Life story
Brahms Johannes was born on May 7, 1833 in Hamburg, in the family of Jakob Brahms, a professional double bassist. The first music lessons Brahms was given by his father, later he studied with O. Kossel, whom he always remembered with gratitude.
In 1843, Kossel gave his student to E. Marksen. Marxen, whose pedagogy was based on the study of the works of Bach and Beethoven, quickly realized that he was dealing with an extraordinary talent. In 1847, when Mendelssohn died, Marxen told a friend: "One master has left, but another, larger one, is coming to replace him - this is Brahms."
In 1853, Brahms finished his studies and in April of the same year went on a concert tour with his friend, E. Remenyi: Remenyi played the violin, Brahms played the piano. In Hannover they met another famous violinist, J. Joachim. He was struck by the power and fiery temperament of the music that Brahms showed him, and the two young musicians (Joachim was then 22 years old) became close friends. Joachim gave Remenyi and Brahms a letter of introduction to Liszt, and they went to Weimar. The maestro played some of Brahms' compositions from the sheet, and they made such a strong impression on him that he immediately wanted to "rank" Brahms in the advanced direction - the New German School, which was headed by himself and R. Wagner. However, Brahms resisted the charm of Liszt's personality and the brilliance of his playing. Remenyi remained in Weimar, while Brahms continued his wanderings and eventually ended up in Düsseldorf, in the house of R. Schumann.
Schumann and his wife, pianist Clara Schumann-Wick, had already heard about Brahms from Joachim and received the young musician warmly. They were delighted with his writings and became his most staunch adherents. Brahms lived in Düsseldorf for several weeks and went to Leipzig, where Liszt and G. Berlioz attended his concert. By Christmas, Brahms arrived in Hamburg; he left his hometown as an obscure student, and returned as an artist with a name about which the great Schumann's article said: "Here is a musician who is called upon to give the highest and ideal expression to the spirit of our time."
In February 1854, Schumann attempted suicide in a nervous fit; he was sent to a hospital, where he dragged out his days until his death (in July 1856). Brahms hurried to the aid of the Schumann family and, during a period of difficult trials, took care of his wife and seven children. He soon fell in love with Clara Schumann. Clara and Brahms, by mutual agreement, never talked about love. But a deep mutual affection remained, and throughout her long life, Clara remained Brahms's closest friend.
In the autumn months of 1857-1859. Brahms served as court musician at the small princely court in Detmold, and spent the summers of 1858 and 1859 in Göttingen. There he met Agathe von Siebold, a singer, the daughter of a university professor; Brahms was seriously infatuated with her, but hastened to retreat when it came to marriage. All subsequent cordial hobbies of Brahms were of a fleeting nature. He died a bachelor.
The Brahms family still lived in Hamburg, and he constantly traveled there, and in 1858 he rented a separate apartment for himself. In 1858–1862 he successfully led an amateur women's choir: he really liked this occupation, and he composed several songs for the choir. However, Brahms dreamed of being the conductor of the Hamburg Philharmonic Orchestra. In 1862, the former leader of the orchestra died, but the place went not to Brahms, but to J. Stockhausen. After that, the composer decided to move to Vienna.
By 1862, the luxurious colorful style of Brahms' early piano sonatas gave way to a more calm, strict, classical style, which manifested itself in one of his best works - Variations and Fugue on a Theme by Handel. Brahms moved further and further away from the ideals of the New German School, and his rejection of Liszt culminated in 1860, when Brahms and Joachim published a very sharp manifesto in tone, which, in particular, stated that the compositions of the followers of the New German School "contradict the very spirit of music."
The first concerts in Vienna were met with critics not too friendly, but the Viennese willingly listened to Brahms the pianist, and he soon won universal sympathy. The rest was a matter of time. He no longer challenged his colleagues, his reputation was finally established after the resounding success of the "German Requiem", performed on April 10, 1868 in the Bremen Cathedral. Since then, the most notable milestones in Brahms's biography have been the premieres of his major works, such as the First Symphony in C minor (1876), the Fourth Symphony in E minor (1885), the quintet for clarinet and strings (1891).
His material well-being grew along with fame, and now he has given free rein to his love of travel. He visited Switzerland and other picturesque places, several times traveled to Italy. Until the end of his life, Brahms preferred not too difficult travel, and therefore the Austrian resort of Ischl became his favorite vacation spot. It was there that on May 20, 1896 he received the news of the death of Clara Schumann. Seriously ill, he died in Vienna on April 3, 1897.
Brahms did not write a single opera, but otherwise his work covered almost all major musical genres. Among his vocal compositions, the majestic "German Requiem" reigns like a mountain top, followed by half a dozen works of a smaller scale for choir and orchestra. Brahms' heritage includes vocal ensembles with accompaniment, a capella motets, quartets and duets for voices and piano, about 200 songs for voice and piano. In the field of orchestral instrumental, there are four symphonies, four concertos (including the sublime Violin Concerto in D major, 1878, and the monumental Second Piano Concerto in B flat major, 1881), as well as five orchestral works of different genres, including Variations on a Theme by Haydn (1873). He created 24 chamber-instrumental works of various scales for piano solo and for two pianos, several pieces for organ.
When Brahms was 22 years old, experts such as Joachim and Schumann assumed that he would lead the resurgent Romantic movement in music. Brahms remained an incorrigible romantic for the rest of his life. However, this was not the pathetic romanticism of Liszt and not the theatrical romanticism of Wagner. Brahms did not like too bright colors, and sometimes it may seem that he is generally indifferent to timbre. Thus, we cannot say with complete certainty whether the Variations on a Theme by Haydn were originally composed for two pianos or for orchestra - they are published in both versions. The Piano Quintet in F minor was first conceived as a string quintet, then as a piano duet. Such disregard for instrumental color is rare among romantics, because the brilliance of the musical palette was of decisive importance, and Berlioz, Liszt, Wagner, Dvorak, Tchaikovsky and others made a real revolution in the field of orchestral writing. But one can also recall the sound of horns in the Second Brahms Symphony, trombones in the Fourth, clarinet in the clarinet quintet. It is clear that the composer, who uses timbres in this way, is by no means blind to colors - he just sometimes prefers the "black and white" style.
Schubert and Schumann not only did not hide their commitment to romanticism, but were also proud of it. Brahms is much more careful, as if he is afraid of betraying himself. “Brahms does not know how to rejoice,” said Brahms's opponent, G. Wolf, once, and there is some truth in this barb.
Over time, Brahms became a brilliant contrapuntalist: his fugues in the German Requiem, in the Variations on a Theme of Handel and other compositions, his passacaglia in the finale of the Variations on a Theme of Haydn and in the Fourth Symphony are directly based on the principles of Bach's polyphony. In other cases, Bach's influence is refracted through Schumann's style and reveals itself in the dense chromatized polyphony of Brahms' orchestral, chamber and late piano music.
Reflecting on the passionate worship of the Romantic composers to Beethoven, one cannot help but be struck by the fact that they proved to be relatively weak in exactly the area in which Beethoven excelled especially, namely, in the area of form. Brahms and Wagner were the first great musicians who appreciated Beethoven's achievements in this area, managed to perceive and develop them. Already the early piano sonatas of Brahms are imbued with a musical logic that has not been seen since the time of Beethoven, and over the years Brahms' mastery of form became more and more confident and sophisticated. He did not shy away from innovations: one can name, for example, the use of the same theme in different parts of the cycle (the romantic principle of monothematism - in G major violin sonata, op. 78); slow, thoughtful scherzo (First Symphony); scherzo and slow movement merged into one (string quartet in F major, op. 88).
Thus, two traditions met in the work of Brahms: counterpoint, coming from Bach, and architectonics, developed by Haydn, Mozart, Beethoven. To this is added romantic expression and color. Brahms combines different elements of the German classical school and sums them up - one can say that his work completes the classical period in German music. It is not surprising that contemporaries often referred to the Beethoven-Brahms parallel: indeed, these composers have much in common. The shadow of Beethoven hovers - more or less distinctly - over all the major works of Brahms. And only in small forms (intermezzo, waltzes, songs) does he manage to forget about this great shadow - for Beethoven, small genres played a secondary role.
As a songwriter, Brahms covered, perhaps, a less wide range of images than Schubert or G. Wolf; most of his best songs are purely lyrical, usually to the words of German poets of the second row. Several times Brahms wrote to the verses of Goethe and Heine. Almost always, Brahms' songs correspond exactly to the mood of the chosen poem, flexibly reflect the change of feelings and images.
As a melodist, Brahms is second only to Schubert, but as a composer he has no rivals. The symphony of Brahms' thinking is manifested in the wide breathing of vocal phrases (often posing difficult tasks for the performers), in the harmony of form and richness of the piano part; Brahms is infinitely inventive in the field of piano texture and in the ability to timely apply this or that texture technique.
Brahms is the author of two hundred songs; he worked in this genre all his life. The pinnacle of songwriting is the magnificent vocal cycle “Four Strict Melodies” (1896) written on biblical texts, written at the end of his life. He also owns about two hundred arrangements of folk songs for various performing groups.
BRAHMS (Brahms) Johannes (May 7, 1833, Hamburg - April 3, 1897, Vienna), German composer. From 1862 he lived in Vienna. He performed as a pianist and conductor. Brahms' symphonism is distinguished by an organic combination of Viennese classical traditions and romantic imagery. 4 symphonies, overtures, concertos for instruments and orchestra, "German Requiem" (1868), chamber instrumental ensembles, piano compositions ("Hungarian Dances", 4 notebooks, 1869-1880), choirs, vocal ensembles, songs.
First experiences
Born in the family of a musician - horn player and double bass player. At the age of 7 he began to learn to play the piano; from the age of 13 he took lessons in theory and composition from the famous Hamburg musician Eduard Marksen (1806-1887). He gained his first composing experience making arrangements of gypsy and Hungarian melodies for the light music orchestra in which his father played. In 1853, together with the famous Hungarian violinist Ede Remenyi (1828-1898), he made a concert tour of the cities of Germany. In Hanover, Brahms met another outstanding Hungarian violinist J. Joachim, in Weimar - with F. Liszt, in Düsseldorf - with. The latter spoke highly in the press about the merits of Brahms the pianist. Until the end of his days, Brahms bowed to the personality and work of Schumann, and his youthful love for Clara Schumann (who was 14 years older than him) grew into platonic adoration.
Influenced by the Leipzig school
In 1857, after several years spent in Düsseldorf next to K. Schumann, Brahms took the post of court musician in Detmold (he was the last outstanding composer in history who was in the court service). In 1859 he returned to Hamburg as director of the women's choir. By that time, Brahms was already widely known as a pianist, but his composer's work was still in the shadows. Brahms' music was perceived by many contemporaries as too traditional, oriented towards conservative tastes. From his youth, Brahms was guided by the so-called Leipzig school - a relatively moderate trend in German romanticism, represented primarily by the names of Schumann. By the second half of the 1850s, it had largely lost the sympathy of "progressive" musicians, on whose banner the names of Liszt and Wagner were inscribed. Nevertheless, such works by the young Brahms as two delightful orchestral Serenades Op. 11 and 16 (composed as part of court duties in Detmold, 1858-59), First Piano Concerto Op. 15 (1856-58), Piano Variations on a Theme Op. 24 (1861) and the first two piano quartets Op. 25 and 26 (1861-1862, the first with a dance finale in the Hungarian spirit), brought him recognition both among musicians and among the general public.
Vienna period
In 1863 Brahms headed the Vienna Singing Academy (Singakademie). In subsequent years, he acted as a choral conductor and as a pianist, toured in the countries of Central and Northern Europe, and taught. In 1864 he met Wagner, who initially treated Brahms with sympathy. Soon, however, relations between Brahms and Wagner changed radically, leading to a bitter newspaper war between the "Wagnerians" and the "Brahmsians" (or, as they were sometimes jokingly called, "Brahmins"), led by an influential Viennese critic, friend of Brahms, E. Hanslick . The controversy between these "parties" significantly influenced the atmosphere of the musical life in Germany and Austria in the 1860s-80s.
In 1868 Brahms finally settled in Vienna. His last official position was as Artistic Director of the Society of Friends of Music (1872-73). Monumental "German Requiem" for soloists, choir and orchestra Op. 45 on texts from the German Bible by Martin Luther (1868) and the spectacular orchestral Variations on a Theme by Haydn Op. 56a (1873) brought him worldwide fame. The period of the highest creative activity continued with Brahms until 1890. One after another, his central works appeared: all four symphonies (No. 1 Op. 68, No. 2 Op. 73, No. 3 Op. 90, No. 4 Op. 98), concerts, in including the brightly "extroverted" Violin Concerto Op. 77 (1878), dedicated to Joachim (hence the Hungarian intonations in the finale of the concerto), and the monumental four-movement Second Piano Op. 83 (1881), all three sonatas for violin and piano (No. 1 Op. 78, No. 2 Op. 100, No. 3 Op. 108), Second Cello Sonata Op. 99 (1886), the best songs for voice and piano, including Feldeinsamkeit ("Loneliness in the Field") from Op. 86 (c. 1881), Wie Melodien zieht es mir and Immer leiser wird mein Schlummer from Op. 105 (1886-8) and others. In the early 1880s, Brahms became friends with the outstanding pianist and conductor Hans von Bülow (1830-1894), who at that time headed the Meiningen court orchestra. With the help of this orchestra - one of the best in Europe - was carried out, in particular, the premiere of the Fourth Symphony (1885). Brahms often spent the summer months at the resort of Bad Ischl, working mainly on large chamber instrumental ensembles - trios, quartets, quintets, etc.
Late Brahms
In 1890, Brahms decided to give up composing music, but soon abandoned his intention. In 1891-94 he wrote the Trio for Piano, Clarinet and Cello Op. 114, Quintet for Clarinet and Strings Op. 115 and two sonatas for clarinet and piano, Op. 120 (all for the Meiningen clarinetist Richard Mülfeld, 1856-1907), as well as a number of piano pieces. His career ended in 1896 with a vocal cycle for bass and piano, Op. 121 "Four strict melodies" on biblical texts and a book of choral preludes for organ Op. 122. Many pages of late Brahms are imbued with a deep religious feeling. Brahms died of cancer less than a year after the death of K. Schumann.
Composer's innovation
Being a follower of the Leipzig school, Brahms remained faithful to the traditional forms of "absolute", non-program music, but Brahms' outward traditionalism is largely deceptive. All of his four symphonies follow the four-part scheme, which has been established since the days of Viennese classicism, but the dramaturgy of the cycle is always realized by him in an original and new way. Common to all four symphonies is an increase in the semantic weight of the finale, which in this respect competes with the first movement (which, in general, is not typical of pre-Brams' "absolute" symphonism and anticipates the type of "finale symphony" characteristic of H. Mahler). The chamber-ensemble music of Brahms also differs in a huge variety of dramatic solutions - despite the fact that all of his numerous sonatas, trios, quartets, quintets and sextets also outwardly do not deviate from the traditional four- or three-part schemes. Brahms raised variation technique to a new level. For him, this is not only a method of constructing large forms (as in the variation cycles on themes by Handel, Paganini, Haydn, or in separate parts of some cyclic works, including the final passacaglia of the Fourth Symphony, the finales of the Third String Quartet, the Second Sonata for Clarinet and Piano and etc.), but also the main way of working with motifs, which makes it possible to achieve the highest intensity of thematic development even in relatively small spaces (in this respect, Brahms was a faithful follower of the later one). The Brahms technique of motivic work had a great influence on A. Schoenberg and his students, the composers of the new Viennese school. Brahms' innovation was clearly manifested in the field of rhythm, which in his work is unusually free and active due to frequent and diverse syncopations.
Brahms felt equally confident in the field of "scientific", intellectual music for connoisseurs, and in the field of popular, "light" music, as his "Gypsy Songs", "Waltzes - Love Songs" and especially "Hungarian Dances" convincingly testify to. which continue to perform the function of first-class entertainment music in our time.
In terms of the scale of his creative personality, Brahms is often compared with the other two "great B." German music, Bach and Beethoven. Even if this comparison is somewhat exaggerated, it is justified in the sense that the work of Brahms, like the work of Beethoven, marks the culmination and synthesis of an entire era in the history of music.
creative path
Brahms is the largest composer of the 2nd half of the 19th century, who lived at the same time as Wagner, Liszt, and was their antipode. A very unique composer. He denied the extremes of romanticism (anguish, exaggeration). Brahms sought and found support in classical traditions, which played a huge role in his work. This gives objectivity to his work. All romantic experiences are enclosed in a classical form. He revived Bach's forms and genres (for example, the Passacaglia). Brahms has organ prelude and fugue, fugue, chorale preludes. He was the greatest symphonist - he has 4 symphonies, 2 overtures. His symphony is not programmatic. He denied programming. In this regard, Brahms did not like Liszt and Wagner.
Bülow called Brahms' 1st Symphony Beethoven's 10th Symphony. Brahms considered folklore to be of great value. He edited folk songs. “Folk song is my ideal” (I. Brahms). Processed German folk songs. He wrote everyday German folk songs and dances: “Everyday plays for 4 hands”, “Hungarian dances”. Brahms adopted the traditions of everyday music-making from Schubert. He was interested in both Slavic and Hungarian folklore. Schubert, Schumann and Mendelssohn are Brahms' favorite composers. He greatly appreciated Dvorak, Grieg, Bizet. Brahms has vocal lyrics. He has a soft, sincere, where he develops the traditions of Schubert. He worked a lot in piano music (here he is close to Schumann).
Main works: 2 piano concertos, 1 violin concerto (D-dur), double concerto for violin and cello, 3 violin sonatas, 2 cello sonatas, 2 clarinet sonatas; chamber ensembles of different composition (classical tradition): 3 string quartets, piano quartets and piano quintet, piano trios, horn trio, clarinet quintet (not 5 clarinets).
Works for piano: 3 sonatas, variations on themes by Handel, Schumann, Paganini, various pieces, 1 scherzo, etudes after pieces by Bach, Weber, Schubert, Chopin.
Vocal works: about 200 songs and romances, vocal ensembles for everyday music making, choirs "Acapella" and with orchestra accompaniment.
life path
Born in Hamburg. Father is a city musician. Brahms studied piano with many (including Marxen). Marxen instilled in Brahms a love of the classics. From childhood, Brahms was industrious. He quickly mastered the piano. He played his works and classics. Childhood passed in difficult conditions. I had to earn money by playing in the theater, in restaurants. It was domestic music.
In 1849, Brahms became friends with the Hungarian violinist Ede Remenyi. In 1853 Brahms traveled with Rémeigny as his accompanist for Europe. Remenyi's repertoire included Hungarian folk songs and dances. By this year, Brahms had written Scherzo, chamber ensembles, a sonata, and songs. Together they went to Weimar, where they met Liszt.
In 1853, through his violinist friend Joachim, Brahms met Schumann in Düsseldorf. Schumann received Brahms with enthusiasm and wrote his last article about him, New Ways, for which Brahms became famous.
Brahms became friends with Clara Wieck. Brahms, Clara Wieck, Joachim, and others organized a support group for the classics and opposed programming. Brahms wrote his only article in his life, where he spoke out against software.
In the second half of the 50s - Brahms' concert trips as a pianist. Played with the Gewandhaus Orchestra. Performed with Clara Wieck and Joachim.
1858-1859 Leadership of the court choir in Detmold (Germany). Conducted works by Palestrina, Orlando Lasso, Handel, Bach. Wrote Moira. Choral music is very important in the work of Brahms. He later wrote a German requiem.
Since the 60s, Brahms lived in Vienna, but not permanently (he traveled to Hamburg, Baden-Baden, Zurich, etc.). Since the late 60s he settled in Vienna. Again directs the choir chapel (Viennese). Major conductor. He performed Handel, Bach's Matthew Passion, Mozart's Requiem.
1872-1875 Brahms was at the head of a society of music lovers and conducted symphony concerts. But then I decided to delve into creativity. Dawn years - 70-80 years:
4 symphonies, violin and 2nd piano concertos, 2 piano trios (2nd and 3rd), 3 string quartets, songs and choirs, vocal ensembles, a lot of everyday music for home music - “Songs of Love”, Hungarian dances, waltzes, orchestral serenades, piano quintets, string quartets.
In the last years of his life, Brahms was friends with Dvorak. Became a member of the Academy of Arts in Berlin, Doctor of Music at Cambridge and Breslau Universities. At the end of his life he wrote little: pieces for piano - "Intermezzo", a clarinet quintet, a collection of 49 German folk songs. Brahms died in 1897.
4th symphony (e-moll)
Lyric-dramatic symphonic four-movement cycle. The first hour begins softly, sincerely. The 1st theme is soft, song. The symphony ends with a tragic ending.
I hour e-moll. Sonata Allegro. In this part, the whole cycle (code of the 1st part) is predetermined.
G.P. It sounds dramatic in chord texture, with canonical intonation.
II hour Typical of Brahms. Lyrics. Serious. There are echoes of the landscape. E-dur. Sonata Allegro.
3rd hour Contrasting 1st and 2nd parts. Festive. Looks like a scherzo. C major.
IV hour e-moll. Tragic ending. This is a passacaglia. 32 variations on one theme. Symbolizes death. Variation form.
I part.
G.P. In the tradition of Schubert. Song. Sounds like violins. Melody and accompaniment. S.P. built on this theme.
At the end of S.P. before P.P. a strong-willed fanfare motive appears. Fis-dur. It plays a big role in development. After him immediately comes P.P.
P.P. Lyrical. At the cellos. H-moll.
Z.P. Several theme elements. 1st soft in H-dur. The 2nd theme is related to the fanfare motif. Heroic. The 3rd theme is gradual dissolution.
Development
Starts with G.P. in the main tone. This gives the 1st part the features of narrative, ballad.
2 sections are under development.
1st section. Isolation. Motives are isolated from the theme, distant tonalities are touched upon.
2nd section. A fanfare motive and the 2nd element of G.P.
reprise
Starts with G.P. in magnification. From the 2nd phrase of G.P. sounds like an exposition. P.P. and fanfare motif sound already in e-moll.
coda
Topic G.P. changes greatly. Passes canonically and in chords.
II part
E-dur. Sonata form with introduction. Introduction - horns. Melodic E-dur.
G.P. Melodic E-dur.
P.P. Violins have a light lyrical theme. H-dur. Landscape.
Development
The main development method in development is variational. There is a code.
III part
sonata form.
G.P. C major. Flickering of different elements.
P.P. More melodious. G-dur.
Development
There is a new theme in Des-dur (called "episode in progress"). Next, elements of the themes of the exposition are developed.
reprise
Main tone.
IV part
The end is big and tragic. It starts with a choral melody. Sounds terrible. The entire variation cycle is divided into 3 parts (groups of variations).
1st group - up to 12 variations.
2nd group - 2 variations. 1st variation - At the beginning of the flute solo. lyric theme. Something like a lamento aria. 2nd variation - E-dur.
3rd group. E-moll.
Compositions:
vocal-symphonic works and works for choir with orchestra accompaniment, etc.:
Ave Maria (op. 12, 1858), Funeral song (Begrabnisgesang, lyrics by M. Weise, op. 13, 1858), 4 songs (for women's choir with accompaniment of 2 horns and harp, op. 17, 1860), 13th psalm (for women's choir accompanied by organ, or piano, or string orchestra, op. 27, 1859), German Requiem (Ein deutsches Requiem, words from the Bible translated by M. Luther, op. 45, 1857-1868), 12 songs and romances (for women's choir with piano accompaniment ad libitum, op. 44, 1859-63), Rinaldo (cantata, words by J. W. Goethe, op. 50, 1863-68), Rhapsody (words by J. W. Goethe, 53, 1869), Song of Destiny (Schicksalslied, lyrics by F. Hölderlin, op. 54, 1868-71), Triumphal Song (text from the "Apocalypse", Triumphlied auf den Sieg der deutschen Waffen, op. 55, 1870-71 ), Nenia (words by F. Schiller, op. 82, 1880-81), Song of the Parks (Gesang der Parzen, words by J. W. Goethe, op. 89, 1882);
for orchestra-
4 symphonies: No. 1 (c-moll, op. 68, 1874-76), No. 2 (D-dur, op. 73, 1877), No. 3 (F-dur, op. 90, 1883), No. 4 ( e-moll, op. 98, 1884-85);
2 serenades: No. 1 (D-dur, op. 11, 1858), No. 2 (A-dur, op. 16, 1858-60);
2 overtures: Academic Solemn (c-mol, op. 80, 1880), Tragic Overture (d-moll, op. 81, 1880-81), Variations on a Theme of Haydn (B-dug, op. 56-a, 1873) ;
for one instrument with orchestra -
4 concertos, including concerto No. 1 for piano and orchestra (d-moll, op. 15, 1854-59), concerto No. 2 for piano and orchestra (B-dur, op. 83, 1878-81), concerto for violins and orchestra (D-dur, op. 77, 1878);
for two instruments with orchestra -
double concerto for violin and cello (a-moll, op. 102, 1887);
for an ensemble of instruments -
2 sextets: No. 1 (for 2 violins, 2 violas and 2 cellos, B-dur, op. 18, 1858-60), No. 2 (the same composition, G-dur, op. 36, 1864-65);
quintets-
2 quintets for 2 violins, 2 violas and cello: No. 1 (F-dur, op. 88, 1882), No. 2 (G-dur, op. 111, 1890), quintet for piano, 2 violins, viola and cello ( f minor, op. 34, 1861-64), clarinet quintet, 2 violins, viola and cello (h minor, op. 115, 1891);
quartets-
3 piano quartets: No. 1 (g-moll, op. 25, 1861), No. 2 (A-dur, op. 26, 1861), No. 3 (c-minor, op. 60, 1855-74), 3 strings quartet: No. 1 (c-minor, op. 51, circa 1865-73), No. 2 (a-moll, op. 51, no. 2, 1873), No. 3 (B-dur, op. 67, 1875);
trio-
3 piano trios: No. 1 (H-dur, op. 8, 1854; 2nd edition 1889), No. 2 (C-dur, op. 87, 1880-82), No. 3 (c-minor, op. 101) , 1886), trio for piano, violin and horn (Es-dur, op. 40, 1856), trio for piano, clarinet and cello (a-moll, op. 114, 1891);
sonatas for violin and piano
No. 1 (G-dur, op. 78, 1878-79), No. 2 (A-dur, op. 100, 1886), No. 3 (d-minor, op. 108, 1886-88);
sonatas for cello and piano
No. 1 (e-moll, op. 38, 1862-65), No. 2 (F-dur, op. 99, 1886);
sonatas for clarinet and piano
No. 1 (f-moll, op. 120, 1894), No. 2 (Es-dur, op. 120, 1894), Scherzo (c-moll, for sonata, composed jointly with R. Schumann and A. Dietrich, without op. ., 1853);
for piano 2 hands -
3 sonatas: No. 1 (C-dur, op. 1, 1852-1853), No. 2 (fis-moll, op. 2, 1852), No. 3 (f-moll, op. 5, 1853), Scherzo (es -moll, op. 4, 1851); variations: 16-on a theme by R. Schumann (fis-moll, op. 9, 1854), on his own theme (D-dur, op. 21, 1857), on a theme of a Hungarian song (D-dur, op. 21, about 1855), Variations and Fugue on a theme by G. F. Handel (B-dur, op. 24, 1861), Variations on a theme by Paganini (a-moll, op. 35, 1862-63); 4 ballads (op. 10, 1854); 18 piano pieces (8, op. 76, No. 1 - 1871, No. 2-7 - 1878; 6 - op. 118, 1892; 4 - op. 119, 1892), 2 rhapsodies (No. 1 - h-moll and No. 2-g-moll, op. 79, 1879), fantasies (3 capriccios and 4 intermezzos, op. 116, 1891-92), 3 intermezzos (op. 117, 1892); in addition, without op.: 2 gigi (a-moll and h-moll, 1855), 2 sarabandes (a-moll and h-moll, 1855), theme and variations (d-moll, from the sextet op. 18, 1860 ), 10 Hungarian dances (arr. Hungarian dances for piano in 4 hands, 1872), 51 exercises (collected in 1890), gavotte (A-dur, gavotte by X. V. Gluck), 5 etudes (based on works by Chopin, Weber and Bach); 8 cadenzas for piano concertos: J. S. Bach (d-moll), W. A. Mozart (G-dur, 2 cadenzas; d-moll, c-moll), Beethoven (G-dur, 2 cadenzas; c- moll);
for piano 4 hands-
Variations on a theme by Schumann (Es-dur, op. 23, 1861), 16 waltzes (op. 39, 1865), Love songs - waltzes (op. 52-a, arrangement of op. 52, 1874), New love songs - waltzes (op. 65-a, revised op. 65, 1877), Hungarian dances (4 notebooks, 21 dances in total, published 1869-1880, there are transcriptions for one piano);
for 2 pianos -
sonata (f-moll, op. 34-c, 1864), Variations on a theme by I. Haydn (op. 56-c, arrangement of the same variations for orchestra op. 56-a, 1873);
for organ-
fugue (as-moll, 1856), 2 preludes and fugues (No. 1 a-moll, No. 2 g-moll, 1856-57), Choral prelude (a-moll, 1856), 11 choral preludes (op. 122, 1896 , some of an earlier period);
vocal works:
60 vocal quartets with piano accompaniment, including Waltzes - love songs (Liebesliederwalzer, op. 52, 1868-69), Waltzes (No. 1, 2, 4, 5, 6, 8, 9, 11 arranged for orchestra, 1870 ), New Love Songs (Neue Liebeslieder, op. 65, 1874, Waltz No. 5 arranged for orchestra), 11 gypsy songs (op. 103, 1887), 16 quartets (including 3 - op. 31, 1859-63; 3 - op.64, 1864-74; 4 - op.92, 1877-1884 and 6-op.112, 1888-91); 20 duets with piano accompaniment, including 3 for soprano and alto (op. 20, 1856-60), 4 for contralto and baritone (op. 28, 1860-62), 9 for soprano and mezzo-soprano ( op. 61 and op. 66, 1874, 1875), 4 ballads and romances for two voices (op. 75, 1877-78); songs and romances for voice with piano accompaniment - about 200 in total, among them: 6 songs (op. 3, 1852-53, No. 1 - Fidelity in love, No. 5 - In a foreign land), 6 songs (op. 7, 1852- 53, No. 5 - Sorrowful), 8 songs and romances (op. 14, 1858), 5 songs (op. 19, 1858-59, No. 4 - Blacksmith, No. 5-To the aeolian harp), 9 songs (op. 32 , 1864), 15 romances (from Tick's "Magelona", op. 33, 1861-68), 4 songs (op. 43, 1857, No. 1-On Eternal Love, No. 2 - May Night), 5 songs (op. 47, 1868, No. 3 - Sunday, No. 4-O dear cheeks), 7 songs (op. 48, 1855-68, No. 1 - The path to the beloved), 5 songs (op. 49, 1868, No. 4 - Lullaby) , 8 songs (op. 59, 1873, No. 3 - Rain song), 9 songs (op. 63, 1873-74, No. 5 - My favorite is like a lilac, No. 8-O, if only I knew the way back), 9 songs (op. 69, 1877, No. 4 - Oath of the Beloved, No. 5 - Drummer's Song), 5 songs (op. 71, 1877, No. 3 - Mystery, No. 5 - Love Song), 5 romances and songs (op. 84, 1881), 6 songs (op. 86, 1877-78, No. 2 - Solitude in the field), 5 songs (op. 94, 1884), 7 songs (op. 95, 1884, No. 4 - Hunter), 4 songs (op. 96, 1884), 5 songs (op. 105, 1886), 5 songs (op. 107, 1886, No. 1 - Maiden's song), 4 strict tunes for bass on biblical texts (op. 121, 1896, the last work of Brahms) ; in addition, without opera: Moonlight Night (1853), 14 children's folk songs (1857-58) and 49 German folk songs (7 notebooks of 7 songs each); choral works a cappella - about 60 mixed choirs, 7 songs of Mary (op. 22, 1859), 7 motets (2 - op. 29, 1864; 2 - op. 74, 1877, 3-op. 110, 1889), 21 song and romances (3 - op. 42, 1859-61; 7-op. 62, 1874; 6-op. 93-a, 1883-84; 5-op. 104, 1886-1888), 24 German folk songs ( without op., 1854-73), 5 male choirs (op. 41, 1861-62), 16 female choirs (op. 37, 1859-63), 13 canons (op. 113, 1860-63).
1833 - 1897
creative path
Brahms is the largest composer of the 2nd half of the 19th century, who lived at the same time as Wagner, Liszt, and was their antipode. A very unique composer. He denied the extremes of romanticism (anguish, exaggeration). Brahms sought and found support in the classical traditions, which played a huge role in his work. This gives objectivity to his work. All romantic experiences are enclosed in a classical form. He revived Bach's forms and genres (for example, the Passacaglia). Brahms has organ prelude and fugue, fugue, chorale preludes. He was the greatest symphonist - he has 4 symphonies, 2 overtures. His symphony is not programmatic. He denied programming. In this regard, Brahms did not like Liszt and Wagner.
Bülow called Brahms' 1st Symphony Beethoven's 10th Symphony. Brahms considered folklore to be of great value. He edited folk songs. “Folk song is my ideal” (I. Brahms). Processed German folk songs. He wrote everyday German folk songs and dances: “Everyday plays for 4 hands”, “Hungarian dances”. Brahms adopted the traditions of everyday music-making from Schubert. He was interested in both Slavic and Hungarian folklore. Schubert, Schumann and Mendelssohn are Brahms' favorite composers. He greatly appreciated Dvorak, Grieg, Bizet. Brahms has vocal lyrics. He has a soft, sincere, where he develops the traditions of Schubert. He worked a lot in piano music (here he is close to Schumann).
Main works: 2 piano concertos, 1 violin concerto (D-dur), double concerto for violin and cello, 3 violin sonatas, 2 cello sonatas, 2 clarinet sonatas; chamber ensembles of different composition (classical tradition): 3 string quartets, piano quartets and piano quintet, piano trios, horn trio, clarinet quintet (not 5 clarinets).
Works for piano: 3 sonatas, variations on themes by Handel, Schumann, Paganini, various pieces, 1 scherzo, etudes after pieces by Bach, Weber, Schubert, Chopin.
Vocal works: about 200 songs and romances, vocal ensembles for everyday music making, choirs "Acapella" and with orchestra accompaniment.
life path
Born in Hamburg. Father is a city musician. Brahms studied piano with many (including Marxen). Marxen instilled in Brahms a love of the classics. From childhood, Brahms was industrious. He quickly mastered the piano. He played his works and classics. Childhood passed in difficult conditions. I had to earn money by playing in the theater, in restaurants. It was domestic music.
In 1849, Brahms became friends with the Hungarian violinist Ede Remenyi. In 1853 Brahms traveled with Rémeigny as his accompanist for Europe. Remenyi's repertoire included Hungarian folk songs and dances. By this year, Brahms had written Scherzo, chamber ensembles, a sonata, and songs. Together they went to Weimar, where they met Liszt.
In 1853, through his violinist friend Joachim, Brahms met Schumann in Düsseldorf. Schumann received Brahms with enthusiasm and wrote his last article about him, New Ways, for which Brahms became famous.
Brahms became friends with Clara Wieck. Brahms, Clara Wieck, Joachim, and others organized a support group for the classics and opposed programming. Brahms wrote his only article in his life, where he spoke out against software.
In the second half of the 50s - Brahms' concert trips as a pianist. Played with the Gewandhaus Orchestra. Performed with Clara Wieck and Joachim.
1858-1859 Leadership of the court choir in Detmold (Germany). Conducted works by Palestrina, Orlando Lasso, Handel, Bach. Wrote Moira. Choral music is very important in the work of Brahms. He later wrote a German requiem.
Since the 60s, Brahms lived in Vienna, but not permanently (he traveled to Hamburg, Baden-Baden, Zurich, etc.). Since the late 60s he settled in Vienna. Again directs the choir chapel (Viennese). Major conductor. He performed Handel, Bach's Matthew Passion, Mozart's Requiem.
1872-1875 Brahms was at the head of a society of music lovers and conducted symphony concerts. But then I decided to delve into creativity. Dawn years - 70-80 years:
4 symphonies, violin and 2nd piano concertos, 2 piano trios (2nd and 3rd), 3 string quartets, songs and choirs, vocal ensembles, a lot of everyday music for home music - “Songs of Love”, Hungarian dances, waltzes, orchestral serenades, piano quintets, string quartets.
In the last years of his life, Brahms was friends with Dvorak. Became a member of the Academy of Arts in Berlin, Doctor of Music at Cambridge and Breslau Universities. At the end of his life he wrote little: pieces for piano - "Intermezzo", a clarinet quintet, a collection of 49 German folk songs. Brahms died in 1897.
4th symphony (e-moll)
Lyric-dramatic symphonic four-movement cycle. The first hour begins softly, sincerely. The 1st theme is soft, song. The symphony ends with a tragic ending.
Part I e-moll. Sonata Allegro. In this part, the whole cycle (code of the 1st part) is predetermined.
G.P. It sounds dramatic in chord texture, with canonical intonation.
Part II. Typical for Brahms. Lyrics. Serious. There are echoes of the landscape. E-dur. Sonata Allegro.
III h. Contrasting the 1st and 2nd parts. Festive. Looks like a scherzo. C major.
IV part e-moll. Tragic ending. This is a passacaglia. 32 variations on one theme. Symbolizes death. Variation form.
G.P. In the tradition of Schubert. Song. Sounds like violins. Melody and accompaniment. S.P. built on this theme.
At the end of S.P. before P.P. a strong-willed fanfare motive appears. Fis-dur. It plays a big role in development. After him immediately comes P.P.
P.P. Lyrical. At the cellos. H-moll.
Z.P. Several theme elements. 1st soft in H-dur. The 2nd theme is related to the fanfare motif. Heroic. The 3rd theme is gradual dissolution.
Development
Starts with G.P. in the main tone. This gives the 1st part the features of narrative, ballad.
2 sections are under development.
1st section. Isolation. Motives are isolated from the theme, distant tonalities are touched upon.
2nd section. A fanfare motive and the 2nd element of G.P.
Starts with G.P. in magnification. From the 2nd phrase of G.P. sounds like an exposition. P.P. and fanfare motif sound already in e-moll.
Topic G.P. changes greatly. Passes canonically and in chords.
E-dur. Sonata form with introduction. Introduction - horns. Melodic E-dur.
G.P. Melodic E-dur.
P.P. Violins have a light lyrical theme. H-dur. Landscape.
Development
The main development method in development is variational. There is a code.
sonata form.
G.P. C major. Flickering of different elements.
P.P. More melodious. G-dur.
Development
There is a new theme in Des-dur (called "episode in progress"). Next, elements of the themes of the exposition are developed.
Main tone.
The end is big and tragic. It starts with a choral melody. Sounds terrible. The entire variation cycle is divided into 3 parts (groups of variations).
1st group - up to 12 variations.
2nd group - 2 variations. 1st variation - At the beginning of the flute solo. lyric theme. Something like a lamento aria. 2nd variation - E-dur.
3rd group. E-moll.
Compositions:
vocal-symphonic works and works for choir with orchestra accompaniment, etc.:
Ave Maria (op. 12, 1858), Funeral song (Begrabnisgesang, lyrics by M. Weise, op. 13, 1858), 4 songs (for female choir with accompaniment of 2 horns and harp, op. 17, 1860), 13th psalm (for women's choir accompanied by organ, or piano, or string orchestra, op. 27, 1859), German Requiem (Ein deutsches Requiem, words from the Bible translated by M. Luther, op. 45, 1857-1868), 12 songs and romances (for women's choir with piano accompaniment ad libitum, op. 44, 1859-63), Rinaldo (cantata, words by J. W. Goethe, op. 50, 1863-68), Rhapsody (words by J. W. Goethe, 53, 1869), Song of Destiny (Schicksalslied, lyrics by F. Hölderlin, op. 54, 1868-71), Triumphal Song (text from the "Apocalypse", Triumphlied auf den Sieg der deutschen Waffen, op. 55, 1870-71 ), Nenia (words by F. Schiller, op. 82, 1880-81), Song of the Parks (Gesang der Parzen, words by J. W. Goethe, op. 89, 1882);
for orchestra-
4 symphonies: No. 1 (c-moll, op. 68, 1874-76), No. 2 (D-dur, op. 73, 1877), No. 3 (F-dur, op. 90, 1883), No. 4 ( e-moll, op. 98, 1884-85);
2 serenades: No. 1 (D-dur, op. 11, 1858), No. 2 (A-dur, op. 16, 1858-60);
2 overtures: Academic Solemn (c-mol, op. 80, 1880), Tragic Overture (d-moll, op. 81, 1880-81), Variations on a Theme of Haydn (B-dug, op. 56-a, 1873) ;
for one instrument with orchestra -
4 concertos, including concerto No. 1 for piano and orchestra (d-moll, op. 15, 1854-59), concerto No. 2 for piano and orchestra (B-dur, op. 83, 1878-81), concerto for violins and orchestra (D-dur, op. 77, 1878);
for two instruments with orchestra -
double concerto for violin and cello (a-moll, op. 102, 1887);
for an ensemble of instruments -
2 sextets: No. 1 (for 2 violins, 2 violas and 2 cellos, B-dur, op. 18, 1858-60), No. 2 (the same composition, G-dur, op. 36, 1864-65);
quintets-
2 quintets for 2 violins, 2 violas and cello: No. 1 (F-dur, op. 88, 1882), No. 2 (G-dur, op. 111, 1890), quintet for piano, 2 violins, viola and cello ( f minor, op. 34, 1861-64), clarinet quintet, 2 violins, viola and cello (h minor, op. 115, 1891);
quartets-
3 piano quartets: No. 1 (g-moll, op. 25, 1861), No. 2 (A-dur, op. 26, 1861), No. 3 (c-minor, op. 60, 1855-74), 3 strings quartet: No. 1 (c-minor, op. 51, circa 1865-73), No. 2 (a-moll, op. 51, no. 2, 1873), No. 3 (B-dur, op. 67, 1875);
3 piano trios: No. 1 (H-dur, op. 8, 1854; 2nd edition 1889), No. 2 (C-dur, op. 87, 1880-82), No. 3 (c-minor, op. 101) , 1886), trio for piano, violin and horn (Es-dur, op. 40, 1856), trio for piano, clarinet and cello (a-moll, op. 114, 1891);
sonatas for violin and piano
No. 1 (G-dur, op. 78, 1878-79), No. 2 (A-dur, op. 100, 1886), No. 3 (d-minor, op. 108, 1886-88);
sonatas for cello and piano
No. 1 (e-moll, op. 38, 1862-65), No. 2 (F-dur, op. 99, 1886);
sonatas for clarinet and piano
No. 1 (f-moll, op. 120, 1894), No. 2 (Es-dur, op. 120, 1894), Scherzo (c-moll, for sonata, composed jointly with R. Schumann and A. Dietrich, without op. ., 1853);
for piano 2 hands -
3 sonatas: No. 1 (C-dur, op. 1, 1852-1853), No. 2 (fis-moll, op. 2, 1852), No. 3 (f-moll, op. 5, 1853), Scherzo (es -moll, op. 4, 1851); variations: 16-on a theme by R. Schumann (fis-moll, op. 9, 1854), on his own theme (D-dur, op. 21, 1857), on a theme of a Hungarian song (D-dur, op. 21, about 1855), Variations and Fugue on a theme by G. F. Handel (B-dur, op. 24, 1861), Variations on a theme by Paganini (a-moll, op. 35, 1862-63); 4 ballads (op. 10, 1854); 18 piano pieces (8, op. 76, No. 1 - 1871, No. 2-7 - 1878; 6 - op. 118, 1892; 4 - op. 119, 1892), 2 rhapsodies (No. 1 - h-moll and No. 2-g-moll, op. 79, 1879), fantasies (3 capriccios and 4 intermezzos, op. 116, 1891-92), 3 intermezzos (op. 117, 1892); in addition, without op.: 2 gigi (a-moll and h-moll, 1855), 2 sarabandes (a-moll and h-moll, 1855), theme and variations (d-moll, from the sextet op. 18, 1860 ), 10 Hungarian dances (arr. Hungarian dances for piano in 4 hands, 1872), 51 exercises (collected in 1890), gavotte (A-dur, gavotte by X. V. Gluck), 5 etudes (based on works by Chopin, Weber and Bach); 8 cadenzas for piano concertos: J. S. Bach (d-moll), W. A. Mozart (G-dur, 2 cadenzas; d-moll, c-moll), Beethoven (G-dur, 2 cadenzas; c- moll);
Johannes Brahms (1833 - 1897)As long as there are people capable of responding to music with all their hearts, and as long as Brahms' music will give rise to such a response in them, this music will live.
G. Gal
The work of Johannes Brahms combines the emotional impetuousness of romanticism and the harmony of classicism, enriched by the philosophical depth of the baroque and the ancient polyphony of strict writing - “the musical experience of half a millennium is generalized” (according toGeiringer -Viennese researcher of Brahms.
Johannes Brahms was born on May 7, 1833 into a musical family. His father went through a difficult path from an itinerant artisan musician to double bass player in the Philharmonic Orchestra.Hamburg. He gave his son the initial skills of playing various stringed and wind instruments, but Johannes was more attracted to the piano. Successes in studies with Kossel (later - with the famous teacher Marxen) allowed him to take part in a chamber ensemble at the age of 10, and at 15 - to give a solo concert. From an early age, Johannes helped his father support the family, playing the piano in the port taverns, making arrangements for the publisher Kranz, working as a pianist in the opera house. Before leaving Hamburg (1853) on a tour with the Hungarian violinist Remenyi, he was already the author of numerous works in various genres, mostly destroyed.From the folk tunes performed in concerts, the famous “Hungarian Dances” for piano were subsequently born.
At the age of fourteen, Johannes graduated from a private real school. After leaving school, along with continuing his musical education, his father began to attract him to evening work. Johannes Brahms was fragile and often suffered from headaches. Long stay in stuffy, smoky rooms and constant lack of sleep due to work at nightaffectedon his health.
On the recommendation of the violinist Josef Joachima, Brahms had the opportunity to meetSeptember 30, 1853with Robert Schumann. Schumann persuadedJohannesBrahms to perform one of his compositions and after a few bars he jumped up with the words: “ Clara needs to hear this!"The very next day, among the entries in Schumann's account book, the phrase appears:" Brahms was a guest - a genius».
Clara Schumann noted the first meeting with Brahms in her diary: “This month brought us a wonderful phenomenon in the person of the twenty-year-old composer Brahms from Hamburg. This is a true messenger of God! It is truly touching to see this man at the piano, to watch his attractive young face that lights up while playing, to see his beautiful hand, coping with the most difficult passages with great ease, and at the same time to hear these extraordinary compositions ... "
JohannesBrahmswas adopted by the Schumann family not only as a student, but also as a son, and lived with them until the death of Robert Schumann in July 1856.Brahmswas constantly next to Clara Schumann and was captivated by the charm of an outstanding woman.He saw in Clara - withthe elasticity of the famous Schumannwhom he respected immensely, mother of six children, eminent pianist, besides a beautiful and sophisticated woman -somethingsublime, defiant.
After the death of Robert Shum
on Brahms stopped meeting with Clara Schumann.From 1857 to 1859 he was a music teacher and choir conductor at the court of Detmold, where he could find the desired peace aftermarked by anxiety and anxietyyearsin Düsseldorf. We owe this bright, carefree mood of Brahms' soul to the orchestral serenades in D major and B major.
The "Hamburg period" of Brahms' life began with a triumphant performance of his Piano Concerto in D Minorin March 1859. The years spent in Hamburg gave a powerful impetus to the work of Brahms, largely due to the fact that it became possiblefeaturing female choirperform things composed in Detmold. Leaving later for Austria, he carried with him a large musical baggage: quartets, a trio in B major, three piano sonatas, as well as many violin pieces. In September 1862, Johannes Brahms first came to Vienna. His delight knew no bounds. He wrote: "... I live ten paces from the Prater and I can drink a glass of wine in a tavern where Beethoven often sat." First, he showed the then-famous pianist Julius Epsteinquartet in G minor. The admiration was so great that the violinist Josef Helmesberger, who was present at the first performance, immediately included this work of "Beethoven's heir" in his concert program and on November 16 performed it in the concert hall of the Society of Friends of Music. Brahms enthusiastically reported to his parents how warmly he was received in Vienna.
Autumn 1863Johannes Brahms got the position of choirmaster of the Vienna Vocal Academy, which he held for only one season, partly because of intrigue, partly because Brahms preferred not to bind himself with any obligations and be free to create.
In June 1864Brahmswent back to Hamburg.Soonhe had to endure her deathmother. In a trioE majorfor hornsJohannes Brahmstried to express the longing and bitterness of loss. At the same time, he begins the "German Requiem".The only thing known about the history of its creation is that"German Requiem"occupied the composer for more than ten years and that Brahms, shocked by the tragic fate of Schumann, soon after his death wanted to compose a funeral cantata. The death of the mother could be the last impetus for the continuation and completion of the requiem. Brahms completed the sixth part of the requiem in 1868 and wrote on the title page: "In memory of the mother."
The first performance of the still unfinished work took place on April 10, 1868 in Bremen and shocked the audience. The New Evangelical Church Newspaper, after the performance of the work on February 18, 1869 in Leipzig, wrote: "And if we were expecting a genius... then after this requiem, Brahms really deserved this title".
One ofgreat luckJohannesBrahms was acquainted with the famous surgeon Theodor Billroth, invitedin 1867to the University of Vienna. Big music loverbillrothbecameBrahms as a friend, critic and patron.
In January 1871 JohannesBrahmsreceived news of a serious illnessfather. At the beginning of February 1872 he arrivedHeto Hamburg, and the next day his father died.
In the autumn of 1872 Brahms became artistic director of the Society of Friends of Music in Vienna. Work in the "Society" was a burden, he survived only three seasons. Then Brahms again moved to the Bavarian mountains, both violin quartets in C minor appeared in Tutzing near Munich, which he dedicated to Billroth.
The financial position of Johannes Brahms was so strengthened that in 1875HeI could devote most of my time to creativity. He completed work on the quartet in C minor, begun in the Schumann house. In addition, twenty years of work onFirst symphony.
In the summer of 1877, in Pörtschach on Lake Wörther, Brahms wrote his Second Symphony. The symphony was followed in 1878 by a violin concerto in D major and a sonata for violin in G major, which was called the Rain Sonatas. In the same year, Brahms received an honorary doctorate from the University of Breslau, on the occasion of which he let go of a luxurious beard, which gave him solidity.
In 1880, Brahms went to Bad Ischl, thinking that there he would be less bothered by tourists and autograph hunters. The place was calm, which contributed to the strengtheninghishealth. At the same time, friendship with Johann Strauss began. Brahms was fascinated by the personality and music of Strauss.In the summer of the following year, Johannes moved to Pressbaum, where he completed the Second Piano Concerto, whose joyful character is reminiscent of the picturesque landscape of the Vienna Woods.
The summer of 1883 brought Johannes Brahms to the banks of the Rhine, to places associated with his youth. In Wiesbaden, he found coziness and a comfortable atmosphere that inspired him to create the Third Symphony.
LastBrahms composed his only Fourth Symphony in 1884-1885. Its first performance on October 25 in Meiningen caused unanimous admiration.
The four symphonies of Johannes Brahms reflect different aspects of his worldview.
In the First - the direct successor of Beethoven's symphonism - the sharpness of the flaring dramatic collisions is resolved in a joyful hymn finale.
The second symphony, truly Viennese (at its origins - Haydn and Schubert), could be called a "symphony of joy."
The third - the most romantic of the entire cycle - goes from an enthusiastic ecstasy of life to gloomy anxiety and drama, suddenly receding before the "eternal beauty" of nature, bright and clear morning.
Fourth symphony - crownthe greatest symphonist of the second half of the 19th centuryJohannesBrahms - develops "from elegy to tragedy"(according to Sollertinsky). Greatness createdBrahmssymphonies does not exclude their deep lyricism.
Very demanding of himself, Brahms was afraid of the exhaustion of his creative imagination, he thought about stopping his composing activity. However, a meeting in the spring of 1891 with the clarinetist of the Meiningen Orchestra Mühlfeld prompted him to create a Trio, a Quintet (1891), and then two sonatas (1894) with the clarinet. In parallel, Brahms wrote 20 piano pieces (op. 116-119), which, together with clarinet ensembles, became the result of the composer's creative search. This is especially true of the Quintet and the piano intermezzo - "sorrowful remarks of the heart", combining the severity and confidence of a lyrical expression,fromsophistication and simplicity of writing, all-penetrating melodiousness of intonations.
Publishedin 1894, the collection "49 German Folk Songs" (for voice and piano) was evidence of the constant attention of Johannes Brahms to the folk song - his ethicalto whom and the aesthetic ideal.Arrangements of German folk songs BrAms studied throughout his life, he was also interested in Slavic (Czech, Slovak, Serbian) melodies, recreated their character in his songs based on folk texts. "Four Strict Melodies" for voice and piano (a kind of solo cantata on texts from the Bible, 1895) and 11 chorale organ preludes (1896) supplemented the composer's "spiritual testament" with an appeal to the genres and artistic means of Bachovsk
