Johannes Brahms- great German composer representative of romanticism. Romanticism in classical music is the freedom of expression. You don't have to follow established rules, but you can make up your own. So did Paganini, bringing the genre of caprice to new level. This is what Schubert did, creating a symphony in two parts, not four. Brahms thought differently.
If you start listening to his music, you may not notice the novelty. This is the point: Brahms does not abandon classicism. But he bends his line, he does not imitate Mozart or Beethoven, but makes his own music. Brahms can be listened to not only because he is a classic, but also because he is quite comfortable to listen to. And you can go deep into it.
Johannes Brahms was born in Hamburg, his father was a musician and taught his son how to play string and wind instruments. Then Johannes was attracted to the piano, and he learned to play it so that the boy was offered a tour of America. Attentive people persuaded his parents to give him as a student to Eduard Marksen, and perhaps this was the right decision. Eduard realized what kind of person could grow out of his student, and helped develop his talent. Subsequently, he told his friend that Brahms was a greater master than Mendelssohn. But Mendelssohn had already died, and Brahms lived.
Acquaintance with Franz Liszt helped Johannes decide on life. It was easy to succumb to the charm of the long-haired god of the pianoforte, it was easy to join his New German school movement, but Brahms resisted the temptation. Maybe he already knew what he needed.
Robert Schumann and his wife Clara received Johannes warmly. They deeply understood his music and fell in love with it. Schumann wrote in his newspaper that a great master had come, at whose cradle graces and heroes stood, and his name was Johannes Brahms. It was written by a man who is himself a great composer and a revered classic today.
The genius of Brahms was liberated. He left Hamburg as a nobody, and arrived as an artist, famous all over the world. In whatever city he arrives, recognition awaits him everywhere. He gets higher and higher positions. And the possibilities of Brahms allowed him to travel.
Johannes' love interests did not last long. His first love, which is widely known, is Schumann's wife, Clara. When her husband was ill and was in crazy house, Johannes wrote to her Love letters, but at the decisive moment could not make an offer.
Towards the end of his life, Johannes became unsociable, but his sense of humor did not fail him. When the young composer brought the master a work on the theme of Schiller, Brahms, after reading it, praised Schiller's poem, which he knew. And when a reception was organized, and Brahms was offered to cross out those who were objectionable to him from the list of guests, he crossed himself out.
Brahms died, but his life is interesting both as a person and as a composer. And the music of Brahms is able to draw you in without even making a strong first impression.
Interesting facts and dates from life
creative way
Brahms - major composer 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 contained in classic shape. 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 the great value folklore. He processed 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. 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 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 domestic 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 own book about him. latest article"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 life article, where he opposed 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 the 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.
AT last years his Brahms life 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. He plays 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. Motifs are isolated from the theme, distant tones 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 new topic in Des-dur (called "episode in development"). 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. Lyrical 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, lyrics by J. W. Goethe, op. 50, 1863-68), Rhapsody (words by J. W. Goethe, op. 53, 1869), Song of Fate (Schicksalslied, lyrics by F Hölderlin, op. 54, 1868-71), Triumphant song (text from "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 own theme(D-dur, op. 21, 1857), on a Hungarian song (D-dur, op. 21, circa 1855), Variations and fugue on a theme by H. F. Handel (B-dur, op. 24, 1861) , Variations on a theme by Paganini (a-moll, op. 35, 1862-63); 4 ballads (op. 10, 1854); eighteen 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 gigues (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 cadences to 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 more early 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-O 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, like a lilac, No. 8-O, if 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 - Loneliness 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 melody for bass on biblical texts (op. 121, 1896, last work 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).
JOHANNES BRAHMS
ASTROLOGICAL SIGN: TAURUS
NATIONALITY: GERMAN
MUSICAL STYLE: ROMANTISM
SIGNIFICANT WORK: "LULLABY" (FOR CALMING) (1868)
WHERE YOU COULD HEAR THIS MUSIC: THE "LULLABY" IS RELATED BY COUNTERLESS CHILDREN'S MOBILE PHONES AND MUSIC BOXES
WISE WORDS: "IF THERE IS SOMEONE HERE THAT I HAVE NOT OFFENDED YET, I ASK FOR HIM'S FORGIVENESS."
By the middle of the nineteenth century, the romantic composers Berlioz, Liszt and Wagner managed to convince the public that everything written before them was hopelessly outdated. If the music does not flow in a sensual stream, does not carry the listeners into a magical distance, then it should not be considered music.
But wait a minute, said Johannes Brahms. Music doesn't have to be extremely emotional and radical in structure. Sonatas, canons and fugues have their own undeniable merits. It seems to be a sound statement, but do not forget, we are dealing with people who rarely relied on common sense. As soon as Brahms declared himself an alternative to Liszt and Wagner, his opponents furiously attacked him - this is how, no matter how strange it may sound, the “war of the romantics” began. And in this war, the cocky Brahms was only too glad to fight.
TAPPER FROM HAMBURG
Johannes Brahms grew up in musical family, but the music performed by his father, Johann Jakob, was very different from exquisite works that sounded in concert halls and houses to know. Johann Jakob was what the Germans call a bierfiedler (“beer violinist”), that is, a tavern musician - as part of a small orchestra, he played mostly in pubs. Later, Johann Jakob got a place in the Hamburg Philharmonic Orchestra, but this did not help the family: he spent a lot of money on breeding pigeons, and the Brahms vegetated in poverty. With his wife Johanna Christiana, the tavern musician had four children, Johannes was their eldest son. By the age of six, it became clear to his parents that the boy had an inborn musical talent, and Johann Jacob rejoiced: son will go in his footsteps.
However, young Johannes had other ideas about music. At first he demanded to be taught how to play the piano, and then he wanted to study composition. Johann Jakob could not believe his ears: why master the unreliable craft of a composer when you can easily earn money as a tavern musician?
No matter how much Johannes deviated from the path trodden by his father, in the end he ended up where Johann Jacob felt at ease - in an entertainment establishment. Deciding that it was time for his teenage son to get off his parent's neck, his father assigned Johannes to play the piano in the port bars. In establishments of this sort, customers were offered drinks, dancing with pretty girls, and rooms upstairs for more private entertainment. Brahms played waltzes, polkas, mazurkas on the piano until dawn, reading novels along the way - his fingers themselves drummed out common melodies.
RULE NUMBER ONE: DO NOT SLEEP
Over time, Brahms began to give piano lessons, leaving the world of "tavern music" forever. He was also passionate about composition. The enthusiasm of the novice composer was so great that in 1850, having learned about the visit of Robert and Clara Schumann to Hamburg, Brahms sent them his first experiments to the hotel. The extremely busy Robert Schumann returned the package unopened, which deeply saddened Brahms.
Soon, however, other opportunities arose - thanks to the Hungarian virtuoso violinist Eduard Remenyi, with whom the twenty-year-old Brahms went on a tour in 1853. Remegny introduced Brahms to the musician Josef Joachim, who had been a brilliant violinist since childhood; the two instantly recognized each other as kindred spirits.
In addition, Rémeigny introduced Brahms to the great Franz Liszt. Liszt asked Brahms to play some of his compositions, but Brahms, shackled by nervousness, refused. "Well, well," said Liszt, "then I'll play." He took the sheet music of Brahms' handwritten "Scherzo for Piano in E Flat Minor" and played it flawlessly from sight. Then Ferenc performed his own work, and then a strict critic spoke in Brahms: he considered Liszt's music to be too dramatic, emotionally overloaded and generally pretentious.
But most of all, at a meeting with Liszt, Brahms was overcome by fatigue. From Remeny they had been traveling around Germany for many days, giving concerts in the evenings, and during the day they were shaking in carts on bumpy roads. At some point, Liszt, looking at Brahms, saw that he was dozing in an armchair. If Brahms had a chance to become a Liszt protégé, he missed it.
A NEW TYPE OF MESSIAH
Josef Joachim persistently urged Brahms to renew his attempts to get acquainted with Schumann. Brahms denied, mindful of the unopened package, but true friend Joachim tried to allay his fears.
In the autumn of 1853, Brahms knocked on the door of Schumann's house in Düsseldorf. Robert, dressed in a dressing gown and slippers, did not exude hospitality, but suggested that Brahms perform something. Brahms played the Piano Sonata in C minor. Suddenly Schumann interrupted him in the middle of a chord and rushed out of the room. From shame, Brahms was ready to fall through the ground, but Robert returned, and not alone, but with Clara. “Now, dear Clara,” Schumann said, “you will hear music like you have never heard before.”
Schumann was so confident in Brahms' bright future that he immediately scribbled an article for his New Musical Journal, in which he proclaimed the young composer a genius, a prophet and a messiah in music - in a word, one who would cast false gods, Liszt and Wagner into dust, and at the same time and the whole new German school.
The result exceeded all expectations: Brahms, hitherto unknown to anyone, was appointed the "leader" of the whole musical direction. Of course, Liszt, Wagner and company were not going to put a brake on such a thing. They declared war on Brahms.
TRAGIC TRIANGLE
A few months later, returning from a tour, Brahms heard the terrible news: Robert Schumann had gone mad. Brahms rushed to Düsseldorf and promised Clara that he would not leave her until the crisis was over. (Everyone around was sure that Robert's madness was temporary.) Brahms settled in the Schumann house. He became a beloved uncle to children, Clara - an invaluable friend and support. But Brahms himself saw in Clara the ideal of a woman; he recklessly fell in love with the wife of his older and deeply respected friend.
It is not known whether Clara guessed about his feelings and what she herself experienced. There was no question of a romance between them, Clara would never have gone to such a shameless betrayal of her husband, especially since she firmly believed in Robert's recovery. Clara was thirty-four, Brahms was twenty-one, and she must have heard gossip about the special attention that the handsome blue-eyed and young Brahms gives her - but Clara never attached any importance to gossip.
Robert's illness progressed inexorably. Brahms accompanied Clara when she last time visited her husband in the hospital, and then accompanied Schumann on his last journey.
What happened next? Perhaps Brahms proposed and Clara rejected him. And perhaps Brahms did not allow the thought of marrying a woman shrouded in his eyes with an aura of inaccessibility. Be that as it may, Clara remained in Düsseldorf, while Brahms tried to establish his own life.
IN YOUTH, BRAHMS GREWLY CONTINUED THE BUSINESS OF THE FATHER, ACCOMPANIING THE RAMPANT SINGING AND DANCES IN LOW-STYLE EASTERS
UNDER THE SOUND OF ONE-ARMED APPLAUSE
The next few years of Brahms' life contrasted sharply with the time he spent vigilantly over the unfortunate Robert Schumann. The fame of Brahms was gaining momentum; he composed a lot, acted as a conductor with various German orchestras - and flirted with pretty girls. In the summer of 1858 he was visiting friends in Göttingen, where he met another guest, the charming Agatha von Siebold. Very soon, Brahms was already playing with Agatha in four hands and walked with her for a long time in the surrounding forests. Young people got engaged.
Then Brahms went to Leipzig, where he was to be the soloist in the Piano Concerto in D minor of his own composition. The famous Leipzig Gewandhaus Orchestra took the side of Liszt in the war of the Romantics and was prejudiced in advance against the one whom Schumann declared the "messiah". In those days, it was customary to applaud after each part performed work, but when Brahms finished the first part, the answer was complete silence. Same after the second part. Brahms performed the final part with trembling hands. The last note sounded, and nothing. Finally, rare, timid pops were heard, which were immediately shushed by the rest of the audience. Brahms got up from the piano, bowed and left the stage.
Brahms was terribly worried about this catastrophe. Being in torn feelings, he sent Agatha a short message with the following lines: “I love you! I must see you! But any bonds are not for me!” For a respectable girl like Agatha, the meaning of the phrase was obvious: I want to sleep with you, but I will not marry you. She returned the ring to Brahms and never saw him again.
Soon, however, fighting spirit woke up in Brahms. He announced to his friends that he was eager to get even with Liszt. Josef Joachim fully supported Brahms, and in 1860 the two wrote a manifesto against the new German school, accusing its representatives of vanity, inflated conceit, and most importantly, that they had a "bad influence" on music. The authors of the manifesto called for a return to pure music Mozart and Beethoven, music not clouded by literary and aesthetic programs, to return to truly classical forms and harmonies.
However, the "new Germans" were far from newcomers to this game. They found out about the upcoming manifesto when there were only four pathetic signatures under it, and hurried to publish it in such an unconvincing form. The manifesto became the subject of ridicule. And then Brahms decided to return fire only from the weapon that would not let him down. That is to say, continue to compose exquisite compositions of the classical format - in defiance of the new German school.
ACCORDING TO THE CUSTOM OF THE OLD
In 1862, Brahms learned that the Hamburg Philharmonic Orchestra needed a conductor, and was already preparing to take this place - and who should take it, if not him, the illustrious native of Hamburg! However, Brahms was unpleasantly surprised by finding someone else for the position he had long dreamed of. Wounded, Brahms left for Vienna, where the public perceived his traditionalism with greater favor. He settled in Vienna. For the next three decades, the composer led a measured life, either composing or conducting. He often toured Europe, performing his own works, and returning to Vienna, wrote music and communicated with a select circle of friends. Over time, he became a regular at a tavern called the Red Hedgehog and a frequent visitor to the Wurstelprater, an amusement park filled with puppeteers, acrobats, and clowns. Sometimes the composer, who was greatly expanded in breadth, rode on a carousel.
The "War of the Romantics" ended in a draw. Both sides declared themselves victorious, with Hans von Bülow proclaiming Brahms the third "B" in line with Bach and Beethoven. In 1894, the Hamburg Philharmonic finally approached the composer with a request to take the post of conductor. He declined the offer, saying it was too late now. He was only sixty-one years old, and Brahms seemed to be in good health, but he spoke of himself as a decrepit old man. Friends noted with surprise that he looked old beyond his age.
The love of his life - Clara Schumann - also began to fail. In the autumn of 1895, they spent a whole day together and parted, laughing at the way Brahms recklessly stuffed his pockets with his favorite tobacco to smuggle it into Vienna. They never saw each other again: Clara died in May 1896.
Brahms never recovered from this loss; he suddenly turned yellow, possibly from liver cancer. On March 7, 1897, the composer attended a performance of his Fourth Symphony in Vienna Philharmonic. At the end, a storm of applause did not stop while Brahms stood on the stage facing the audience; tears were running down his cheeks. He had less than a month to live.
CONSIDER THAT I WAS NOT HERE
When Brahms fell ill, the doctor ordered him to go on a strict diet immediately.
Right now? But this is impossible! the composer exclaimed. - Strauss invited me to dinner, the menu is chicken with paprika.
Out of the question, said the doctor.
But Brahms quickly found a way out:
Okay, then, if you please, consider that I came to you for a consultation tomorrow.
YOU EAT LIKE A GIRL
Judging by the memoirs of his contemporaries, in his youth Brahms was unusually handsome: blue, the color of forget-me-nots, eyes, light brown hair, a square jaw. And only one feature spoiled this divine picture- the composer's voice, which remained high, like a boy's. As a teenager and very young man, Brahms was terribly embarrassed about his voice and in the end decided that something had to be done about it. He developed a set of "exercises" to lower the register of the vocal cords and began to train, trying to outshout the choir in rehearsals. As a result, his voice completely lost its pleasant melodiousness, Brahms spoke hoarsely, abruptly - and still squeaky. Throughout his life, in moments of intense tension, Brahms' voice suddenly seemed to break, like that of a thirteen-year-old boy.
RELEASE ME FROM FLATTERERS!
The cockiness of Brahms often made itself felt in relations with fans. When a young woman asked him which of his songs she should buy, Brahms recommended to the lady some of his posthumous compositions.
Another fan asked the composer:
How do you manage to compose such divine adagios?
Well, you see, he replied, I follow my publisher's instructions.
Brahms hated to be praised to the eye. One day at dinner, a friend of Brahms got up and said:
Let's not miss the opportunity to drink to health the greatest composer in the world.
Brahms jumped up and shouted:
Exactly! Let's drink to Mozart's health!
Johannes Brahms
Johannes Brahms, German composer and pianist who wrote concertos and symphonies, composed chamber music and piano works, song's author. Great master sonata style of the second half of the 19th century can be seen as a follower of the classical tradition, and.
His work combines the warmth of the Romantic period with the rigor of Bach's classical influence.
Brahms House in Hamburg
On May 7, 1833, the son of Johannes was born in the family of musician Johann Jakob Brahms, who played the horn and double bass in the Hamburg Philharmonic, and Christina Nissen. The first lessons in composition and harmony, at a very young age, the future composer received from his father, who also taught him to play the violin, piano and horn.
In order to record invented melodies, Johannes invented his own method of recording music at the age of 6. From the age of 7 he began to study piano with F. Kossel, who three years later passed Brahms to his teacher Eduard Marssen. 
Brahms gave his first public concert at the age of 10.
Johannes gave his first concert in public at the age of 10, performing an etude by Hertz. He took part in chamber concerts of works by Mozart and Beethoven, earning money for his studies. From the age of 14 he played the piano in taverns and dance halls, gave private music lessons in an effort to help a family that regularly experienced financial difficulties.
Constant stress has affected the young body. Brahms was invited to take a vacation in Winsen, where he led the men's choir and wrote a number of works for him. On his return to Hamburg, he gave several concerts, but, having received no recognition, he continued to play in taverns, giving and composing popular melodies.
The origins of gypsy motifs in the composer's music
In 1850, Brahms met the Hungarian cellist Eduard Remeny, who introduced Johannes to gypsy songs. The influence of these melodies can be seen in many of the composer's works. In the following years, Brahms wrote several works for piano and, together with Eduard, made several successful concert tours.
In 1853 they met German violinist Joseph Joachim, who introduced them to the house in Weimar. 
Brahms' friend, violinist Josef Joachim
Liszt warmly welcomed them, was impressed by the work of Brahms and offered to join his group of composers. But Johannes refused, as he was not a fan of Liszt's music. Meanwhile, Joachim wrote a letter to Robert Schumann, in which he praised Brahms in every possible way. This letter has become best recommendation for Johannes. 
Brahms, in 1853, meets Robert and Clara Schumann
Brahms, in the same 1853, personally gets acquainted with the Schumann family, subsequently actually becoming a member of it. Brahms had a special reverence for the high talent of the composer. Schumann and his wife, pianist Clara Schumann-Wick, warmly welcomed young musician. Schumann's enthusiasm for the young composer knew no bounds, he wrote an article praising Johannes and organized the first edition of his compositions. In 1854, Brahms wrote a number of works for pianoforte, including Variations on a Theme by Schumann.
In his articles on Brahms, Schumann wrote: "Here is a musician who is called upon to give the highest and ideal expression to the spirit of our time"
In 1859 Brahms gives a series of piano concertos That same year, he was called to Düsseldorf when an older friend tried to commit suicide. He spent the next few years with the Schumann family, providing them financial assistance. He again gave private piano lessons and made several concert tours. Two concerts with the singer Julia Stockhausen helped establish Brahms as a songwriter.
In 1859, together with Joachim, he gives a Piano Concerto in D minor in several German cities, which was written a year earlier. Only in Hamburg was he received positively, and then Johannes was offered a job as a conductor of a women's choir, for which he writes Marienlieder. A year later, Brahms heard that most musicians welcomed the experimental theories of Liszt's "new German school". This made him furious. He criticized in the press many of Liszt's supporters, and, moving to Hamburg, he buried himself in composition, almost completely ceasing to perform in public.
Vienna becomes the home of Brahms
In 1863, Brahms came out of his voluntary retreat and gave a concert in Vienna, with the aim of bringing his songs to the Austrian public. There he met Richard Wagner. Although Brahms was critical of Wagner in the press, each composer was still able to enjoy the work of the other. Johannes received a position as conductor of the Choral Academy (Singakademie) in Vienna, which became the composer's home for the rest of his life. The experience of working with women's choirs became the basis for writing a number of new choral works, the best for its time. In 1863 Brahms came out of his self-imposed retreat and gave a concert in Vienna.
Brahms' mother died in 1865. In memory of her, Johannes writes "German Requiem" (Ein Deutsches Requiem). This work, based on biblical texts, was first presented in Bremen on Good Friday, 1869. After that, it sounded throughout Germany, swept through Europe and reached Russia. It was the Requiem that became the work that put Brahms in the first row of composers of the 19th century.
Becoming, in the opinion of the public, Beethoven's successor, the composer had to correspond to high honor. In the 1870s he concentrated his efforts on works for string quartet and symphonies. In 1973 Brahms wrote Variations on a Theme of Haydn. After that, he felt that he was ready to proceed with the completion of the Symphony No. 1 (in C minor). The premiere of the symphony took place in 1876 and was very successful, but the composer revised it, changing one of the parts before publication.
Rest for the composer was an opportunity to write
The first symphony was followed by a series major works, and the fame of Brahms' works spread far beyond Germany and Austria. Concert tours in Europe contributed significantly to this. Having sufficient funds to provide for his family, young musicians and scientists whose work he supported, Brahms left the post of conductor of the Society of Friends of Music and devoted himself almost entirely to composition. AT concert tours he performed exclusively his own works. And he spent the summer traveling in Austria, Italy and Switzerland. 
In concert tours, he performed exclusively his own works.
In 1880, the University of Breslau (now the University of Wroclaw in Poland) awarded Brahms an honorary degree. As a sign of gratitude, the composer composed the Solemn Overture, based on student songs.
Every year the baggage of the composer's works grew. In 1891, as a result of meeting the outstanding clarinetist Richard Mühlfeld, Brahms was inspired by the idea of writing chamber music for the clarinet. With Mühlfeld in mind, he composes a Trio for Clarinet, Cello and Piano, a large Quintet for Clarinet and Strings, and two sonatas for clarinet and piano. These works are ideally suited in structure to the possibilities wind instrument, and also gracefully adapted to it.
The last of the published works "Four Serious Songs" (Vier ernste Gesänge) becomes the point in his career, at the same time being its pinnacle. While working on this work, Brahms thought about Clara Schumann, for whom he had tender feelings (at that time her state of health was greatly shaken). She died in May 1896. Soon, Brahms was forced to seek medical help.
In March 1897, at a concert in Vienna, the public was able to see the author for the last time, and on April 3, Johannes Brahms died. The composer is buried next to Beethoven and Franz Schubert.
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.
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 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. Motifs are isolated from the theme, distant tones 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 gigues (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);
