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from a minnesang courtly love song 94 and he sometimes embedded more subtle musical quotations in ostensibly non programmatic works the symphony no 4 may allude with autobiographical intent to the second movement of beethoven s fifth the texted chaconne of bach s cantata no 150 and to schumann s music including clara s musical cryptograms and the fantasie in c with its own use of beethoven s an die ferne geliebte 95 beethoven and the viennese classical tradition brahms venerated beethoven in the composer s home a marble bust of beethoven looked down on the spot where he composed and some passages in his works are reminiscent of beethoven s style brahms s first symphony bears the influence of beethoven s fifth for example in struggling toward a c major triumph from c minor the main theme of the finale of the first symphony is also reminiscent of the main theme of the finale of beethoven s ninth and when this resemblance was pointed out to brahms he replied that any dunce 96 could see that in 1876 when the work was premiered in vienna it was immediately hailed as beethoven s tenth indeed the similarity of brahms s music to that of late beethoven had first been noted as early as november 1853 in a letter from albert dietrich to ernst naumann 97 98 brahms loved the classical composers mozart and haydn he especially admired mozart so much so that in his final years he reportedly declared mozart as the greatest composer on 10 january 1896 brahms conducted the academic festival overture and both piano concertos in berlin and during the following celebration brahms interrupted joachim s toast with ganz recht auf mozart s wohl quite right here s mozart s health 99 brahms also compared mozart with beethoven to the latter s disadvantage in a letter to richard heuberger in 1896 dissonance true dissonance as mozart used it is not to be found in beethoven look at idomeneo not only is it a marvel but as mozart was still quite young and brash when he wrote it it was a completely new thing you couldn t commission great music from beethoven since he created only lesser works on commission his more conventional pieces his variations and the like 100 brahms collected first editions and autographs of mozart and haydn s works and edited performing editions early romantics some early romantic composers had a major influence on brahms particularly schumann who encouraged brahms as a young composer during his stay in vienna in 1862 63 brahms became particularly interested in the music of schubert 101 the latter s influence may be identified in works by brahms dating from the period such as the two piano quartets op 25 and op 26 and the piano quintet which alludes to schubert s string quintet and grand duo for piano four hands 101 102 any influence of chopin and mendelssohn on brahms is less obvious brahms perhaps alludes to chopin s scherzo in b flat minor in the scherzo op 4 103 in the piano sonata op 5 scherzo he may allude to the finale of mendelssohn s piano trio in c minor 104 alte musik brahms looked to older music with its counterpoint for inspiration he studied the music of pre classical composers including giovanni pierluigi da palestrina giovanni gabrieli johann adolph hasse heinrich schütz domenico scarlatti george frideric handel and johann sebastian bach his friends included leading musicologists he co edited an edition of the works of françois couperin with friedrich chrysander he also edited works by c p e bach and w f bach peter phillips heard affinities between brahms s rhythmically charged contrapuntal textures and those of renaissance masters such as giovanni gabrieli and william byrd referring to byrd s though amaryllis dance philips remarked that the cross rhythms in this piece so excited e h fellowes that he likened them to brahms s compositional style 105 some of brahms s music is modeled on baroque sources especially bach e g the fugal finale of cello sonata no 1 on bach s the art of fugue the passacaglia theme of the fourth symphony s finale on bach s cantata no 150 textures brahms was a master of counterpoint for brahms the most complicated forms of counterpoint were a natural means of expressing his emotions writes geiringer as palestrina or bach succeeded in giving spiritual significance to their technique so brahms could turn a canon in motu contrario or a canon per augmentationem into a pure piece of lyrical poetry 106 writers on brahms have commented on his use of counterpoint for example of op 9 variations on a theme by robert schumann geiringer writes that brahms displays all the resources of contrapuntal art 107 in the a major piano quartet opus 26 jan swafford notes that the third movement is demonic canonic echoing haydn s famous minuet for string quartet called the witch s round 108 swafford further opines that thematic development counterpoint and form were the dominant technical terms in which brahms thought about music 109 allied to his skill in counterpoint was his subtle handling of rhythm and meter bozarth speculates that his contact with hungarian and gypsy folk music as a teenager led to his lifelong fascination with the irregular rhythms triplet figures and use of rubato in his compositions 110 the hungarian dances are among brahms s most appreciated pieces 111 michael musgrave considered that only stravinsky approached the advancement of his rhythmic thinking 112 his use of counterpoint and rhythm is present in a german requiem a work that was partially inspired by his mother s death in 1865 at a time in which he composed a funeral march that was to become the basis of part two denn alles fleisch but which also incorporates material from a symphony which he started in 1854 but abandoned following schumann s suicide attempt he once wrote that the requiem belonged to schumann the first movement of this abandoned symphony was re worked as the first movement of the first piano concerto performance practice brahms played principally on german and viennese pianos in his early years he used a piano made by the hamburg company baumgarten heins 113 later in 1864 he wrote to clara about his attraction to instruments by streicher 114 in 1873 he received a streicher piano op 6713 and kept it in his house until his death 115 he wrote to clara there on my streicher i always know exactly what i write and why i write one way or another 114 another instrument in brahms s possession was a conrad graf piano a wedding present of the schumanns that clara schumann later gave to brahms and which he kept until 1873 116 in the 1880s for his public performances brahms used a bösendorfer several times in his bonn concerts he played on a steinweg nachfolgern in 1880 and a blüthner in 1883 brahms also used a bechstein in several of his concerts 1872 in würzburg 1872 in cologne and 1881 in amsterdam 117 reception and legacy this section is written like a personal reflection personal essay or argumentative essay that states a wikipedia editor s personal feelings or presents an original argument about a topic please help improve it by rewriting it in an encyclopedic style october 2020 learn how and when to remove this message brahms is seen as looking both backward and forward his output was often bold in its exploration of harmony and textural elements especially rhythm as a result he influenced composers of both conservative and modernist tendencies anthony tommasini writes that he sometimes become entangled in an attempt to extend the classical heritage while simultaneously taking progressive strides into new territory 118 brahms s symphonies are prominent in the standard repertoire of symphony orchestras 119 only beethoven s are more frequently performed 120 brahms s have often been measured against beethoven s 120 how brahms often sent manuscripts to friends billroth elisabeth von herzogenberg joachim and clara schumann for review 121 they noted its textures and frequent dissonances which brahms wrote to henschel that he preferred on the strong beat resolve d lightly and gently 121 in 1855 clara felt brahms s harshness most distinguished his music from robert s 122 billroth described brahms s dissonances as cutting toxic or in the case of in stiller nacht divine 123 in 1855 joachim noted steely harshness in the benedictus of the missa canonica with its bold independence of the voices 124 but in 1856 he objected to extensive harshness in geistliches lied 124 telling brahms you are so used to rough harmonies of such polyphonic texture you cannot ask that of the listener art should inspire collective delight 124 some criticized brahms s music as overly academic dense or muddy 119 even hanslick criticized the first symphony as academic 125 he later praised the harmonic and contrapuntal art of the fourth symphony s passacaglia 125 elisabeth von herzogenberg initially considered the fourth s first movement a work of the brain designed too much her opinion improved within weeks 125 arnold schoenberg would later defend brahms it is not the heart alone which creates all that is beautiful or emotional 126 benjamin britten lost his taste for brahms s thickness of texture and studied expressivity 127 schoenberg and others among them theodor w adorno and carl dahlhaus sought to advance brahms s reputation in the early and mid 20th century against the criticisms clarification needed of paul bekker and wagner 128 for brahms s centenary in 1933 schoenberg wrote and broadcast an essay brahms the progressive rev 1947 pub 1950 establishing brahms s historical continuity perhaps self servingly 129 schoenberg portrayed him as a forward looking innovator somewhat polemically against the image of brahms as an academic traditionalist 130 he highlighted brahms s fondness for motivic saturation and irregularities of rhythm and phrase terming brahms s compositional principles developing variation in structural functions of harmony 1948 schoenberg analyzed brahms s enriched harmony and exploration of remote tonal regions tommasini writes that at his best the symphonies the piano concertos the violin concerto the chamber works with piano the solo piano pieces especially the late intermezzos and capriccios that point the way to schoenberg brahms has the thrilling grandeur and strangeness of beethoven 118 monument dedicated to brahms by max klinger 1909 influence within his lifetime brahms s idiom left an imprint on several composers within his personal circle who strongly admired his music such as heinrich von herzogenberg robert fuchs and julius röntgen as well as on gustav jenner who was his only formal composition pupil antonín dvořák who received substantial assistance from brahms deeply admired his music and was influenced by it in several works such as the symphony no 7 in d minor and the f minor piano trio features of the brahms style were absorbed in a more complex synthesis with other contemporary chiefly wagnerian trends by hans rott wilhelm berger max reger and franz schmidt whereas the british composers hubert parry and edward elgar and the swede wilhelm stenhammar all testified to learning much from brahms as elgar said i look at the third symphony of brahms and i feel like a pygmy 131 in france gabriel fauré s music showed brahmsian concern for rhythm and texture in russia sergei taneyev was called the russian brahms 132 and in the united states amy beach s musical textures were noted for their brahmsian richness 133 ferruccio busoni s early music shows much brahmsian influence and brahms took an interest in him though busoni later tended to disparage brahms towards the end of his life brahms offered substantial encouragement to ernst von dohnányi and to alexander von zemlinsky their early chamber works those of béla bartók who was friendly with dohnányi show a thoroughgoing absorption of the brahmsian idiom second viennese school zemlinsky in turn taught schoenberg and brahms was apparently impressed when in 1897 zemlinsky showed him drafts of two movements of schoenberg s early d major quartet webern and later walter frisch identified brahms s influence in the dense cohesive textures and variation techniques of schoenberg s first quartet 134 in 1937 schoenberg orchestrated brahms s piano quartet no 1 as an exercise suggested by otto klemperer to break writer s block klemperer regarded it as better than the original 135 george balanchine later set it to dance in brahms schoenberg quartet in anton webern s 1933 lectures posthumously published under the title the path to the new music he claimed brahms as one who had anticipated the developments of the second viennese school webern s 1908 passacaglia op 1 is clearly in part a homage to and development of the variation techniques of the passacaglia finale of brahms s fourth symphony ann scott argued brahms anticipated the procedures of the serialists by redistributing melodic fragments between instruments as in the first movement of the clarinet sonata op 120 no 2 136 later composers still later composers like milton babbitt elliott carter and györgy ligeti paid respect to brahms in their music especially in terms of their treatment of meter motives rhythm or texture 137 more recently composers like wolfgang rihm e g klavierstück nr 6 brahmsliebewalzer ernster gesang das lesen der schrift symphonie nähe fern and thomas adès e g brahms also engaged with brahms s music often as seen through schoenberg s progressive lens 138 memorials on 14 september 2000 brahms was honoured in the walhalla a german hall of fame he was introduced there as the 126th rühmlich ausgezeichneter teutscher honorably distinguished german and 13th composer among them with a bust by sculptor milan knobloch de 139 archives brahms left his archive including manuscripts and early editions of his works his correspondence and his personal library to the gesellschaft der musikfreunde over the next century the gesellschaft expanded the collection adding documents from his friends as well as other sources about his life and work the resulting brahms collection was added by unesco to its memory of the world international register in 2005 recognising it as globally important documentary heritage 140 notes his family name was also sometimes spelled brahmst or brams deriving from bram the german word for the shrub broom 2 fritz also became a pianist overshadowed by his brother he emigrated to caracas in 1867 and later returned to hamburg as a teacher 8 wagner harshly criticized brahms as the latter grew in stature and popularity but he was enthusiastic about the early variations and fugue on a theme by handel references citations 1 2 geiringer and geiringer 1982 4 swafford 1999 p 7 geiringer and geiringer 1982 4 5 hofmann 1999 pp 3 4 geiringer and geiringer 1982 3 geiringer and geiringer 1982 6 9 swafford 1999 pp 14 16 musgrave 2000 p 13 geiringer and geiringer 1982 9 11 14 geiringer and geiringer 1982 10 17 1 2 geiringer and geiringer 1982 12 hofmann 1999 pp 4 8 hofmann 1999 pp 9 11 hofmann 1999 p 12 swafford 1999 p 26 hofm...
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