most important solo piano works, divided into their creative phases:
1. The early monuments : The sonatas
In his twenties, Brahms wanted to demonstrate that the piano could replace an entire orchestra. These works are technically extremely demanding, massive, and full of passion.
Piano Sonata No. 1 in C major (Op. 1): The work with which he introduced himself to the Schumanns. The beginning strongly recalls Beethoven’s ” Hammerklavier” Sonata and demonstrates his penchant for the monumental.
Piano Sonata No. 3 in F minor (Op. 5): A gigantic, five – movement work. It is considered the crowning achievement of his early period and combines heroic power with delicate poetry (especially in the famous ” Andante espressivo ” ) .
2. The Age of Variations: Logical Mastery
After the sonatas, Brahms concentrated on exploring a theme down to its last detail. Here, his mathematical genius, coupled with his joy in playing, is evident.
Variations and Fugue on a Theme by Handel ( Op. 24): One of the most important variation works in music history. It culminates in a magnificent concluding fugue that demonstrates Brahms ‘s deep reverence for the Baroque era.
Variations on a Theme by Paganini (Op. 35): These two books are notorious for their extreme technical difficulty. Brahms himself called them ” studies ” because they explore the limits of what is physically possible on the piano .
3. The “ diaries ” of old age: The character pieces
In the last years of his life, Brahms turned his back on large-scale forms . He no longer wrote sonatas, but short, meditative pieces , which he himself described as ” luncheons of my sorrows”.
8 Piano Pieces (Op. 76): Here begins the transition to the intimate style with Capriccios and Intermezzi.
Three Intermezzi (Op. 117): These pieces are the epitome of Brahms ‘s melancholy. The first Intermezzo is based on a Scottish ballad and feels like a gentle farewell.
Piano Pieces (Op. 118 & Op. 119): These cycles contain some of his most famous melodies , such as the Intermezzo in A major (Op. 118, No. 2). The music here is highly concentrated: not a single note is superfluous, every note carries a deep emotional weight.
A special case: Hungarian dances
Although not ” serious” solo works in the strict sense, the Hungarian Dances ( originally for piano four-hands , but also arranged by him for two hands ) are among his most popular creations . They demonstrate his love of folklore and his ability to pour captivating rhythms and fiery temperament into a classical form .
Important chamber music
Johannes Brahms is considered the undisputed master of chamber music in the second half of the 19th century. It was in this intimate setting that he was able to refine his technique of ” developing variation” to its fullest extent. His chamber music is often a dense dialogue between the instruments, in which no part is merely accompaniment.
Here are his most important works, categorized by instrumentation:
1. Works with piano
Brahms was himself a pianist, therefore the piano plays a central, often almost orchestral role in his chamber music.
Piano Quintet in F minor (Op. 34): Often described as the “crown jewel ” of his chamber music. It is a work of dramatic force and symphonic dimensions . Originally planned as a string quintet and then reworked as a sonata for two pianos, it found its perfect, highly explosive form in the combination of string quartet and piano.
Piano Trio No. 1 in B major (Op. 8): A fascinating work because it unites two stages of his life. Brahms wrote it as a 20-year- old ” stormer and trooper ” and radically revised it 35 years later . The later version, most often performed today, combines youthful energy with the wisdom of age.
The Piano Quartets (No. 1 in G minor & No. 3 in C minor): The G minor Quartet (Op. 25) is famous for its fiery finale in the ” Rondo alla Zingarese ” (Hungarian style). The C minor Quartet (Op. 60), on the other hand, is one of his darkest works, characterized by an almost tragic seriousness, often linked to his grief over the loss of Robert and Clara Schumann.
2. Works for Strings
In pure string combinations, Brahms most clearly entered into competition with Beethoven.
The three string quartets: Brahms reportedly destroyed over 20 drafts before publishing his first two quartets (Op. 51) . They are prime examples of structural density and intellectual ambition.
String Sextets Nos. 1 & 2: These works for two violins, two violas, and two cellos are among the most beautiful pieces written for this instrumentation. The first sextet in B-flat major is rather warm and serenade-like, while the second , in G major, is more mysterious and contains in its first movement a musical cryptogram of his youthful love, Agathe von Siebold ( the motif AGAHE).
3. The late clarinet works
Towards the end of his life, when he actually wanted to give up composing, the clarinetist Richard Mühlfeld inspired him to a final flowering of chamber music.
Clarinet Quintet in B minor (Op. 115): This work is the epitome of Brahms’s ” autumnal” late period. It is permeated by an immense melancholy and wistfulness. Here, the clarinet merges almost magically with the sound of the strings. It is considered one of the most perfect works in the entire history of music.
Clarinet Sonatas (Op. 120): Two masterpieces that explore the sonic possibilities of the clarinet (or alternatively the viola) in all their warmth and depth.
4. Duo Sonatas
Brahms created duo sonatas for almost all important instruments, which are now part of the standard repertoire :
Violin sonatas: Especially the No. 1 in G major ( “ Rain Song Sonata ” ) and the passionate No. 3 in D minor.
Cello sonatas: The E minor sonata (op. 38) is a homage to Bach, while the F major sonata (op. 99) impresses with its fiery, almost modern character.
Music for violin and piano
1. Violin Sonata No. 1 G major, op. 78 (“ Rain Song Sonata ” )
This is perhaps his most lyrical and intimate sonata. It was composed between 1878 and 1879 under the impression of personal loss (the death of his godson Felix Schumann).
The work is nicknamed ” Rain Song ” because Brahms quotes the theme of his own song ” Rain Song” (Op. 59) in the third movement. The rhythmic motif of rain (dotted eighth notes) runs like a thread through the entire piece.
Character: The music is delicate, melancholic, and possesses an almost fragile beauty . It feels like a long, wistful look back .
Violin Sonata No. 2 in A major, Op. 100 (“ Thun Sonata ” )
Brahms wrote this work during a happy summer in 1886 at Lake Thun in Switzerland. He was in a particularly relaxed mood there , which is clearly audible in the music .
Character: It is often described as his ” most radiant” or ” most endearing ” sonata. The melodies flow broadly and warmly . Brahms himself called it a ” sonata in anticipation of a dear friend” (referring to the singer Hermine Spies).
Quotations: Here too, Brahms hid melodies from his songs, for example from ” Wie Melodien zieht es mir ” . The work is shorter and more compact than the other two and captivates with its cheerfulness.
3rd Violin Sonata No. 3 in D minor, op. 108
With this sonata (completed in 1888), Brahms returned to a grand, dramatic style . It is the only one of his violin sonatas in four movements ( the others have three) and is considerably more virtuosic and energetic.
Character: While the first two sonatas are rather intimate and chamber-like, the D minor sonata has almost orchestral dimensions. It is passionate, stormy, and characterized by a dark, compelling power .
Special feature: The third movement is a ghostly scherzo, and the finale is a true cauldron of technical brilliance for both instruments.
A significant individual piece : The Scherzo in C minor
Besides the three sonatas, there is another important work for this ensemble, which is often played as an encore or as part of a cycle:
The FAE Scherzo: In 1853, the young Brahms, together with Robert Schumann and Albert Dietrich, composed a joint sonata for their friend Joseph Joachim. Brahms contributed the Scherzo.
The meaning: The sonata’s motto was ” Free but lonely” (FAE), Joachim’s motto. Brahms ‘s contribution is a stormy , rhythmic powerhouse that already displays all the characteristics of his early style .
Why are these works so special?
In these duets, Brahms succeeds in making the violin “sing, ” while the piano weaves a dense, harmonic tapestry. There is no hierarchy in his sonatas; the two instruments toss themes back and forth as if in an intense conversation . For violinists , the G major Sonata, in particular, is among the most challenging pieces in the repertoire due to its emotional depth — not because of virtuosity, but because of the necessary maturity of expression.
Music for cello and piano
1. Cello Sonata No. 1 in E minor, op. 38
This work was composed between 1862 and 1865 and is a direct result of Brahms ‘ intensive study of Johann Sebastian Bach.
The homage to Bach: The main theme of the first movement is a clear allusion to The Art of Fugue. The entire last movement is a monumental fugue in which the cello and piano practically wrestle with each other.
The sound: The sonata makes particular use of the cello’s deep, sonorous register. It sounds earthy, serious, and almost a little brittle .
The anecdote: During a private rehearsal, Brahms played the piano so loudly that the cello was barely audible . When the cellist complained, Brahms simply growled, ” Lucky for you ! ” This shows how much he saw the piano as an equal and powerful partner.
2. Cello Sonata No. 2 F major, op. 99
More than twenty years later , during the ” golden summer” of 1886 on Lake Thun, Brahms created this completely different work. It is dedicated to the cellist Robert Hausmann.
The character: Where the first sonata was dark and introspective, the second is passionate, tempestuous , and full of light. It is technically far more demanding and utilizes the cello’s entire tonal range, extending into the highest registers .
Modernity : The first movement begins with a tremolo in the piano, almost like an orchestral curtain, behind which the cello bursts forth with a heroic theme. The work is full of bold harmonies and complex rhythms that point far into the future.
The Adagio: The second movement in F-sharp major is considered one of the most beautiful and profound movements ever written for the cello .
A remarkable duet: The Double Concerto (Chamber Music Spirit)
Although technically an orchestral work, the Double Concerto for Violin and Cello in A minor (Op. 102) must be mentioned when discussing Brahms and the cello.
It is essentially a gigantic chamber music work. The relationship between violin and cello is so close and dialogic that the two soloists often sound like a single, eight-stringed instrument. Brahms jokingly called it his ” last folly , ” but it is a deeply moving testament to his reconciliation with his friend Joseph Joachim.
Why are these sonatas so important?
finally liberated the cello from its role as a purely bass instrument . In his sonatas, the cellist must not only maintain a beautiful cantilena (vocal line), but also be able to hold his own against the massive chords of the piano .
The E minor sonata is a work of structure and tradition.
The F major sonata is a work of passion and virtuosity .
Piano trio(s)/-quartet(s)/-quintet(s)
In these genres, Brahms reveals himself as the undisputed heir of Beethoven. He uses the piano here not as a solo instrument with accompaniment, but as an orchestral foundation that merges with the strings to form a powerful unity.
Here are the milestones of these three occupations:
1. The Piano Quintet in F minor, op. 34
This work is often described as the ” nonplusultra ” of 19th-century chamber music. It is a work of titanic power and dark passion.
The search for the right form: Brahms struggled for years to find the right instrumentation. First it was a string quintet, then a sonata for two pianos. Only on the advice of Clara Schumann did he choose the combination of piano and string quartet.
Character: The quintet is highly explosive. The first movement is characterized by an almost uncanny energy, while the finale ends in a breathtaking, rapid whirlwind. It is chamber music that is practically bursting at the seams and demands the scale of an orchestra.
2. The piano quartets (piano + violin, viola, cello)
Brahms wrote three works for this ensemble, each of which represents a completely unique world:
Piano Quartet No. 1 in G minor, Op. 25: Famous for its rousing finale, the ” Rondo alla Zingarese . ” Here, Brahms gives free rein to his love of Hungarian Gypsy music. It is so brilliant and effective that Arnold Schoenberg later even orchestrated it for a large orchestra.
Piano Quartet No. 2 in A major, Op. 26: Brahms’s longest chamber music work. It is more lyrical, more expansive, and shows his admiration for Franz Schubert.
Piano Quartet No. 3 in C minor, Op. 60 (“ Werther Quartet ” ): A work of crisis. Brahms drew inspiration from Goethe’s tragic hero Werther. He even wrote to his publisher that a man with a pistol to his head could be depicted on the title page. It is dark , compact, and extremely emotionally charged.
3. The piano trios (piano, violin, cello)
, the first stands out in particular, as it forms a rare bridge across his entire life :
Piano Trio No. 1 in B major, Op. 8: Brahms composed it as a 20-year – old youth , brimming with romantic exuberance. Decades later , as a mature man, he subjected it to a radical revision. He streamlined the form and removed youthful redundancies. The result is a unique hybrid: the freshness of youth paired with the mastery of age.
Piano Trio No. 2 in C major, Op. 87: Here we encounter the ” classical” Brahms. It is a work of great clarity, solidity, and an almost folk-song-like tone in the Scherzo.
What makes these works so special?
Brahms solves the problem of balance. The piano tends to overpower the strings . However, Brahms composes the piano part so skillfully – often with wide chords and deep basses – that it acts like a soundboard for the strings.
Listening tip : If you’re looking for dramatic tension, start with the Piano Quintet in F minor. If you’re in the mood for fiery rhythms, the finale of the Piano Quartet in G minor is the perfect introduction.
String quartet(s)/sextet(s)/octet(s)
In the pure string ensemble, Brahms reveals his most rigorous and at the same time most sonorous side . While he was almost paralyzed with reverence for Beethoven in the string quartet , he found a completely new, warm, and almost orchestral sound world in the larger ensemble of the sextet .
Here are the most important works of these genres:
1. The string sextets (2 violins, 2 violas, 2 cellos)
The two sextets are among Brahms’ most popular works, as they possess a sonic richness and warmth that is hardly achievable in the string quartet.
String Sextet No. 1 in B-flat major, Op. 18: A work full of youthful brilliance and serenade-like brightness. The second movement is a famous set of variations on a serious, almost Baroque-sounding theme. It is the ideal introductory work for Brahms novices, as it is very accessible and sonically beautiful .
String Sextet No. 2 in G major, Op. 36: This work is more mysterious and finely woven. Its first movement contains a musical farewell gift to his childhood sweetheart, Agathe von Siebold: the violins play the sequence of notes AGAHE (THE is not directly possible musically , but the message was clear). Brahms later said : ” Here I wrote myself free from my last love. ”
2. The String Quartets
Brahms was terrified of the string quartet genre. He claimed to have destroyed over 20 quartets before he dared to publish the first two .
String Quartet No. 1 in C minor & No. 2 in A minor, Op. 51: These two works are extremely dense and intellectually demanding. The C minor quartet, in particular, reflects the arduous struggle with Beethoven’s legacy – it is dramatic, fragmented , and characterized by an almost breathless energy .
String Quartet No. 3 in B-flat major, Op. 67: A completely different character. It is cheerful , almost classical, and reminiscent of the spirit of Haydn or Mozart. The third movement is particularly striking , in which the viola plays the main role, while the other instruments remain muted .
3. The String Quintet (A Masterpiece)
Although you asked about the Octet (which Brahms, by the way, did not compose – he left that field to the young Mendelssohn), his String Quintets (with two violas) are his real masterpieces of late string chamber music.
String Quintet No. 2 in G major, Op. 111: Brahms actually intended to end his career with this work. It is a piece of incredible vitality and power. The opening, in which the cello struggles against the shimmering orchestra of the other strings , is one of the most thrilling moments in chamber music.
Why not a string octet?
It is characteristic of Brahms that he did not write a string octet. Felix Mendelssohn Bartholdy’s octet was considered so perfect at the time (and is considered so today) that Brahms – the perfectionist – preferred to perfect the instrumentation of the sextet rather than enter into direct comparison with Mendelssohn’s stroke of genius.
In summary: If you are looking for sumptuous sound, listen to the sextets. If you want to witness Brahms “ wrestling with the gods ” , listen to the C minor String Quartet.
Important Orchestral Works
Johannes Brahms ‘ orchestral output is quantitatively rather small, but qualitatively it possesses a density and perfection that is unparalleled. He waited until the age of 43 before publishing his first symphony , as he constantly heard the ” giant” Beethoven marching behind him .
Here are the milestones of his orchestral work:
1. The four symphonies
Each of his four symphonies has a completely unique character and marks a high point of the genre.
Symphony No. 1 in C minor (Op. 68): Often referred to as ” Beethoven’s Tenth,” it begins with a tremendous, fateful timpani roll and works its way from darkness to a radiant C major finale. A work of arduous struggle.
Symphony No. 2 in D major (Op. 73): The complete opposite of the First. It is cheerful, pastoral, and sunny. One senses the atmosphere of the summer retreat at Lake Wörthersee , where it was composed, even though it conceals a certain melancholy at its core.
Symphony No. 3 in F major (Op. 90): Famous for its motto FAF ( ” Free but happy ” ). It is compact, autumnal, and ends unusually quietly and transfiguredly , which was very unusual for the time .
Symphony No. 4 in E minor (Op. 98): Brahms ‘ most complex work. The finale is a monumental passacaglia (a Baroque variation form) that demonstrates how Brahms integrated ancient techniques into modern symphonic music. A work of tragic grandeur .
2. The Instrumental Concertos
Brahms wrote four concertos, all of which are not merely virtuoso pieces, but rather “ symphonies with obbligato instrument ” .
Piano Concerto No. 1 in D minor (Op. 15): A youthful, impetuous work that processes the shock of Robert Schumann’s death. It is massive and somber.
Piano Concerto No. 2 in B-flat major (Op. 83): A true giant among concertos. It has four movements instead of the usual three and is characterized by an almost chamber music-like intimacy (especially in the slow movement with the famous cello solo) while simultaneously displaying orchestral power .
Violin Concerto in D major (Op. 77): Written for Joseph Joachim. It is considered one of the ” great four” of violin literature. It is extremely demanding, but always subordinate to musical logic.
Double Concerto for Violin and Cello in A minor (Op. 102): His last orchestral work. A sign of reconciliation with Joachim, in which the two solo instruments communicate with each other like a single, enormous instrument.
3. Overtures and Variations
Variations on a Theme by Haydn (Op. 56a): A masterpiece of orchestration. Brahms demonstrates here how a simple theme can be clothed in completely different timbres and moods.
Academic Festival Overture (Op. 80): A humorous work he wrote as a thank-you for his honorary doctorate . He incorporated well-known student songs into it.
Tragic Overture ( Op. 81): The serious counterpart to the Academic Symphony . It is dark , concentrated, and without a concrete program, but captures the feeling of a Greek tragedy .
4. The Hungarian Dances
Originally written for piano , the orchestral versions (some orchestrated by Brahms himself, others by Dvořák) are now popular worldwide . They demonstrate Brahms’s love of fiery rhythms and folklore.
The vocal orchestral work: A German Requiem
One cannot discuss Brahms ‘ orchestral works without mentioning his greatest work : A German Requiem (Op. 45). It is not a requiem in the liturgical sense, but rather music of consolation for the bereaved, sung in German. It made him instantly world- famous .
Other Important Works
Aside from his symphonies and instrumental music, Johannes Brahms was one of the most important composers for the human voice. His oeuvre encompasses monumental choral works as well as intimate songs that capture the essence of German Romanticism.
Here are the most important works from these categories:
Monumental choral works with orchestra
These works established Brahms’ fame as one of the greatest composers of his time and demonstrate his ability to answer profound existential questions musically.
A German Requiem (Op. 45): Arguably his most famous work . Unlike the traditional Latin Requiem Mass, this is music of consolation for the living. Brahms himself selected texts from the Luther Bible. The work captivates with its monumental architecture, ranging from delicate choral passages to powerful fugues.
Song of Destiny (Op. 54): A setting of a text by Friedrich Hölderlin . It contrasts the blissful peace of the gods with the sorrowful, restless fate of humankind. The orchestral introduction and conclusion are considered among the most beautiful passages Brahms ever wrote.
Alto Rhapsody (Op. 53): A deeply personal work for an alto soloist, male chorus , and orchestra, set to a text by Goethe. Brahms composed it as a “wedding song” for Clara Schumann’s daughter, with whom he was secretly in love – the music is accordingly characterized by a painful loneliness that only transforms into a hymnic consolation at the end.
Secular choral music and quartets
Brahms loved singing together and wrote numerous pieces for smaller and larger choirs without an orchestra.
Love Song Waltzes (Op. 52 & 65): These cycles for four voices and piano four hands were absolute “bestsellers” during Brahms ‘s lifetime . They exude Viennese charm , dance – like lightness, and sometimes amused , sometimes longing views on love.
‘ passion for Hungarian rhythms is evident once again . The songs are fiery, rhythmically concise , and full of temperament.
Motets (e.g., op. 74 & 110): In these a cappella works (only choir, no instruments), Brahms achieves a mastery of counterpoint that directly connects to Johann Sebastian Bach . They are spiritually profound and technically highly complex.
The art song for solo voice and piano
With over 200 songs, Brahms is a giant of this genre. His songs are characterized by a perfect unity of word and music, as well as by highly artistic piano accompaniments.
Four Serious Songs ( Op. 121): His musical legacy . He wrote them shortly before his death. The texts, from the Old and New Testaments, address the transience of life and the power of love. The music is of profound seriousness and simple grandeur .
Lullaby (Op. 49, No. 4): “ Good evening, good night ” is undoubtedly his most famous song worldwide. He wrote it for the birth of the second child of a childhood friend.
Of Eternal Love (op. 43, No. 1): One of his most dramatic and popular songs, which addresses the invincibility of love.
The May Night (op. 43, no. 2): A prime example of Brahms ‘ lyrical melancholy, in which the mood of nature reflects the loneliness of man.
Vocal duets
Brahms wrote numerous duets for different voice types (e.g., soprano and alto), which often have a folk-song-like character but are harmonically very refined. They were intended for private music-making and reflect the bourgeois musical culture of the 19th century.
Important Operas
This is a little ” trick question” in music history: Johannes Brahms never wrote a single opera.
Although he lived in the 19th century – the golden age of opera – and was considered one of the most important composers of his time, he remained away from the stage throughout his life. This is particularly remarkable since almost all of his contemporary colleagues (such as Wagner, Verdi, or later Strauss ) regarded opera as the ultimate goal of composition.
Here are the reasons why there are no Brahms operas:
1. The search for the “perfect ” libretto
spent years searching for a suitable libretto. He had intensive discussions about it with his friend, the poet Joseph Victor Widmann. However, Brahms was extremely selective : he rejected subjects that he found too theatrical, too sentimental , or too fantastical (as in Wagner’s works). He was looking for a human reality that he couldn’t find in the operatic subjects of his time.
2. Respect for the species
Brahms was a perfectionist. He felt most at home in ” pure” musical forms (symphony, chamber music). He once said, in essence, that he found the effort and compromises required in the theater repugnant. He wanted the music to speak for itself, without the distractions of costumes , sets , and theatrical effects.
3. The contrast to Richard Wagner
Brahms was the great antithesis to Richard Wagner. While Wagner propagated the “Gesamtkunstwerk” (the fusion of all arts in opera), Brahms stood for absolute music . Had he written an opera, he would automatically have had to face direct comparison with the ” theatrical giant ” Wagner – a conflict he preferred to avoid musically.
4. His “ substitute operas ”
Although he did not write any stage works , dramatic and narrative elements can be found in other works:
Rinaldo (op. 50): A cantata for tenor , male chorus and orchestra. It is his work that comes closest to an opera – a dramatic scene based on a text by Goethe.
The Alto Rhapsody: A highly dramatic, psychological insight into a human soul, which almost resembles an operatic aria.
Magelone Romances: A song cycle that tells a coherent story and is often described as a kind of ” miniature opera” for the concert hall.
Anecdotes & Interesting Facts
Johannes Brahms was a man full of contradictions : outwardly often gruff , sarcastic and almost rude, behind this lay an extremely sensitive, generous and sometimes almost shy character .
Here are some of the most famous anecdotes and curious facts that bring the person behind the music to life:
1. The “ modesty sarcasm ”
Brahms hated flattery and excessive adulation. Once, after a performance of his Fourth Symphony, when an enthusiastic admirer asked him if he didn’t think the work was ” immortal,” Brahms replied dryly:
” I don’t know. But I hope it lasts at least longer than my top hat . ”
2. The problem with opera (and marriage)
Brahms remained a bachelor throughout his life, although he often fell in love. He liked to compare marriage to opera – both were too risky for him. One of his most famous statements on the subject was:
“ Writing an opera and getting married are two things you have to do in your youth. Later you no longer have the necessary courage for them. ”
3. The wine connoisseur
Brahms was a connoisseur. Once, a wealthy host invited him to dinner and served an expensive wine, saying: ” This, Doctor, is the Brahms of wines!” Brahms took a sip, put the glass down, and said:
” Well, then you’d better bring me the stream.” (Indicating that he preferred an even better, more structured wine).
4. The secret friend of children
Despite his reputation as a grumpy ” hedgehog ” (after his favorite Viennese pub, ” Zum roten Igel ” ), he had a heart for children . On his daily walks through Vienna or during his summer holidays, he always carried bags full of sweets and small toys, which he secretly distributed to children he met.
5. The “ poison ” for the critics
His relationship with music critics was notoriously difficult . When one critic once asked him to show him his latest compositions, Brahms sent him a package. However, it contained no sheet music, but merely a collection of the negative reviews written about his earlier works .
6. The fate of “ future music ”
During a visit to Weimar, Brahms was received by Franz Liszt. Liszt sat down at the piano and played his latest, highly modern piano sonata. Midway through the performance, Liszt glanced around and saw that Brahms had peacefully fallen asleep in his armchair. This marked the beginning of a lifelong feud between the followers of Liszt and Brahms.
Essential information at a glance
The beard: His monumental, bushy beard, which is now his trademark, only grew in his later years . In his youth, he was clean-shaven and looked almost elfin and delicate.
Coffee junkie: He prepared his coffee himself with almost religious meticulousness. It had to be ” black as night and strong as the devil” .
Pure nature: Brahms almost never composed at the piano. He said he needed to wander to find ideas. He often carried his jacket over his shoulder and whistled to himself – many people mistook the world- famous composer for a simple vagrant.
Tin soldiers: Until his death, he owned a large collection of tin soldiers, with which he reenacted strategic battles in his study to clear his head.
Brahms was a man who protected his privacy so fiercely that shortly before his death he burned almost all of his sketches and unfinished works. He wanted the world to see only his perfect results, not the arduous path to achieving them.
(The writing of this article was assisted and carried out by Gemini, a Google Large Language Model (LLM). And it is only a reference document for discovering music that you do not yet know. The content of this article is not guaranteed to be completely accurate. Please verify the information with reliable sources.)