Johannes Brahms (German: [joˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer and pianist. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. In his lifetime, Brahms's popularity and influence were considerable. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs", a comment originally made by the nineteenth-century conductor Hans von Bülow.
Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works. He worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed some of his works and left others unpublished.
Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and other composers. Brahms aimed to honour the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers. Within his meticulous structures is embedded, however, a highly romantic nature.
- 1 Life
- 2 Music of Brahms
- 3 Personality
- 4 References
- 5 Sources
- 6 Further reading
- 7 External links
Brahms's father, Johann Jakob Brahms (1806–72), came to Hamburg from Dithmarschen, seeking a career as a town musician. He was proficient in several instruments, but found employment mostly playing the horn and double bass. In 1830, he married Johanna Henrika Christiane Nissen (1789–1865), a seamstress never previously married, who was seventeen years older than he was. Johannes Brahms had an older sister and a younger brother. Initially, they lived near the city docks, in the Gängeviertel quarter of Hamburg, for six months, before moving to a small house on the Dammtorwall, a small street near the Inner Alster.
Johann Jakob gave his son his first musical training. He studied piano from the age of seven with Otto Friedrich Willibald Cossel. Owing to the family's poverty, the adolescent Brahms had to contribute to the family's income by playing the piano in dance halls. Early biographers found this shocking and played down this portion of his life. Some modern writers have suggested that this early experience warped Brahms's later relations with women, but Brahms scholars Styra Avins and Kurt Hoffmann have questioned the possibility. Jan Swafford has contributed to the discussion.
For a time, Brahms also learned the cello. After his early piano lessons with Otto Cossel, Brahms studied piano with Eduard Marxsen, who had studied in Vienna with Ignaz von Seyfried (a pupil of Mozart) and Carl Maria von Bocklet (a close friend of Schubert). The young Brahms gave a few public concerts in Hamburg, but did not become well known as a pianist until he made a concert tour at the age of nineteen. (In later life, he frequently took part in the performance of his own works, whether as soloist, accompanist, or participant in chamber music.) He conducted choirs from his early teens, and became a proficient choral and orchestral conductor.
Meeting Joachim and Liszt
He began to compose quite early in life, but later destroyed most copies of his first works; for instance, Louise Japha, a fellow-pupil of Marxsen, reported a piano sonata, that Brahms had played or improvised at the age of 11, had been destroyed. His compositions did not receive public acclaim until he went on a concert tour as accompanist to the Hungarian violinist Eduard Reményi in April and May 1853. On this tour he met Joseph Joachim at Hanover, and went on to the Court of Weimar where he met Franz Liszt, Peter Cornelius, and Joachim Raff. According to several witnesses of Brahms's meeting with Liszt (at which Liszt performed Brahms's Scherzo, Op. 4, at sight), Reményi was offended by Brahms's failure to praise Liszt's Sonata in B minor wholeheartedly (Brahms supposedly fell asleep during a performance of the recently composed work), and they parted company shortly afterwards. Brahms later excused himself, saying that he could not help it, having been exhausted by his travels.
Brahms and the Schumanns
Joachim had given Brahms a letter of introduction to Robert Schumann, and after a walking tour in the Rhineland, Brahms took the train to Düsseldorf, and was welcomed into the Schumann family on arrival there. Schumann, amazed by the 20-year-old's talent, published an article entitled "Neue Bahnen" (New Paths) in the 28 October 1853 issue of the journal Neue Zeitschrift für Musik alerting the public to the young man, who, he claimed, was "destined to give ideal expression to the times." This pronouncement impressed people who were admirers of Robert or Clara Schumann; for example, in Hamburg, a music publisher and the conductor of the Philharmonic, but it was received with some skepticism by others. It may have increased Brahms's self-critical need to perfect his works. He wrote to Robert, "Revered Master," in November 1853, that his praise "Will arouse such extraordinary expectations by the public that I don't know how I can begin to fulfil them ..." While he was in Düsseldorf, Brahms participated with Schumann and Albert Dietrich in writing a sonata for Joachim; this is known as the "F–A–E Sonata – Free but Lonely" (German: Frei aber einsam). Schumann's wife, the composer and pianist Clara, wrote in her diary about his first visit that Brahms
… is one of those who comes as if straight from God. – He played us sonatas, scherzos etc. of his own, all of them showing exuberant imagination, depth of feeling, and mastery of form ... what he played to us is so masterly that one cannot but think that the good God sent him into the world ready-made. He has a great future before him, for he will first find the true field for his genius when he begins to write for the orchestra.
After Robert Schumann's attempted suicide and subsequent confinement in a mental sanatorium near Bonn in February 1854, Clara was "in despair," expecting the Schumanns' eighth child. Brahms hurried to Düsseldorf. He and/or Joachim, Dietrich, and Julius Otto Grimm visited Clara often in March 1854, to divert her mind from Robert's tragedy by playing music for or with her. Clara wrote in her diary
that good Brahms always shows himself a most sympathetic friend. He does not say much, but one can see in his face … how he grieves with me for the loved one whom he so highly reveres. Besides, he is so kind in seizing every opportunity of cheering me by means of anything musical. From so young a man I cannot but be doubly conscious of the sacrifice, for a sacrifice it undoubtedly is for anyone to be with me now.
Later, to help Clara and her many children, Brahms lodged above the Schumann apartment in a three-storey house, setting his musical career aside temporarily. Clara was not allowed to visit Robert until two days before his death. Brahms was able to visit him several times and so could act as a go-between. The Schumanns employed a housekeeper, "Bertha" in Düsseldorf, later Elisabeth Werner in Berlin. There was also a hired cook, in Berlin "Josephine." When the Schumanns' oldest child and daughter, Marie, born 1841, was of age, she took over as housekeeper and when needed, as cook. Clara was often away on concert tours, some lasting months, or sometimes in the summer for cures, and in 1854–1856 Brahms also was away part of the time, leaving the staff to manage the household. Clara much appreciated Brahms's support as a kindred musical spirit.
Brahms and Clara had a very close and lifelong but unusual relationship. They had great affection but also respect for one another. Brahms urged in 1887 that all his and Clara's letters to each other should be destroyed. Actually Clara kept quite a number of letters Brahms had sent her, and at Marie's urging, refrained from destroying many of the letters Brahms had returned. Eventually correspondence between Clara and Brahms in German was published. Some of Brahms's earliest letters to Clara show him deeply in love with her. Clara's preserved letters to Brahms, except for one, begin much later, in 1858. Selected letters or excerpts from them, some to or from Brahms, and diary entries of Clara's have been translated into English. The earliest excerpted and translated letter from Brahms to Clara was in October 1854. Hans Gál cautions that the preserved correspondence may have "passed through Clara's censorship."
Brahms felt a strong conflict between love of Clara and respect for her and Robert, leading him to allude at one point to suicidal thoughts. Not long after Robert died, Brahms decided he had to break away from the Schumann household. He took leave rather brusquely, leaving Clara feeling hurt. But Brahms and Clara kept up correspondence. Brahms joined Clara and some of her children for some summer sojourns. In 1862, Clara bought a house in Lichtental, then adjoining, since 1909 included in Baden-Baden, and lived there with her remaining family from 1863 to 1873. Brahms from 1865 to 1874 spent some time summers living in an apartment nearby in a house which is now a museum, the "Brahmshaus" (Brahms house). Brahms appears in later years as a rather avuncular figure in Eugenie Schumann's account. Clara and Brahms took a concert tour together, in November–December 1868 in Vienna, then in early 1869 to England, then Holland; the tour ended in April 1869. After Clara moved from Lichtental to Berlin in 1873, the two saw each other less often, as Brahms had his home in Vienna since 1863.
Clara was 14 years older than Brahms. In a letter to her 24 May 1856, two and a half years after meeting her, and after two years either together or corresponding, Brahms wrote that he continued to call her the German polite form "Sie" of "you" and hesitated to use the familiar form "Du." Clara agreed that they call one another "Du," writing in her diary "I could not refuse, for indeed I love him like a son". Brahms wrote on 31 May:
"I wish I could write to you as tenderly as I love you, and do as many good things for you, as you would like. You are so infinitely dear to me that I can hardly express it. I should like to call you darling and lots of other names, without ever getting enough of adoring you."
The rest of that letter, and most later preserved letters, are about music and musical people, updating one another about their travels and experiences. Brahms much valued Clara's opinions as a composer. "There was no composition by Brahms that was not shown to Clara the moment it was in shape to be communicated. She remained his faithfully devoted adviser." In a letter to Joachim in 1859, three years after Robert's death, Brahms wrote about Clara:
"I believe that I do not respect and admire her so much as I love her and am under her spell. Often I must forcibly restrain myself from just quietly putting my arms around her and even—I don't know, it seems so natural that she would not take it ill."
Brahms never married, despite strong feelings for several women and despite entering into an engagement, soon broken off, with Agathe von Siebold in Göttingen in 1859. It seems that Brahms was rather indiscreet about the relationship while it lasted, which troubled his friends. After breaking off the engagement, Brahms wrote to Agathe: "I love you! I must see you again, but I am incapable of bearing fetters. Please write me whether I may come again to clasp you in my arms, to kiss you, and tell you that I love you." But they never saw one another again.
Detmold and Hamburg
After Robert Schumann's death at the sanatorium in 1856, Brahms divided his time between Hamburg, where he formed and conducted a ladies' choir, and Detmold in the Principality of Lippe, where he was court music-teacher and conductor. He was the soloist at the premiere of his Piano Concerto No. 1, his first orchestral composition to be performed publicly, in 1859. He first visited Vienna in 1862, staying there over the winter, and, in 1863, was appointed conductor of the Vienna Singakademie. Though he resigned the position the following year, and entertained the idea of taking up conducting posts elsewhere, he based himself increasingly in Vienna and soon made his home there. From 1872 to 1875, he was director of the concerts of the Vienna Gesellschaft der Musikfreunde; afterwards, he accepted no formal position. He declined an honorary doctorate of music from the University of Cambridge in 1877, but accepted one from the University of Breslau in 1879, and composed the Academic Festival Overture as a gesture of appreciation.
He had been composing steadily throughout the 1850s and 60s, but his music had evoked divided critical responses, and the first Piano Concerto had been badly received in some of its early performances. His works were labelled old-fashioned by the 'New German School' whose principal figures included Franz Liszt, Richard Wagner, and Hector Berlioz. Brahms admired some of Wagner's music and admired Liszt as a great pianist, but the conflict between the two schools, known as the War of the Romantics, soon embroiled all of musical Europe. In the Brahms camp were his close friends: Clara Schumann, Joachim, the influential music critic Eduard Hanslick, and the leading Viennese surgeon Theodor Billroth. In 1860, Brahms attempted to organize a public protest against some of the wilder excesses of the Wagnerians' music. This took the form of a manifesto, written by Brahms and Joachim jointly. The manifesto, which was published prematurely with only three supporting signatures, was a failure, and he never engaged in public polemics again.
Years of popularity
It was the premiere of A German Requiem, his largest choral work, in Bremen in 1868 that confirmed Brahms's European reputation and led many to accept that he had conquered Beethoven and the symphony. This may have given him the confidence finally to complete a number of works that he had wrestled with over many years such as the cantata Rinaldo, his first string quartet, third piano quartet, and most notably his first symphony. This appeared in 1876, though it had been begun (and a version of the first movement seen by some of his friends) in the early 1860s. The other three symphonies then followed in 1877, 1883, and 1885. From 1881, he was able to try out his new orchestral works with the Meiningen Court Orchestra of the Duke of Meiningen, whose conductor was Hans von Bülow. He was the soloist at the premiere of his Piano Concerto No. 2 in 1881, in Pest.
Brahms frequently travelled, both for business (concert tours) and pleasure. From 1878 onwards, he often visited Italy in the springtime and he usually sought out a pleasant rural location in which to compose during the summer. He was a great walker and especially enjoyed spending time in the open air, where he felt that he could think more clearly.
In 1889, one Theo Wangemann, a representative of American inventor Thomas Edison, visited the composer in Vienna and invited him to make an experimental recording. Brahms played an abbreviated version of his first Hungarian dance on the piano. The recording was later issued on an LP of early piano performances (compiled by Gregor Benko). Although the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise. Nevertheless, this remains the earliest recording made by a major composer. Analysts and scholars remain divided, however, as to whether the voice that introduces the piece is that of Wangemann or of Brahms. Several attempts have been made to improve the quality of this historic recording; a "denoised" version was produced at Stanford University which claims to solve the mystery.
Brahms and Dvořák
In 1875, the composer Antonín Dvořák (1841–1904) was still virtually unknown outside the Prague region. Brahms was on the jury which awarded the Vienna State Prize for composition to Dvořák three times, first in February 1875, and later in 1876 and 1877. Brahms also recommended Dvořák to his publisher, Simrock, who commissioned the highly successful Slavonic Dances. Within a few years, Dvořák gained world renown, and in 1892 he was appointed Director of the newly established National Conservatory in New York.
In 1890, the 57-year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces. His admiration for Richard Mühlfeld, clarinetist with the Meiningen orchestra, moved him to compose the Clarinet Trio, Op. 114, Clarinet Quintet, Op. 115 (1891), and the two Clarinet Sonatas, Op. 120 (1894). He also wrote several cycles of piano pieces, Opp. 116–119, the Vier ernste Gesänge (Four Serious Songs), Op. 121 (1896), and the Eleven Chorale Preludes for organ, Op. 122 (1896).
While completing the Op. 121 songs, Brahms developed cancer (sources differ on whether this was of the liver or pancreas). His last appearance in public was on 3 March 1897, when he saw Hans Richter conduct his Symphony No. 4. There was an ovation after each of the four movements. His condition gradually worsened and he died a month later, on 3 April 1897, aged 63. Brahms is buried in the Zentralfriedhof in Vienna, under a monument by Victor Horta and the sculptor Ilse von Twardowski-Conrat.
Later that year, the British composer Hubert Parry, who considered Brahms the greatest artist of the time, wrote an orchestral Elegy for Brahms. This was never played in Parry's lifetime, receiving its first performance at a memorial concert for Parry himself in 1918.
From 1904 to 1914, Brahms's friend, the music critic Max Kalbeck published an eight-volume biography of Brahms, but this has never been translated into English. Between 1906 and 1922, the Deutsche Brahms-Gesellschaft (German Brahms Society) published 16 numbered volumes of Brahms's correspondence, at least 7 of which were edited by Kalbeck. An additional 7 volumes of Brahms's correspondence were published later, including two volumes with Clara Schumann, edited by Marie Schumann.
Music of Brahms
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Brahms plays his Hungarian Dance No. 1
Recorded on 2 December 1889
Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos (No. 1 in D minor; No. 2 in B-flat major), a Violin Concerto, a Double Concerto for violin and cello, and two companion orchestral overtures, the Academic Festival Overture and the Tragic Overture.
His large choral work A German Requiem is not a setting of the liturgical Missa pro defunctis but a setting of texts which Brahms selected from the Luther Bible. The work was composed in three major periods of his life. An early version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and this was later used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was added after the official premiere in 1868, and the work was published in 1869.
Brahms's works in variation form include, among others, the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Haydn (now sometimes called the Saint Anthony Variations) in versions for two pianos and for orchestra. The final movement of the Fourth Symphony, Op. 98, is formally a passacaglia.
His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the fourth being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms was a significant Lieder composer, who wrote over 200 of them. His chorale preludes for organ, Op. 122, which he wrote shortly before his death, have become an important part of the organ repertoire.
Brahms was an extreme perfectionist. He destroyed many early works – including a violin sonata he had performed with Reményi and violinist Ferdinand David – and once claimed to have destroyed 20 string quartets before he issued his official First in 1873. Over the course of several years, he changed an original project for a symphony in D minor into his first piano concerto. In another instance of devotion to detail, he laboured over the official First Symphony for almost fifteen years, from about 1861 to 1876. Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published. (A conjectural restoration of the original slow movement has been published by Robert Pascall.)
Another factor that contributed to Brahms's perfectionism was that Schumann had announced early on that Brahms was "destined to give ideal expression to the times", a prediction that Brahms was determined to live up to. This prediction hardly added to the composer's self-confidence, and may have contributed to the delay in producing the First Symphony.
Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem.
Despite his reputation as a serious composer of large, complex musical structures, some of Brahms's most widely known and most commercially successful compositions during his life were small-scale works of popular intent aimed at the thriving contemporary market for domestic music-making. During the 20th century, the influential American critic B. H. Haggin, rejecting more mainstream views, argued in his various guides to recorded music that Brahms was at his best in such works and much less successful in larger forms. Among the most cherished of these lighter works by Brahms are his sets of popular dances, the Hungarian Dances, the Waltzes for piano duet (Op. 39), and the Liebeslieder Waltzes for vocal quartet and piano, and some of his many songs, notably the Wiegenlied (Op. 49, No. 4, published in 1868). This last was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber and is universally known as Brahms's Lullaby.
Style and influences
Brahms maintained a classical sense of form and order in his works, in contrast to the opulence of the music of many of his contemporaries. Thus, many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music", as opposed to the "New German" embrace of programme music.
Brahms venerated Beethoven; in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. Brahms's First Symphony bears strongly the influence of Beethoven's Fifth Symphony, as the two works are both in C minor and end in the struggle towards a C major triumph. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any dunce could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth". However, the similarity of Brahms's music to that of late Beethoven had first been noted as early as November 1853 in a letter from Albert Dietrich to Ernst Naumann.
A German Requiem was partially inspired by his mother's death in 1865 (at which time he composed a funeral march that was to become the basis of Part Two, Denn alles Fleisch), but it also incorporates material from a symphony which he started in 1854 but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned symphony was re-worked as the first movement of the First Piano Concerto.
Brahms loved the classical composers Mozart and Haydn. He collected first editions and autographs of their works and edited performing editions. He studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz, Domenico Scarlatti, George Frideric Handel, and, especially, Johann Sebastian Bach. His friends included leading musicologists, and, with Friedrich Chrysander, he edited an edition of the works of François Couperin. Brahms also edited works by C. P. E. and W. F. Bach. He looked to older music for inspiration in the art of counterpoint; the themes of some of his works are modelled on Baroque sources such as Bach's The Art of Fugue in the fugal finale of Cello Sonata No. 1 or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale.
The early Romantic composers had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer. During his stay in Vienna in 1862–63, Brahms became particularly interested in the music of Franz Schubert. The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op. 25 and Op. 26, and the Piano Quintet which alludes to Schubert's String Quintet and Grand Duo for piano four hands. The influence of Chopin and Mendelssohn on Brahms is less obvious, although occasionally one can find in his works what seems to be an allusion to one of theirs (for example, Brahms's Scherzo, Op. 4, alludes to Chopin's Scherzo in B-flat minor; the scherzo movement in Brahms's Piano Sonata in F minor, Op. 5, alludes to the finale of Mendelssohn's Piano Trio in C minor).
Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality would result in the rule of tonality being broken altogether. Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early Variations and Fugue on a Theme by Handel; Brahms himself, according to many sources, deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory.
Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life. His Hungarian Dances were among his most profitable compositions.
Brahms's point of view looked both backward and forward; his output was often bold in its exploration of harmony and rhythm. As a result, he was an influence on composers of both conservative and modernist tendencies. Within his lifetime, his idiom left an imprint on several composers within his personal circle, who strongly admired his music, such as Heinrich von Herzogenberg, Robert Fuchs, and Julius Röntgen, as well as on Gustav Jenner, who was Brahms's only formal composition pupil. Antonín Dvořák, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works, such as the Symphony No. 7 in D minor and the F minor Piano Trio. Features of the "Brahms style" were absorbed in a more complex synthesis with other contemporary (chiefly Wagnerian) trends by Hans Rott, Wilhelm Berger, Max Reger and Franz Schmidt, whereas the British composers Hubert Parry and Edward Elgar and the Swede Wilhelm Stenhammar all testified to learning much from Brahms's example. As Elgar said, "I look at the Third Symphony of Brahms, and I feel like a pygmy."
Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to Ernő Dohnányi and to Alexander von Zemlinsky. Their early chamber works (and those of Béla Bartók, who was friendly with Dohnányi) show a thoroughgoing absorption of the Brahmsian idiom. Zemlinsky, moreover, was in turn the teacher of Arnold Schoenberg, and Brahms was apparently impressed by two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him. In 1933, Schoenberg wrote an essay "Brahms the Progressive" (re-written 1947), which drew attention to Brahms's fondness for motivic saturation and irregularities of rhythm and phrase; in his last book (Structural Functions of Harmony, 1948), he analysed Brahms's "enriched harmony" and exploration of remote tonal regions. These efforts paved the way for a re-evaluation of Brahms's reputation in the 20th century. Schoenberg went so far as to orchestrate one of Brahms's piano quartets. Schoenberg's pupil Anton Webern, in his 1933 lectures, posthumously published under the title The Path to the New Music, claimed Brahms as one who had anticipated the developments of the Second Viennese School, and Webern's own Op. 1, an orchestral passacaglia, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony.
Brahms was honoured in the German hall of fame, the Walhalla memorial. On 14 September 2000, he was introduced there as the 126th "rühmlich ausgezeichneter Teutscher" and 13th composer among them, with a bust by sculptor Milan Knobloch.
Brahms was fond of nature and often went walking in the woods around Vienna. He often brought penny candy with him to hand out to children. To adults Brahms was often brusque and sarcastic, and he often alienated other people. His pupil Gustav Jenner wrote, "Brahms has acquired, not without reason, the reputation for being a grump, even though few could also be as lovable as he." He also had predictable habits, which were noted by the Viennese press, such as his daily visit to his favourite "Red Hedgehog" tavern in Vienna, and his habit of walking with his hands firmly behind his back, which led to a caricature of him in this pose walking alongside a red hedgehog. Those who remained his friends were very loyal to him, however, and he reciprocated with equal loyalty and generosity.
Brahms had amassed a small fortune in the second half of his career, around 1860, when his works sold widely, but despite his wealth, he lived very simply, with a modest apartment, a mess of music papers and books, and a single housekeeper who cleaned and cooked for him. He was often the butt of jokes for his long beard, his cheap clothes and often not wearing socks. Brahms gave away large sums of money to friends and to aid various musical students, often with the term of strict secrecy. Brahms' domicile was hit during World War II, destroying his piano and other possessions that were still kept there for posterity by the Viennese.
Brahms was a lifelong friend of Johann Strauss II, though they were very different as composers. Brahms even struggled to get to the Theater an der Wien in Vienna for the premiere of Strauss's operetta Die Göttin der Vernunft in March 1897 before his death. Perhaps the greatest tribute that Brahms paid to Strauss was his remark that he would have given anything to have written The Blue Danube waltz. An old anecdote recounts that when Strauss's wife Adele asked Brahms to autograph her fan, he wrote the first few notes of the "Blue Danube" waltz, and then wrote the words "Unfortunately not by Johannes Brahms!" underneath.
Brahms' personal views tended to be humanistic and skeptical, though one of his influences was undoubtedly the Bible as rendered in German by Martin Luther. His Requiem employs biblical texts primarily to speak words of comfort to the bereaved, yet it also cites Hebrews 13:14 ("here have we no continuing city, but we seek one to come") and 1 Corinthians 15:51–52 ("the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed"). Composer Walter Niemann declared "The fact that Brahms began his creative activity with the German folk song and closed with the Bible reveals... the true religious creed of this great man of the people." Some present-day biographers and critics view Brahms's appreciation of Lutheran tradition more as cultural than existential. When asked by conductor Karl Reinthaler to add additional sectarian text to his German Requiem, Brahms is reported to have responded, "As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human; also with my best knowledge and will I would dispense with passages like John 3:16. On the other hand, I have chosen one thing or another because I am a musician, because I needed it, and because with my venerable authors I can't delete or dispute anything. But I had better stop before I say too much."
On his religious views, Brahms has been described as an agnostic and a humanist. The devout Catholic Antonín Dvořák, the closest Brahms ever came to having a protégé, wrote in a letter: "Such a man, such a fine soul—and he believes in nothing! He believes in nothing!" Yet Brahms's final vocal and instrumental works, dating from 1896, are, respectively, Vier ernste Gesänge (Four Serious Songs), for voice and piano, Op. 121, settings of biblical texts; and Eleven Chorale Preludes, for organ, Op. 122, likewise based upon settings of biblical verses found in nine Lutheran chorales.
The question of Brahms and religiosity has been controversial and elicited accusations of fraud. One example is the 1955 volume Talks With Great Composers, by journalist and music critic Arthur Abell (Berlin correspondent for the Musical Courier from 1893 to 1918). Abell's book contains reminiscences of his conversations with Brahms, Joseph Joachim, and several other composers he knew in the late nineteenth and early twentieth centuries. This interview is viewed as fraudulent by Brahms biographer Jan Swafford.
- Alex Needham (2012), Brahms piano piece to get its premiere 159 years after its creation The Guardian
- Richard A. Leonard, abridged from The Stream of Music; Doubleday & Co., 1943
- Avins, Styra (2001). "The Young Brahms: Biographical Data Reexamined". 19th-Century Music 24 (3): 276–289. doi:10.1525/ncm.2001.24.3.276. JSTOR 746931.
- Kurt Hoffmann, Johannes Brahms und Hamburg (Reinbek, 1986) (in German: includes detailed refutation of the traditional story of Brahms playing piano in brothels, using the writings of those who knew the young Brahms, as well as evidence of the Hamburg's close regulation of those places, preventing the employment of children)
- Swafford, Jan (2001). "Did the Young Brahms Play Piano in Waterfront Bars?". 19th-Century Music 24 (3): 268–275. doi:10.1525/ncm.2001.24.3.268. ISSN 0148-2076. Retrieved 30 October 2007.
- Hoffmann (1999) Kurt. "Brahms the Hamburg musician 1833–1863" Cambridge. Musgrave (editor) Michael The Cambridge Companion to Brahms Cambridge University Press, p. 9
- Schumann, Robert (28 October 1853). "Neue Bahnen". Neue Zeitschrift für Musik (in German) (Leipzig: Bruno Hinze) 39 (18): 185–186.
- Avins, p. 33
- <Avins, p. 24
- Litzmann, pp. 42–43
- Gál, p. 9
- Litzmann, pp. 61–62, 69, 71
- Litzmann, p. 69
- Gál, p. 10
- Litzmann, p. 58; she first noticed Robert had left the house, when he went to throw himself into the Rhine
- Litzmann, p. 183
- Eugenie Schumann, pp. 149–150
- Avins, p. 65.
- Gál, p. 89
- Clara Schumann and Brahms, "Briefe"
- Litzmann, pp. 87, 89
- Gál, pp. 89–90
- Gál, p. 117
- Eugenie Schumann, p. 154
- Eugenie Schumann, pp. 141–151, 159–166
- Briefe, Band I, p. 603, footnote
- Briefe, no. 101
- Litzmann, p. 94
- Gál, p. 90
- Briefe, no. 102.
- Gál, p. 91
- Gál writes that this letter was not in the published (1908) two volumes of Brahms-Joachim correspondence but was "brought to light by Arthur Holde in The Musical Quarterly (New York: July, 1959)." Avins, pp. 46-48, gives a translation of the whole letter, saying that most of it had been published, but not the just quoted passage, which she says is "restored here [with a little different translation] from the autograph."
- Gál, pp. 94-95,
- Swafford, Johannes Brahms, 1997? pp. 206–211
- "About this recording". naxos.com. Retrieved 2 July 2015.
- J. Brahms plays excerpt of Hungarian Dance No. 1 (2:10) on YouTube
- "Brahms at the Piano" by Jonathan Berger (CCRMA, Stanford University)
- Stadt Hamburg Ehrenbürger (German) Retrieved 17 June 2008
- Clapham, John, Dvořák, Norton, 1979, pp. 35, 39, 42
- Zentralfriedhof group 32a, details
- "Johannes Brahms – Wikisource", http://de.wikisource.org/wiki/Johannes_Brahms (in German). There are two volumes of correspondence with Joachim, and four volumes with Brahms's main publisher, Simrock
- Brahms used the German word "Esel", of which one translation is "donkey" and another is "dunce": Cassell's New German Dictionary, Funk and Wagnalls, New York and London, 1915
- Constantin Floros, Ernest Bernhardt-Kabisch, Johannes Brahms, Free But Alone: A Life for a Poetic Music
- Albert Dietrich, J V Widman, Dora Hecht, Recollections of Johannes Brahms
- James Webster, "Schubert's sonata form and Brahms's first maturity (II)", 19th-Century Music 3(1) (1979), pp. 52–71.
- Donald Francis Tovey, "Franz Schubert" (1927), rpt. in Essays and Lectures on Music (London, 1949), p. 123. Cf. his similar remarks in "Tonality in Schubert" (1928), rpt. ibid., p. 151.
- Charles Rosen, "Influence: plagiarism and inspiration", 19th-Century Music 4(2) (1980), pp. 87–100.
- H. V. Spanner, "What is originality?", The Musical Times 93(1313) (1952), pp. 310–311.
- Swafford (1999)
- MacDonald, Brahms (1990), p. 406.
- "Johannes Brahms hält Einzug in die Walhalla". Bayerisches Staatsministerium für Wissenschaft, Forschung und Kunst. 14 September 2000. Retrieved 23 April 2008.
- 6 Nov 2008 1:30 pm by Kelly Wilson (6 November 2008). "Brahms as Man, Teacher, and Artist". Members.aol.com. Retrieved 12 February 2010.
- Beller-McKenna, Daniel. Brahms and the German Spirit. Harvard University Press, Cambridge, Mass. 2004, ISBN 0-674-01318-2
- Swafford, 2012, p. 327: "He continued, in high theological mode. Brahms was not about to put up with that sort of thing. He was a humanist and an agnostic, and his Requiem was going to express that, Reinthaler or no."
- Smith, Warren Allen (2000). Who's who in hell: a handbook and international directory for humanists, freethinkers, naturalists, rationalists, and non-theists[unreliable source?]. Barricade Books. p. 134. ISBN 9781569801581.
- Sams, Eric (2000). The Songs of Johannes Brahms. Yale University Press. p. 326. ISBN 9780300079623.
But the thought of bright nearness brings back the face-to-face music of 'Von Angesicht zu Angesichte', which is as close as the agnostic Brahms ever came to a communion with deity. As the pious aria ends, the humanist moral returns.
- Swafford, 1997
- Abell, Arthur. Talks with Great Composers. Citadel Press, 1998. ISBN 978-0806515656
- Fran Barulich and Bob Kosovsky, archivists; New York Public Library Archives for the Performing Arts at Lincoln Center (2006). "Guide to the Arthur M. Abell Papers" (PDF). http://www.nypl.org. Retrieved 2 May 2015.
- Avins, Styra (ed), JOHANNES BRAHMS: Life and Letters (1997), selected and annotated by Styra Avins, Transl. by Joseph Eisinger and S. Avins, Oxford University Press.
- Gál, Hans, Johannes Brahms: His Work and Personality, transl. from German by Joseph Stein, Knopf, New York, 1963; published in the UK by Wiedenfeld & Nicholson
- Litzmann, Berthold, Clara Schumann: An Artist's Life based on Material found in Diaries and Letters, translated and abridged from the fourth German edition by Grace E. Hadow. McMillan, London, and Breitkopf and Härtel, Leipzig, 1913, vol. 2; reprinted at unspecified date. (Vol. 1 covers Clara's life up to 1850, before she met Brahms in 1853.)
- Schumann, Clara, and Brahms, Johannes, Briefe aus den Jahren [Letters from the Years] 1853–1896, two vols., Band I: 1853–1871, Band 2: 1872–1896, with a "Geleitwort" (Preface) by Marie Schumann. To be called "Briefe"
- Schumann, Eugenie, The Schumanns and Johannes Brahms: The Memoirs of Eugenie Schumann, English Edition 1927, reprinted 1991 by Music Book Society, Lawrence, Massachusetts, ISBN 1-878156-01-2; translated by Marie Busch from the German original Erinnerungen von Eugenie Schumann, 1925. To be called "Eugenie Schumann."
- Swafford, Jan, 1997, 1999, 2012, Johannes Brahms: A biography, Knopf, New York (1997), Vintage (1999), ISBN 0-679-74582-3, Random House Digital, 2012, ISBN 9780307809896
- Deiters/Newmarch. (1888). Johannes Brahms: A Biographical Sketch. Fisher Unwin (reissued by Cambridge University Press, 2009; ISBN 978-1-108-00479-4)
- Johannes Brahms: Life and Letters, ISBN 0-19-816234-0 by Brahms himself, edited by Styra Avins, translated by Josef Eisinger (1998). A biography by way of comprehensive footnotes to a collection of Brahms's letters (some translated into English for the first time). Elucidates some previously contentious matters, such as Brahms's reasons for declining the Cambridge invitation.
- Brahms, His Life and Work, by Karl Geiringer, photographs by Irene Geiringer (1987, ISBN 0-306-80223-6). A biography and discussion of his musical output, supplemented by, and cross-referenced with, the body of correspondence sent to Brahms.
- Charles Rosen discusses a number of Brahms's imitations of Beethoven in chapter 9 of his Critical Entertainments: Music Old and New (2000; Cambridge, MA: Harvard University Press, ISBN 0-674-17730-4).
- Brahms by Malcolm MacDonald is a biography and discussion of virtually everything Brahms composed, along with chapters examining his position in Romantic music, his devotion to Early Music, and his influence on later composers. (Dent 'Master Musicians' series, 1990; 2nd edition Oxford, 2001, ISBN 0-19-816484-X)
- Late Idyll: The Second Symphony of Johannes Brahms, by Reinhold Brinkmann, translated by Peter Palmer. An analysis of Symphony No. 2 and meditation of its position in Brahms's career and in relation to 19th century ideas of melancholy. (1995, Harvard, ISBN 0-674-51175-1)
- The Music of Brahms, by Michael Musgrave. Oxford, 1985 ISBN 0-19-816401-7
|Wikimedia Commons has media related to Johannes Brahms.|
|Wikisource has the text of a 1911 Encyclopædia Britannica article about Johannes Brahms.|
- Brahms Institut, Lübeck Academy of Music
- The Lied and Art Song Texts Page created and maintained by Emily Ezust Texts of the Lieder of Brahms with translations in various languages.
- "What's late about late Brahms?": an article in the TLS by Peter Williams, 7 November 2007
- Brahms at the Piano. Information about the recording made by Thomas Edison in 1889 of Brahms playing part of his Hungarian Dance No. 1 in G minor.
- Johannes Brahms: list of works from http://www.johannesbrahms.org
- Brahms material in the BBC Radio 3 archives
- Brahms Listening Guides. A collection in progress of detailed guides to the composer's works, linked to specific recordings but also including measure numbers
- Listings of live performances at Bachtrack
- List of works by Johannes Brahms with certification rating at the Classical Music DB
- Works by or about Johannes Brahms at Internet Archive
- Complete collection of scores at the Brahms Institut in Breitkopf & Härtel or Simrock editions; work details
- Brahms’ scores – selection of printable works.
- www.kreusch-sheet-music.net Brahms's piano works
- Free scores of Brahms Lieder and orchestral works in GIF format from the Variations Project at Indiana University. Last accessed 14 August 2008.
- Free scores by Brahms at the International Music Score Library Project
- Free scores by Johannes Brahms in the Choral Public Domain Library (ChoralWiki)
- Works by Johannes Brahms at Project Gutenberg
- Free scores Mutopia Project
- Free audio MP3 of some Brahms's works OnClassical – Creative Commons BY-NC-SA, 1.0 licensed
- Johannes Brahms – Violin Sonatas MP3 Creative Commons Recording
- Fünf Gesänge, Op. 104 (Brahms): Free MP3s (Op. 42, Op. 93a, Op. 104 and Op. 52)
- Kunst der Fuge: Johannes Brahms – MIDI files (daily limit of 5 files)
- Classic Cat – Brahms – mp3s
- Performances of works by Johannes Brahms in MIDI and MP3 formats at Logos Virtual Library
- Ilias Chrissochoidis, "A Master stands: Rare Brahms Photos in the Library of Congress," Fontes Artis Musicae 59/1 (January–March 2012), 39–44.