Johannes Brahms (May 7, 1833 - April 3, 1897) was a German composer of the Romantic period, who lived mostly in Vienna, Austria.
Brahms never wrote an opera, nor did he ever write in the characteristic late-19th century form of the tone poem, strongly preferring to compose absolute music that does not refer to an explicit scene or narrative.
Despite his reputation as a serious composer of large, complex musical designs, some of Brahms's most widely known and commercially successful compositions during his life were aimed at the large contemporary market of domestic music making, and are small-scale and popular in intention. These included his arrangements of Hungarian Dances, the Waltzes op.39 for piano duet, the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied, op.49 no.4 (published in 1868). This last item was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber, and is known as Brahms' Lullaby.
Brahms venerated Beethoven, perhaps even more than the other Romantic composers did. In the composer's home, a marble bust of Beethoven looked down on the spot where he composed. His works contain a number of apparent imitations of Beethoven. Thus, the beginning of Brahms's First Piano Sonata is very close to the opening of Beethoven's Hammerklavier sonata; and the main theme of the finale of Brahms's First Symphony is reminiscent of the main theme of the finale of Beethoven's Ninth. (When the latter resemblance was pointed out to Brahms, he replied, "Any a** can see that.")
His work A German Requiem was partially inspired by his mother's death in 1865, but also incorporates material from the Symphony he had started in 1854 but later 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).
Brahms also loved the earlier Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. Even more remarkable than this was his deep learning and study of the pre-classical composers including Bach, Giovanni Gabrieli, Hasse, Schütz and others. He had many friends among the leading musicologists of his day and he edited works by Rameau and Carl Philipp Emanuel Bach. He was well ahead of his time in his creative interest in this 'Early Music' as composer, performer and scholar and particularly looked to such older music for inspiration in the arts of strict counterpoint.
Brahms's affection for the Classical period may also be reflected in his choice of genres: he favored the Classical forms of the sonata, symphony, and concerto, and frequently composed movements in sonata form. Although Brahms is often labeled as the most "Classical" Romantic composer, this label does not reflect his works. It was his public divide between the musical schools of Richard Wagner and himself that gained him this label, as he often criticized Wagner's "lack of counterpoint" in his compositions. The work of Brahms is fully Romantic in style, blurring the lines of compositional form as much as any other composer was doing at the time. The rivalry between Brahms and Wagner, however, left a large divide in the musical community, those who were on the side of Brahms, and those who favored Wagner's music. Although Wagner was a fierce rival of Brahms, later in his life, Brahms admitted how much he respected Wagner's compositions.
A quite different influence on Brahms was folk music. Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life. His Hungarian dances were among his most profitable compositions, and in orchestrated versions remain well known today.
Brahms was almost certainly influenced by the technological development of the piano, which reached essentially its modern form during his lifetime. Much of Brahms's piano music and many of his lieder make use of the deep bass notes and the pedal to obtain a very rich and powerful sound.
Brahms never wrote an opera, nor did he ever write in the characteristic late-19th century form of the tone poem, strongly preferring to compose absolute music that does not refer to an explicit scene or narrative.
Despite his reputation as a serious composer of large, complex musical designs, some of Brahms's most widely known and commercially successful compositions during his life were aimed at the large contemporary market of domestic music making, and are small-scale and popular in intention. These included his arrangements of Hungarian Dances, the Waltzes op.39 for piano duet, the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied, op.49 no.4 (published in 1868). This last item was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber, and is known as Brahms' Lullaby.
Brahms venerated Beethoven, perhaps even more than the other Romantic composers did. In the composer's home, a marble bust of Beethoven looked down on the spot where he composed. His works contain a number of apparent imitations of Beethoven. Thus, the beginning of Brahms's First Piano Sonata is very close to the opening of Beethoven's Hammerklavier sonata; and the main theme of the finale of Brahms's First Symphony is reminiscent of the main theme of the finale of Beethoven's Ninth. (When the latter resemblance was pointed out to Brahms, he replied, "Any a** can see that.")
His work A German Requiem was partially inspired by his mother's death in 1865, but also incorporates material from the Symphony he had started in 1854 but later 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).
Brahms also loved the earlier Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. Even more remarkable than this was his deep learning and study of the pre-classical composers including Bach, Giovanni Gabrieli, Hasse, Schütz and others. He had many friends among the leading musicologists of his day and he edited works by Rameau and Carl Philipp Emanuel Bach. He was well ahead of his time in his creative interest in this 'Early Music' as composer, performer and scholar and particularly looked to such older music for inspiration in the arts of strict counterpoint.
Brahms's affection for the Classical period may also be reflected in his choice of genres: he favored the Classical forms of the sonata, symphony, and concerto, and frequently composed movements in sonata form. Although Brahms is often labeled as the most "Classical" Romantic composer, this label does not reflect his works. It was his public divide between the musical schools of Richard Wagner and himself that gained him this label, as he often criticized Wagner's "lack of counterpoint" in his compositions. The work of Brahms is fully Romantic in style, blurring the lines of compositional form as much as any other composer was doing at the time. The rivalry between Brahms and Wagner, however, left a large divide in the musical community, those who were on the side of Brahms, and those who favored Wagner's music. Although Wagner was a fierce rival of Brahms, later in his life, Brahms admitted how much he respected Wagner's compositions.
A quite different influence on Brahms was folk music. Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life. His Hungarian dances were among his most profitable compositions, and in orchestrated versions remain well known today.
Brahms was almost certainly influenced by the technological development of the piano, which reached essentially its modern form during his lifetime. Much of Brahms's piano music and many of his lieder make use of the deep bass notes and the pedal to obtain a very rich and powerful sound.