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, works for piano ("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, 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 affected the atmosphere musical life Germany and Austria 1860-80s
In 1868 Brahms finally settled in Vienna. His last official position was artistic director 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 world fame. The period of the highest creative activity continued with Brahms until 1890. One after another, his central works: all four symphonies (No. 1 Op. 68, No. 2 Op. 73, No. 3 Op. 90, No. 4 Op. 98), concertos, including the brightly "extraverted" 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), 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 led 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 Mühlfeld, 1856-1907), as well as a series 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 later incomplete 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 lifted on new level variation technique. For him, this is not only a method of constructing large forms (as in the variation cycles on themes by Handel, Paganini, Haydn, or separate parts some cyclical works, including the final passacaglia of the Fourth Symphony, the finales of the Third String Quartet, the Second Sonata for Clarinet and Piano, 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 In this regard, Brahms was a faithful follower of the later). 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.
Scale creative personality Brahms is often compared to 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.
Life story
Brahms Johannes was born on May 7, 1833 in Hamburg, in the family of Jakob Brahms, a professional double bass player. 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 letter of recommendation to Liszt, and they went to Weimar. The maestro played some of Brahms's compositions from the sheet, and they produced such strong impression 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 hometown an unknown 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 the period ordeals took care of his wife and seven children. He soon fell in love with Clara Schumann. Clara and Brahms mutual consent never talked about love. But a deep mutual affection remained, and throughout her long life Clara remained closest friend Brahms.
IN autumn months 1857–1859 Brahms served as a court musician with a 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 cathedral Bremen. 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 didn't like too much bright colors, and sometimes it may seem that he is generally indifferent to the 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 a disdain for instrumental color is rare among romantics, because the colorfulness of the musical palette was given decisive importance, and Berlioz, Liszt, Wagner, Dvorak, Tchaikovsky and others produced 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 early piano sonatas 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 has become more confident and sophisticated. He did not shy away from innovation: one can name, for example, the use of the same theme in different parts cycle (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 - we can say that his work completes 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 with lyrics German poets 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 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 a magnificent song written at the end of his life. vocal cycle"Four strict tunes" (1896) on biblical texts. He also owns about two hundred arrangements of folk songs for various performing groups.
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 rely 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 the exquisite works that sounded in concert halls and the homes of the nobility. 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 a 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 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. 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 obscured 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 extraordinarily 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 that of a boy. 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 the health of the greatest composer in the world.
Brahms jumped up and shouted:
Exactly! Let's drink to Mozart's health!
Johannes Brahms is a great German composer, a 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 a 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 he had come Great master, at the cradle of which graces and heroes stood, and his name is 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 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 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 quartet, 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 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 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 last years During 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 an 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
Eat 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. 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, 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); 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 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 to 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 songs 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).
