Johannes Brahms

Johannes Brahms (May 7, 1833 - April 3, 1897), was born in Hamburg, German romantic composer.

In 1848, the first solo concert was held. In 1853, the composer Robert Schumann wrote an article entitled "The New Road", which foresaw Brahms's musical achievements; in the same year, Schumann introduced Brahms to him as he just debuted. Publisher of music scores, whose first works were published. In 1860, he issued a manifesto against the "New German School" headed by Franz Liszt. Since 1862, he lived in Vienna most of the time, which became Brahms' second hometown. In the same year, he was elected as the choir director of the Vienna Vocal Academy. In 1868, the "German Requiem" premiered in Bremen. In 1871, he accepted the invitation to be the artistic director of the Vienna Music Lovers Association and played an important role in promoting German classical music during his tenure. In 1876, he completed and premiered his "Symphony No. 1 in C minor". In 1877, "Symphony No. 2 in D major" had its premiere in Vienna. In 1879, Brahms was awarded an honorary doctorate by the University of Breslau. In 1883, "Symphony No. 3 in F major" premiered in Vienna. In 1885, "Symphony No. 4 in E minor" premiered in Meiningen. In 1896, he composed "Four Serious Songs". On March 13, 1897, he appeared in public for the last time; on April 3, Brahms died.

In the history of German music, Johannes Brahms, Johann Sebastian Bach and Ludwig van Beethoven are often compared, that is, according to Bach ), Beethoven (Beethoven) and Brahms (Brahms), and the three are collectively referred to as "3B". In addition, Brahms is also the German composer after Beethoven who created a wide range of works and inherited the classical tradition deeply.

Chinese name: Johannes Brahms

Foreign name: JohannesBrahms

Nationality: Germany

Birthplace: Hamburg

Date of birth: May 7, 1833

Date of death: April 3, 1897

Occupation: Composer

Main achievements: Together with Bach and Beethoven, he is known as the "3B" in the history of German music

Representative works: "Symphony No. 1 in C minor", "Symphony No. 2 in D major", "Symphony No. 2 in F major" Symphony No. 3" "Symphony No. 4 in E minor"

Early experience

On May 7, 1833, Johannes Brahms was in Genge, Hamburg, Germany. District, whose father was a double bass player at the Hamburg City Theater, was financially poor but paid attention to his children's music education. In 1840, he studied piano performance with Otto Friedrich Willibald Cosell, who also became Brahms' first piano teacher.

In 1843, he participated in a public performance in Hamburg as a piano player for the first time; in the same year, he was asked to go on a tour to the United States, but was stopped by Cosell; in the same year, he began to study piano and music with Edward Maxson Under his guidance, Brahms first became acquainted with the works of German classical composers.

From 1846 to 1847, he played in a dance hall in Bergdorf, a suburb of Hamburg, to earn money. On March 11, 1848, he heard Joseph Joachim play Beethoven's Violin Concerto for the first time at a Philharmonic concert in Hamburg; on September 21, he held his first solo concert, performing Bach, Works by Balkeson, Herz et al.

In 1849, under the pseudonym G. W. Max, he worked as a music arranger at the August Krantz Music Publishing House in Hamburg. In March 1850, he sent his first batch of music manuscripts to Robert and Clara Schumann, who were giving a concert in Hamburg. In 1851, he met the Hungarian violinist Eduard Lamenyi, and through Laimenyi he learned about Gypsy music (what was known as Hungarian folk music at this time).

Character Experience

New Road

In 1853, while on tour with Lai Menyi, the two met the violinist Joseph Joa in Hannover. Schim, Joachim introduced Brahms to Schumann and Liszt because he appreciated his works; in June, he met Franz Liszt in Weimar; on September 30, in Dussel Dove met Robert Schumann and Clara Schumann, and they became good friends since then; on October 28, Schumann published an article entitled "New Road" in the "New Music Magazine", which predicted Brahms' future musical achievements; in December, under the recommendation of Schumann, Leipzig's Breitkopf-Hertel Music Publishing House published Brahms's first works, namely Piano Sonatas (Op.1 and Op.2) and some songs.

In early March 1854, Schumann attempted suicide, and Brahms rushed to Dusseldorf; in August, he went to Mainz with Julius Otto Grimm, Then one person went to Heidelberg and roamed the Neckar Valley; returned to Hamburg and visited Clara Schumann when passing through Dusseldorf, and visited Joseph Joachim when passing through Hanover.

In May 1855, he participated in the 33rd Lower Rhine Music Festival in Dusseldorf and met the Austrian music esthetician and music critic Edward Hanslick; in July, he and Clark La Schumann traveled to the Rhine together; from November to December, he performed concerts in Danzig, Berlin, Bremen and Hamburg.

From January to February 1856, he held concerts in Leipzig, Kiel, Hamburg and Altona, and held a concert with Joachim in G?ttingen; in April, he held concerts in the suburbs of Bonn Endenich visited Schumann; in May, attended the 34th Lower Rhine Music Festival in Dusseldorf; on July 29, Robert Schumann passed away; in August, with Clara Schumann and her children They traveled to the Rhine River to the Fairwalter Stadler Lake in Switzerland; from September to December, they stayed in Hamburg and Dusseldorf.

In the summer of 1857, he traveled to the Rhine River from Dusseldorf with Clara Schumann and her children; from September to December, he served as piano and chamber music director of the Detmold court. Musicians and choral conductors, gaining first experience as a choral conductor. From October to December 1858, he resumed his duties at the court of Detmold.

On January 22, 1859, the premiere of "Piano Concerto No. 1" was held in Hannover; on January 27, the performance of "Piano Concerto No. 1" at the Leipzig Concert Hall failed; in June, the Directed the Hamburg Women's Choir; took over the duties at the court of Detmold for the third time from October to December.

Growing mature

In March 1860, a manifesto was drafted against the "New German School (also known as the "Weimar School") headed by Liszt. The manifesto was signed by Brahms and participated by Joachim, Grimm, and Schulz; from May to June, he traveled to Altal and the Havre Mountains with Clara Schumann, until he arrived in Lacher lake. In May 1861, the work of the Hamburg Women's Choir ended; on July 13, she moved to Hamm, a suburb of Hamburg, and wrote "Variations on a Theme of Handel".

In 1862, he came to Vienna for the first time. Since then, Brahms lived in Vienna most of the time, and this hometown of music has also become his second hometown; on November 29, in Vienna for the first time Performed a concert of his own works for the first time. In May 1863, he returned to Hamburg and lived in his old residence on Blankenas Street, where he composed "Rinaldo" (Op. 50); in the same year, he was elected director of the choir of the Vienna Vocal Academy.

In April 1864, he resigned as director of the choir of the Vienna Vocal Academy; in June, his parents divorced and Brahms went to Hamburg. On February 2, 1865, his mother passed away, and Brahms went to Hamburg to attend the funeral. At the end of April, he vacated his house in Vienna; on May 1, he arrived in Lichtenthal near Baden-Baden and met the painter Feuerbach; left Lichtenthal on November 8, and went on a tour to Basel, Zurich and Venterthur in Switzerland in the same month, during which he met Mathilde Weisendonk; in the same year , composed works such as "Horn Trio in E flat major" and "German Requiem".

In March 1866, his father remarried. Brahms spontaneously established a good relationship with his stepmother and took good care of her thereafter.

On April 10, 1868, the premiere of "German Requiem" (without the fifth section) was held in Bremen Cathedral and was a success; in May, the fifth section of "German Requiem" was composed .

On February 18, 1869, Carl Reinecke hosted the premiere of the complete seven-piece "Deutsche Requiem" at the Leipzig Music Festival. Brahms did not attend. In 1870, he watched Richard Wagner's operas "Die Walküre" and "Das Rheingold" in Munich.

Creative peak

In 1871, inspired by the victory in the Franco-Prussian War, he wrote "Song of Victory" (Op. 55), which was published in April and June of the same year. Performed in Bremen and Karlsruhe respectively; on November 16, the Vienna Music Lovers Association provided him with the position of artistic director. Brahms agreed to take the post in December of the same year. During his tenure, he promoted the performance of German classical music. Played an important role; on December 27, bought a house on Karls Street in Vienna.

On February 11, 1872, his father died in Hamburg, and Brahms stayed there until February 16; in July, he performed in Baden-Baden with conductor Hans von Bülow began to establish friendship; on September 10, he returned to Vienna; on November 10, as the artistic director of the Vienna Music Lovers Association, he performed his first concert in Vienna, with repertoire including Handel, Mozart, Schubert, etc. works of man.

In early May 1873, I met the German writer Paul Johann Ludwig von Hesse in Munich; starting from May 14, I spent the summer in Tushin, visiting many times during this period. Meeting with Hesse and others in Munich; in addition, during his vacation in Tushin, he completed "Variations on a Theme of Haydn" (Op.56).

In January 1874, the "Brahms Week" was held in Leipzig. Brahms participated in three concert performances, and during this period, he met the German composer Heinrich ·Von Herzogenberk and his wife Elisabeth von Herzogenberk, with whom their friendship began.

On April 3, 1875, the contract with the Vienna Music Lovers Association was terminated; on April 18, he conducted the last concert of the association and became a free artist since then; in May, Karlsruhe, Performed in concerts in Mannheim and Düsseldorf.

In 1876, he completed the "Symphony No. 1 in C minor" (Op. 68), which was held in Karlsruhe on November 4 of the same year, conducted by Otto Dessoff. premiered; in November, Brahms conducted his First Symphony in Mannheim, Munich and Vienna.

On June 9, 1877, he arrived in Bolchach on the shores of Lake W?rther and began to compose "Symphony No. 2 in D major" (Op.73), and in mid-September he performed in Lichtaten Er finished composing the "Second Symphony"; on December 30, Brahms' "Second Symphony" was premiered at the New Year's Concert of the Vienna Philharmonic Orchestra conducted by Hans Richter.

In January 1878, Brahms conducted his "Second Symphony" in Leipzig and his "First Symphony" in Hamburg, Bremen and Utrecht; 5 On September 6, he arrived in Porchach, spent the second summer here, and composed the "Violin Concerto in D Major" and other works; at the end of September, he participated in the Hamburg Music Festival and conducted his "Second Symphony", and then Returning to Vienna, Brahms began to grow a beard to change his self-image.

On January 1, 1879, the premiere of the "Violin Concerto in D major" was held at the Leipzig Concert Hall, with Joachim as the violin soloist; in March, Breslau University awarded Bra He received the title of honorary doctorate from James; starting on May 23, he spent his third and last summer in Bolchach, during which he completed the first part of "Violin and Piano Sonata No. 1 in G major" (Op. 78). and two "Piano Rhapsody" (Op.79).

In June 1880, he spent the summer in Esher for the first time. During this period, he began to compose works such as "College Festival Overture" (Op.80) and "Tragic Overture" (Op.81). ; On December 26, Hans Richter held the premiere of "Tragic Overture" in Vienna.

On January 4, 1881, Brahms conducted the premiere of the "Academy Festival Overture" in Breslauer; on November 9, the "Piano No. 2 in B Major" was held in Budapest. For the premiere of the Concerto, Brahms himself served as the piano soloist, and conductor Hans von Bülow made the work available to audiences in several cities in Germany through his orchestra in Meiningen.

In 1883, while staying at the Wiesbaden summer flagship, he composed "Symphony No. 3 in F major" (Op. 90), which was performed by conductor Hans Rich in December of the same year. It premiered in Vienna.

In May 1884, Schlak spent the summer in Mulz, Styria, during which time he began to compose the Fourth Symphony (Op. 98). In 1885, Schlak spent the second summer in Mulz and completed the Fourth Symphony, which was premiered in Meiningen on October 25. On May 27, 1886, he arrived in Hofstatten near Thun. During this period, he completed the "Cello and Piano Sonata No. 2 in F Major" (Op. 99) and other works; in the same year, he was selected by the Vienna Musicians Association. As the honorary president.

On October 18, 1887, the "Violin and Cello Concerto in A minor" premiered in Cologne. Brahms personally conducted it, and Joachim and others participated in the performance. In 1888, he met composers Pyotr Ilyich Tchaikovsky and Edvard Grieg at the New Year's Concert in Leipzig. On May 23, 1889, he became an honorary citizen of Hamburg; in June, he was awarded the Royal Panther Cross by the King of Austria.

Later career

On May 16, 1890, he arrived in Isher, during which he completed the "String Quintet No. 2 in G major" (Op. 111). In May 1891, the letter written to Simrock was regarded as Brahms's "Isher Testament", and he composed "Trio for Piano, Clarinet and Cello in A Minor" (Op.114) and "Clarinet in B Minor" String Quintet" (Op. 115).

On May 17, 1894, he spent the summer in Isher. During this period, he composed two clarinet sonatas and two sonatas for clarinet and piano (Op. 120). On October 3, 1895, he was a guest at Clara Schumann's house in Frankfurt. This was also the last time the two of them got together.

In May 1896, "Four Serious Songs" (Op.121) was completed; on May 20, Clara Schumann died of illness; on May 24, Brahms rushed to attend Clara It was too late to arrive in Bonn for the funeral of La Schumann; on September 3, he arrived in Carlsbad for recuperation; on October 2, he returned to Vienna.

On March 7, 1897, Hans Richter conducted the "Fourth Symphony", and Brahms attended; on March 13, it was the opera of Johann Strauss Jr. When "The Lady of Reason" premiered, Brahms appeared in public for the last time; on April 3, Brahms died and was buried in the Central Cemetery in Vienna.

Personal life

Love

In 1858, he met Agathe von Siebolt in G?ttingen, and the two were engaged, but Bra James still escaped from the marriage, and the two separated in the spring of 1859.

Brahms never married, and his relationship with Clara Schumann went beyond friendship for 43 years. It is said that he wrote many love letters to Clara, but never sent any of them. Instead, he only sent the manuscript of the music to Clara.

Friendship

After Brahms met the violinist Joachim in 1851, they became friends who respected each other. After becoming famous, Brahms dedicated his "Violin Concerto in D major" and "Violin and Cello Concerto in A minor" to Joachim to show his friendship. Both premieres were performed by Joachim himself. Ramsay conducts.

Main Works

Orchestral Works

Chamber Music

Double with piano participation

Double without piano participation

Piano Works

Piano Solo

Four Hands Play

Organ Works

Vocal Works

Mixed Chorus

Female Chorus

Male Chorus

Solo

Duet

The above major works Source

Creative Characteristics

General Characteristics

Overview of Works

Brahms was a prolific composer whose works In addition to opera, dramatic music and title symphonies, it includes almost all genres of instrumental and vocal music. The Austrian historian Mandichevsky and his disciple Hans Gall edited and published his complete works in Leipzig from 1926 to 1927, totaling 26 volumes, including 4 symphonies, 2 overtures, and piano concertos. 2 serenades each for orchestra, one violin concerto and big violin concerto; 3 each string quartet, piano duo, quartet and violin sonata; 2 string sextets, quintets, cello sonatas and clarinet sonatas each; One each for piano quintet, clarinet quintet, piano violin and horn trio, piano clarinet and cello trio. Piano music includes 3 sonatas, 2 rhapsodies, 3 interludes, 16 waltzes, 51 etudes, 4 volumes of Hungarian dances, and works by Robert Schumann, George Friedrich Handel, and Joseph Haydn. , Niccolò Paganini and variations on Hungarian themes, etc. There are more than 300 songs, including the vocal suite "Magroni" and "Four Serious Songs"; there are also more than 20 solos and choruses written in Slavic poetry.

Classical tradition

As the heir of Ludwig van Beethoven, Franz Schubert, and Robert Schumann, Brahms always adhered to the German-Austrian tradition. The classical music tradition combines the passion of romantic music with the rigorous classical formal structure, maintains its own pursuit of artistic ideals, has an open and thoughtful musical conception, and strives to be concise and exquisite in the use of techniques. He follows the principles and form of classical sonatas, and has obvious connections and distinct tendencies with the composers of the classical period in terms of structure and content. In addition, he opposes external gorgeousness and pursues deep and implicit emotional expressions. He is unconventional in terms of melody, harmony, and texture, and is novel and distinctive. For example, the melody has an unexpectedly broad progression, and the harmony is based on the natural tone system, freely changing the major and minor keys of the same name, and there is rich polyphonic thinking in the texture; the harmony follows the natural tone system but breaks through the boundaries of major and minor keys, and the color of the band Rich and complex, the piano texture is complex and changeable, and the rhythm is dynamic, enriching and developing the tradition of classical music.

Folk style

The image composition and tonal foundation of Brahms’ works are rooted in German folk music. As early as his youth, he began to collect, record and adapt folk songs. In his creations, he often quoted the simple, genuine and warm tones of German folk songs and consciously used the characteristics of folk music. In Vienna, where many ethnic groups live together, he also paid great attention to absorbing the essence of Austrian, Czech, and especially Hungarian folk songs and dances. Some of the folk music sketches he adapted, such as "Hungarian Dances", are popular and friendly. He attaches equal importance to both classical music tradition and folk music, and has a particularly deep affection for folk music.

Symphony

Although there are only four symphonies by Brahms, each one is a carefully crafted and concise work. Brahms began to conceive and write a symphony as early as the 1850s, but his admiration for Beethoven became an invisible pressure that made him not believe that he had the ability to control the creation of a symphony, and finalized the original idea. For "Piano Concerto No. 1".

The "First Symphony" was also brewing for 20 years. Because of its similarity to Beethoven in style and technique, the work was called "Beethoven's Tenth Symphony" by people at the time. The movement structure, the use of Baroque polyphonic counterpoint techniques and classical motive development techniques, as well as the formal structure and tonal arrangement of each movement, especially the untitled purely instrumental symphony type, show that Brahms' symphonies are closely related to It is closely related to the classical tradition, but after all, it belongs to the new era more than half a century after Beethoven, showing Brahms' unique complex and dignified texture, passionate and romantic melody and rich and heavy overall style.

Brahms made his own innovations based on the basic framework of the traditional symphony. His theme melodies are diverse and full of romantic characteristics, and a large number of complete melodies similar to beautiful songs are broad and individual. Take "Symphony No. 1" as an example. The main theme of the fourth movement is a grown-up and complete German college student song. Its use adds a hint of the meaning of the "title" to Brahms' purely instrumental symphony. . The oboe melody in the second movement is graceful and soulful, and is even more elegant when it is reproduced with the timbre of a violin solo. The clarinet singing melody in the third movement is also smooth and warm. Even though the main theme of the first movement is passionate and ups and downs, it still dominates the entire movement with its own completeness and strong characteristics.

Brahms also made changes to the details of the symphony's structure. The first movement of "Symphony No. 1" is very heavy, but it is very closely connected with the following movements, naturally. towards the climax of the final movement. The first and last movements have a large structure, using traditional sonata form, and use changes and development techniques in motives or themes. However, it is different from the theme contrast emphasized in classical symphonies, but is closer to the theme variation or deformation style of Liszt and Wagner at the same time; the development part is Clever changes have also been made accordingly. Brahms's song theme is not easy to be divided and developed like a motive. Therefore, the development does not bear the important task of dramatic conflict and appears concise, and is often even omitted, such as the last movement (which is also the entire symphony). The climax of the song is not formed until the recapitulation; but the length and role of the introduction are very prominent in the first and last movements. The introduction of the first movement uses polyphonic thinking, with several melody lines overlapping and interweaving into a thick and tense sound. The main theme led by it is passionate and full of impact. The long introduction of the final movement already contains the juxtaposition of many factors. The long and noble melody of the horn indicates the breadth and depth of the main theme; the third movement has a completely different temperament from Beethoven's scherzo movement, and it is not a minuet either. Or a simple imitation of other popular Viennese dance music, but a personalized fusion and creation of Brahms. The other three symphonies each have their own unique treatment. The "Second Symphony" is similar to the lyrical style of Brahms's chamber music works; the first movement of the "Third Symphony" directly enters the main theme, with the key of major and minor keys. The mixed use of dominant chords shows its romantic qualities; the third movement of the Fourth Symphony is also suitable for the sonata form that omits the development, and the last movement is Brahms' favorite variation form, using the ancient pasaka Leah structural form, with the theme of Bach's cantata (No. 150) repeated 30 times as the ostinato. This symphony composed in the 1880s uses "outdated" forms and techniques, fully embodying Bra James pursues the sentiment of classical style.

Chamber music

Chamber music occupies a large proportion in Brahms's works, and his symphonies and other large-scale works were also conceived in these early and mid-stage chamber music. In addition to the traditional form of string quartet, he often attempts to use piano and other instrument sounds to create various ensemble combinations, with it playing the piano part itself. Such as sonatas for piano and violin, cello and viola and many chamber music works with clarinet participation. Brahms only composed three string quartets (two in Op. 51 and Op. 67), and they also underwent long-term preparation and repeated revisions. The first and last movements in C minor have the same weight as the symphony. The passionate and impulsive theme has the tension and impact of the motivation. The second movement is romantic and lyrical, while the third movement lacks the tension of Beethoven's scherzo and is biased. Peaceful and elegant. The second one in A minor is softer and more relaxed, and the theme of the first movement implies the motive "F-A-F", which is a motto often used by Brahms (first movement of "Third Symphony"), which means "free and happy" (FreiaberFroh).

The theme of the third piece is rich and diverse, with joyful leaps and long-lasting affection coexisting. The final movement adopts the structural technique of singing theme and 8 variations. Although these are not as powerful and deep as Beethoven's quartet, they show Brahms' own style.

"Piano Quintet in F minor" is Brahms's work in the 1860s. The first movement's polyphonic thinking and superb counterpoint skills, the extension of the theme motivation in each section, Evolution and development, sudden bursts of passion and rapid release, rhythmic changes and conflicts between voices, all create the tension, persistence and inner motivation of Brahms' music. The intimacy and gentleness of the slow movement are obviously connected with Schubert's style; the third movement is similar to Beethoven's commonly used scherzo style, full of uplifting and uplifting spirit; the meditative introduction of the fourth movement then returns to the style of the first movement, forming a rhythm that echoes back and forth. structure. "Clarine and String Quintet in B minor" is an important work of his late period. Its lyrical extension and melancholic color are typical characteristics of Brahms. The theme motivation is looming and running through the four movements, and the third The second movement is sad and sad.

Piano works

Brahms’ preference for variation forms is reflected in his piano works. He once wrote variations on themes such as Schumann, Handel, and Paganini (including Variations for one piano, two pianos or four hands). The two "Love Waltz" (Op. 52a, 1874, Op. 65a, 1877) written for piano four hands and the 21 Hungarian dances are both very popular. The former was originally for male and female voices and piano accompaniment (four Brahms arranged Nos. 1, 3, and 10 into orchestral pieces (1873).

Brahms’ piano music style is loud and thick, with the conception and momentum of symphonic music, extensive use of double intervals (3, 6, 8 degrees), polymelody lines, complex ornamentation and a large number of interlacings The rhythm made his piano skills quite difficult. This rhythm comes from Schumann on the one hand, and also from the Viennese waltzes that Brahms was familiar with.

Vocal works

Brahms’ vocal works are large in number and variety, including more than 200 solo songs, and a large number of accompaniment and unaccompanied, religious and non-religious choruses. and double choruses, as well as many duets (duets, quartets) and vocal suites. He also compiled and adapted many collections of folk songs throughout his life, including those from German, Austrian and Slavic peoples, and the folk songs of the Hungarian Gypsies received special attention from Brahms. In these arrangements, Brahms rearranged the lyrics of friendly and natural folk songs, and in some cases simply arranged simple and clear harmonic accompaniment for folk songs. Brahms' own song creations are often as simple and moving as folk songs, making it difficult for people to distinguish which are folk song adaptations and which are Brahms' own creations, such as "The Blacksmith", "Mother, I Have a Wish" and "Suddenly" "Serenade", "Lullaby", "On the Way to Visit My Lover", "Ah, Beautiful Girl", "A Cabin in the Willow Forest", etc. are also excellent songs by Brahms.

There are also a large number of art songs that are delicate descriptions of complex emotions or psychological feelings. Brahms uses poetry from classical or contemporary poets, and his selection is not as strict as Schumann. "If I Only Knew the Way Back", "Quiet in the Woods" and "My Love Is Youth" are all outstanding works. The last vocal suite "Four Serious Songs" is taken from the theme of death in the Bible, but Like the "German Requiem", it is full of reflections on life and sublimates to the affirmation of love.

Character Evaluation

A young man appeared here, who deeply touched us all with his beautiful music, and I am convinced that this person will definitely cause great influence in the music industry. Big shock. (Commentary by composer Robert Schumann)

Here is a man who seems to have been sent from heaven. The man had an interesting, youthful face that glowed when he played, and his beautiful hands could easily handle those extremely difficult passages (the pieces he played were all difficult), and now again Having given out some amazing music like this, it's really exciting when people see this man sitting down at the piano.

(Comments by piano player Clara Schumann)

Although Brahms did not write the Beethoven-style Symphony No. Although he has the potential to do this and make the first three movements even more exciting, through studying him in depth, I seem to see the gathering spirit and authenticity in his appropriate treatment. The ancient Olympus of Bach, Handel, Mozart, Haydn and others, thus feeling satisfied both physically and mentally. (Commentary by conductor Hans von Bülow)

As he grows older, his works become more and more brief, solemn and compact, making people feel more and more simple. Precisely in him, people can see that he has experienced a development and expansion not only towards multi-facetedness, but also towards simplicity. Like his great forerunner, Brahms was able to compose songs that were characteristic of him down to the smallest detail, yet still sounded like folk songs. Or, to put it conversely: what he composed is an authentic folk song, but it was written by Brahms. (Comments by conductor Wilhelm Furtw?ngler)

Brahms was neither an imitator of Schumann nor Beethoven, but he was nevertheless a collector of musical classics. And his conservatism makes sense, because he does not blindly accept traditional heritage, but absorbs it through a process of further careful consideration, without ignoring the substantive content. (Commentary by scholar Dalhousie)

Later Influence

Brahms Memorial Hall

The Brahms Memorial Hall is located on Peter Street in Hamburg, not far from the place where the composer was born. Not far away, it is managed by the Brahms Society founded in 1969. The memorial hall has a large room upstairs and downstairs, displaying various photos, portraits and manuscripts, most of which are replicas. The originals are stored in the Brahms Institute in Lübeck or the Music Lovers Association in Vienna. In the memorial hall, you can see Bo