In 1853, he went on a performance trip as a follower of the Hungarian violinist Eduard Reményi. While traveling to Hannover, he met the famous Hungarian violinist and composer Joseph Joachim, and then he Traveled to the Weimar court, where he met the Hungarian composer Liszt. After that trip, Brahms's compositions gradually became popular.

Yao Axing gave Brahms a letter and introduced him to Schumann. Brahms went to Dusseldorf to meet Schumann and was welcomed by Schumann. When he studied with Schumann, he secretly fell in love with Schumann's wife Clara. After Schumann fell ill and was hospitalized, Brahms assisted Clara in taking care of Schumann and his children. After Schumann died, Brahms restrained his feelings and left Clara. He never married and left his love to Clara, who was 14 years older than him.

After Schumann's death in 1856, Brahms traveled between Hamburg and the Grand Duchy of Detmold. He served as conductor of the girls' choir in Hamburg and as court music in Detmold. Teacher and conductor. In 1862, he visited Vienna for the first time, spending a winter there. The following year he was appointed conductor of the Vienna Choir, and although he soon resigned, he stayed in Vienna for a long time.

When Brahms was just thirty years old, his art already gave people the impression of methodical classical perfection. This great composer in the final stage of Romanticism was the closest to the spirit of the musicians of the classical period after Schubert. He heard the passionate slogans of contemporary progressives, "Look forward, forget the past," and he became a singer of the past; perhaps he believed that by singing of the past, he could serve the future. Through unremitting study, he discovered that this control could be learned from the great musicians of past generations; therefore, he was extremely interested in ancient music, and the books and manuscripts he collected and the research he conducted were simply equivalent to Essay on Musicology. But he also learned that taming imagination requires compromise and sacrifice. Every work of Brahms has echoes of the spirit and glory of bygone ages. Therefore, Brahms' music does not give people an immediate and direct impression. It is nourished by carefully concealed memories, so his art is less lyrical and dramatic, and more epic. His sensitivity enabled him to perceive the most beautiful things of the past. Because of his opposition to modernity, his desire to express the good impressions of the past was all the more urgent.

Brahms was an ardent admirer of Schumann, a young romantic who began his musical career by composing piano sonatas; for a romantic, especially in his youth , which is very unusual. Because what was popular at that time was "personality sketches", which were small ballads; even for large-scale musical forms, the romantics used several small songs to compose them, or used free, fantasy-like processing to combine a song-like structure. expand. It is indeed surprising to see how the young Brahms resisted, almost rejected, romantic elements. These piano works ignore the wonderfully developed Romantic style of piano music. They have their own unique piano art style. The great conflict which had followed him throughout his life - the shadow of Beethoven - was already evident here, at the beginning of his career. The hard writing of his piano music inherited the non-piano quality of some of Beethoven's movements. It is clear that there is a deep desire for symphonic expression, which makes these works seem to be "veiled symphonies" as Schumann cleverly described them. Although Brahms wrote piano music and mixed chamber music with ease, he wrote string quartets and symphonies, the two largest forms of the Classical period, with extreme care and time. This fact is important when evaluating Brahms because he was in fact a Romantic who, like Schumann, was instinctively attracted to small, intimate forms. He wrote a large number of quartets, but only the sets remain. The aspiring symphonic composer found little encouragement in his musical environment; for in addition to bold symphonic poems and other new symphonies, many of his contemporaries were still writing, Either it breaks into countless fragments, or it just puts all the "rules" of the symphony into practice as accurately as a doctoral thesis at Oxford University.

Brahms fully knew that the era of symphonies had passed with Schubert, but his deep admiration and nostalgia for that heroic era prompted him to challenge fate itself. The rigor of Brahms's thought, his profound belief in the great classical symphonic writers, and the deliberate pursuit of an antique style in his symphonic music alarmed another camp, the New German School. They could not understand how one of their contemporaries could escape all the musical achievements of the generation of Wagner and Liszt. Hugo Wolf, then a music critic for the popular Vienna publication Salon, expressed his surprise when he wrote the following words: the revolutionary movement in music after Beethoven (in which Schumann really wanted There was a messianic figure, and he thought he had found this man - Brahms). The leaders passed by our symphonist without leaving any trace on him... Brahms Muse continued to write his symphony, completely ignoring what was happening at the time.

Brahms always adhered to the classical form to create music. No musician of his generation was as close to Beethoven's ideal as he was, and no one was as able to reconstruct the true symphonic thinking as he was; Brahms James's great artistic attainments give his works a classical balance, but people will feel that there is something hidden behind this calm balance, a tragic philosophy, a kind of pessimism and self-sacrifice. A mature worldview of tolerance. Brahms opposed the music trend of the time, not because he was extremely opposed to the popular music style at the time, but against the literary and philosophical tendencies in the music at the time; they wanted to return music to the country of pure music. In successive Romantic generations, the struggle for Beethoven's legacy became a struggle for possession of a world that had once been the wonderful unity of the symphony, and now had its dramatic, colorful elements fragmented into its constituent parts. Although the slogan of romanticism calls for closer union.

Brahms died of liver cancer in Vienna on April 3, 1897, and was buried in Vienna Central Cemetery.