Brahms short biography and creativity. Brief biography of Johannes Brahms

Johannes Brahms

Johannes Brahms, German composer and pianist who wrote concertos and symphonies, composed chamber music and piano works, songwriter. Great master sonata style of the second half of the 19th century can be seen as a follower of the classical tradition, and.

His work combines the warmth of the Romantic period with the rigor of Bach's classical influence.

Brahms House in Hamburg

On May 7, 1833, the son of Johannes was born in the family of musician Johann Jakob Brahms, who played the horn and double bass in the Hamburg Philharmonic, and Christina Nissen. The first lessons in composition and harmony, at a very young age, the future composer received from his father, who also taught him to play the violin, piano and horn.

In order to record invented melodies, Johannes invented his own method of recording music at the age of 6. From the age of 7 he began to study piano with F. Kossel, who three years later passed Brahms to his teacher Eduard Marssen. Brahms gave his first public concert at the age of 10.

Johannes gave his first concert in public at the age of 10, performing an etude by Hertz. He took part in chamber concerts of works by Mozart and Beethoven, earning money for his studies. From the age of 14, he played the piano in taverns and dance halls, gave private music lessons, trying to help a family that regularly experienced financial difficulties.

Constant stress has affected the young body. Brahms was invited to take a vacation in Winsen, where he led the men's choir and wrote a number of works for him. On his return to Hamburg, he gave several concerts, but, having received no recognition, he continued to play in taverns, giving and composing popular melodies.

The origins of gypsy motifs in the composer's music

In 1850, Brahms met the Hungarian cellist Eduard Remeny, who introduced Johannes to gypsy songs. The influence of these melodies can be seen in many of the composer's works. In the following years, Brahms wrote several works for piano and, together with Eduard, made several successful concert tours.

In 1853 they met the German violinist Josef Joachim, who introduced them to a house in Weimar.
Brahms' friend, violinist Josef Joachim

Liszt warmly welcomed them, was impressed by the work of Brahms and offered to join his group of composers. But Johannes refused, as he was not a fan of Liszt's music. Meanwhile, Joachim wrote a letter to Robert Schumann, in which he praised Brahms in every possible way. This letter has become best recommendation for Johannes. Brahms, in 1853, meets Robert and Clara Schumann

Brahms, in the same 1853, personally gets acquainted with the Schumann family, subsequently actually becoming a member of it. Brahms had a special reverence for the high talent of the composer. Schumann and his wife, pianist Clara Schumann-Wick, warmly welcomed the young musician. Schumann's enthusiasm for the young composer knew no bounds, he wrote an article praising Johannes and organized the first edition of his compositions. In 1854, Brahms wrote a number of works for pianoforte, including Variations on a Theme by Schumann.

In his articles on Brahms, Schumann wrote: "Here is a musician who is called upon to give the highest and ideal expression to the spirit of our time"

That same year, he was called to Düsseldorf when an older friend tried to commit suicide. He spent the next few years with the Schumann family, providing them financial assistance. He again gave private piano lessons and made several concert tours. Two concerts with the singer Julia Stockhausen helped establish Brahms as a songwriter.

In 1859, together with Joachim, he gives a Piano Concerto in D minor in several German cities, which was written a year earlier. Only in Hamburg was he received positively, and then Johannes was offered a job as a conductor of a women's choir, for which he writes Marienlieder. A year later, Brahms heard that most musicians welcomed the experimental theories of Liszt's "new German school". This made him furious. He criticized in the press many of Liszt's supporters, and, moving to Hamburg, he buried himself in composition, almost completely ceasing to perform in public.

Vienna becomes the home of Brahms

In 1863, Brahms came out of his voluntary retreat and gave a concert in Vienna, with the aim of bringing his songs to the Austrian public. There he met Richard Wagner. Although Brahms was critical of Wagner in the press, each composer was still able to enjoy the work of the other. Johannes received a position as conductor of the Choral Academy (Singakademie) in Vienna, which became the composer's home for the rest of his life. The experience of working with women's choirs became the basis for writing a number of new choral works, the best for their time. In 1863 Brahms came out of his self-imposed retreat and gave a concert in Vienna.

Brahms' mother died in 1865. In memory of her, Johannes writes "German Requiem" (Ein Deutsches Requiem). This work, based on biblical texts, was first presented in Bremen on Good Friday, 1869. After that, it sounded throughout Germany, swept through Europe and reached Russia. It was the Requiem that became the work that put Brahms in the first row of composers of the 19th century.

Becoming, in the opinion of the public, Beethoven's successor, the composer had to correspond to high honor. In the 1870s he concentrated his efforts on works for string quartet and symphonies. In 1973 Brahms wrote Variations on a Theme of Haydn. After that, he felt that he was ready to proceed with the completion of the Symphony No. 1 (in C minor). The premiere of the symphony took place in 1876 and was very successful, but the composer revised it, changing one of the parts before publication.

Rest for the composer was an opportunity to write

After the first symphony, a number of major works followed, and the fame of Brahms' works spread far beyond the borders of Germany and Austria. Concert tours in Europe contributed significantly to this. Having sufficient funds to provide for his family, young musicians and scientists whose work he supported, Brahms left the post of conductor of the Society of Friends of Music and devoted himself almost entirely to composition. In concert tours, he performed exclusively his own works. And he spent the summer traveling in Austria, Italy and Switzerland. In concert tours, he performed exclusively his own works.

In 1880, the University of Breslau (now the University of Wroclaw in Poland) awarded Brahms an honorary degree. As a sign of gratitude, the composer composed the Solemn Overture, based on student songs.

Every year the baggage of the composer's works grew. In 1891, as a result of meeting the outstanding clarinetist Richard Mühlfeld, Brahms was inspired by the idea of ​​writing chamber music for the clarinet. With Mühlfeld in mind, he composes a Trio for Clarinet, Cello and Piano, a large Quintet for Clarinet and Strings, and two sonatas for clarinet and piano. These works are ideally suited in structure to the capabilities of the wind instrument, and moreover, they are elegantly adapted to it.

The last of the published works "Four Serious Songs" (Vier ernste Gesänge) becomes the point in his career, at the same time being its pinnacle. While working on this work, Brahms thought about Clara Schumann, for whom he had tender feelings (at that time her state of health was greatly shaken). She died in May 1896. Soon, Brahms was forced to seek medical help.

In March 1897, at a concert in Vienna, the public was able to see the author for the last time, and on April 3, Johannes Brahms died. The composer is buried next to Beethoven and Franz Schubert.

As long as there are people capable of responding to music with all their hearts, and as long as Brahms' music will give rise to such a response in them, this music will live on.
G. Gal

Having entered the musical life as the successor of R. Schumann in romanticism, J. Brahms followed the path of a wide and individual implementation of the traditions of different eras of German-Austrian music and German culture generally. During the period of development of new genres of program and theater music (by F. Liszt, R. Wagner), Brahms, who turned mainly to classical instrumental forms and genres, as if proving their viability and prospects, enriching them with skill and attitude contemporary artist. Vocal compositions (solo, ensemble, choral) are no less significant, in which the range of coverage of tradition is especially felt - from the experience of Renaissance masters to modern everyday music and romantic lyrics.

Brahms was born into a musical family. His father, who had gone through a difficult path from a traveling artisan musician to a double bassist with the Hamburg Philharmonic Orchestra, gave his son initial skills in playing various string and wind instruments, but Johannes was more attracted to the piano. Successes in studies with F. Kossel (later - with the famous teacher E. Marksen) allowed him to take part in the chamber ensemble at the age of 10, and at 15 - to give solo concert. From an early age, Brahms helped his father support the family, playing the piano in the port taverns, making arrangements for the publisher Kranz, working as a pianist in opera house etc. Before leaving Hamburg (April 1853) on a tour with the Hungarian violinist E. Remenyi (the famous Hungarian Dances for piano in 4 and 2 hands were subsequently born from the folk tunes performed in concerts) he was already the author of numerous works in various genres, mostly destroyed.

The very first published compositions (3 sonatas and a scherzo for pianoforte, songs) revealed the early creative maturity of the twenty-year-old composer. They aroused the admiration of Schumann, a meeting with whom in the autumn of 1853 in Düsseldorf determined the whole subsequent life of Brahms. Schumann's music (its influence was especially direct in the Third Sonata - 1853, in the Variations on a Theme of Schumann - 1854 and in the last of the four ballads - 1854), the whole atmosphere of his house, the proximity of artistic interests (in his youth, Brahms, like Schumann, was fond of romantic literature - Jean-Paul, T. A. Hoffmann, and Eichendorff, etc.) had a huge impact on the young composer. At the same time, the responsibility for the fate of German music, as if entrusted by Schumann to Brahms (he recommended him to the Leipzig publishers, wrote an enthusiastic article about him "New Ways"), followed soon by a catastrophe (a suicide attempt made by Schumann in 1854, his stay in hospital for the mentally ill, where Brahms visited him, finally, Schumann's death in 1856), a romantic feeling of passionate affection for Clara Schumann, whom Brahms devotedly helped in these difficult days - all this aggravated the dramatic intensity of Brahms' music, its violent spontaneity (First concerto for piano and orchestra - 1854-59; sketches for the First Symphony, Third Piano Quartet, completed much later).

According to the way of thinking, Brahms at the same time was inherent in the desire for objectivity, for strict logical order, characteristic of the art of the classics. These features were especially strengthened with the move of Brahms to Detmold (1857), where he took the position of a musician at the princely court, led the choir, studied the scores of the old masters, G. F. Handel, J. S. Bach, J. Haydn and W. A. Mozart, created works in the genres characteristic of the music of the 18th century. (2 orchestral serenades - 1857-59, choral compositions). Interest in choral music was also promoted by classes with an amateur women's choir in Hamburg, where Brahms returned in 1860 (he was very attached to his parents and his native city, but he never got a permanent job there that satisfied his aspirations). The result of creativity in the 50s - early 60s. there were chamber ensembles with the participation of the piano - large-scale works, as if replacing Brahms with symphonies (2 quartets - 1862, Quintet - 1864), as well as variation cycles (Variations and Fugue on a Theme of Handel - 1861, 2 notebooks of Variations on a Theme of Paganini - 1862-63 ) are remarkable examples of his piano style.

In 1862, Brahms went to Vienna, where he gradually settled down for permanent residence. A tribute to the Viennese (including Schubert) tradition of everyday music were waltzes for piano in 4 and 2 hands (1867), as well as "Songs of Love" (1869) and "New Songs of Love" (1874) - waltzes for piano in 4 hands and a vocal quartet, where Brahms sometimes comes into contact with the style of the "king of waltzes" - I. Strauss (son), whose music he highly appreciated. Brahms is also gaining fame as a pianist (he performed since 1854, especially willingly played the piano part in his own chamber ensembles, played Bach, Beethoven, Schumann, his own works, accompanied singers, traveled to German Switzerland, Denmark, Holland, Hungary, to various German city), and after the performance in 1868 in Bremen "German Requiem" - his largest work (for choir, soloists and orchestra on texts from the Bible) - and as a composer. Strengthening the authority of Brahms in Vienna contributed to his work as the head of the choir of the Singing Academy (1863-64), and then - the choir and orchestra of the Society of Music Lovers (1872-75). Brahms was intensive in editing piano works W. F. Bach, F. Couperin, F. Chopin, R. Schumann for the Breitkopf and Hertel publishing house. He contributed to the publication of the works of A. Dvorak - then a little-known composer who was indebted to Brahms hot support and participation in his destiny.

Full creative maturity was marked by the appeal of Brahms to the symphony (First - 1876, Second - 1877, Third - 1883, Fourth - 1884-85). On the approaches to the implementation of this main business of his life, Brahms hones his skills in three string quartet x (First, Second - 1873, Third - 1875), in orchestral Variations on a theme by Haydn (1873). Images close to the symphonies are embodied in the "Song of Fate" (after F. Hölderlin, 1868-71) and in the "Song of the Parks" (after I. V. Goethe, 1882). The light and inspirational harmony of the Violin Concerto (1878) and the Second Piano Concerto (1881) reflected the impressions of trips to Italy. With its nature, as well as with the nature of Austria, Switzerland, Germany (Brahms usually composed in the summer months), the ideas of many of Brahms' works are connected. Their distribution in Germany and abroad was facilitated by the activities of outstanding performers: G. Bülow, conductor of one of the best in Germany, the Meiningen Orchestra; violinist I. Joachim (the closest friend of Brahms) - leader of the quartet and soloist; singer J. Stockhausen and others. Chamber ensembles of various compositions (3 sonatas for violin and piano - 1878-79,, 1886-88; Second sonata for cello and piano - 1886; 2 trios for violin, cello and piano - 1880-82, 1886; 2 string quintets - 1882, 1890), Concerto for violin and cello and orchestra (1887), works for choir a cappella were worthy companions of symphonies. These are from the late 80s. prepared the transition to the late period of creativity, marked by the dominance of chamber genres.

Very demanding of himself, Brahms, fearing the exhaustion of his creative imagination, thought about stopping his composing activity. However, a meeting in the spring of 1891 with the clarinetist of the Meiningen Orchestra R. Mülfeld prompted him to create a Trio, a Quintet (1891), and then two sonatas (1894) with the clarinet. In parallel, Brahms wrote 20 piano pieces (op. 116-119), which, together with clarinet ensembles, became the result of the composer's creative search. This is especially true of the Quintet and the piano intermezzo - "hearts of sorrowful remarks" that combine the severity and confidence of the lyrical expression, the sophistication and simplicity of writing, the all-penetrating melodiousness of intonations. The collection "49 German Folk Songs" (for voice and piano) published in 1894 was evidence constant attention Brahms to the folk song - his ethical and aesthetic ideal. Brahms was engaged in arrangements of German folk songs (including for the a cappella choir) throughout his life, he was also interested in Slavic (Czech, Slovak, Serbian) melodies, recreating their character in his songs based on folk texts. “Four Strict Melodies” for voice and piano (a kind of solo cantata on texts from the Bible, 1895) and 11 chorale organ preludes (1896) supplemented the composer’s “spiritual testament” with an appeal to genres and artistic means Bach's era, as close to the structure of his music as folk genres.

In his music, Brahms created a truthful and complex picture the life of the human spirit - stormy in sudden impulses, persistent and courageous in internal overcoming obstacles, cheerful and cheerful, elegiacly soft and sometimes tired, wise and strict, tender and sincerely sympathetic. Craving for positive conflict resolution, for reliance on sustainable and eternal values human life that Brahms saw in nature, folk song, in the art of the great masters of the past, in the cultural tradition of his homeland, in simple human joys, is constantly combined in his music with a sense of the unattainability of harmony, growing tragic contradictions. 4 symphonies of Brahms reflect different aspects of his attitude. In the First, a direct successor to Beethoven's symphonism, the sharpness of the immediately flashing dramatic collisions is resolved in a joyful hymn finale. The second symphony, truly Viennese (at its origins - Haydn and Schubert), could be called a "symphony of joy." The third - the most romantic of the entire cycle - goes from an enthusiastic ecstasy of life to gloomy anxiety and drama, suddenly receding before the "eternal beauty" of nature, bright and clear morning. The fourth symphony - the crown of Brahms' symphonism - develops, according to the definition of I. Sollertinsky, "from elegy to tragedy." The greatness erected by Brahms - the largest symphonist of the second half of the XIX century. - buildings does not exclude the general deep lyricism of tone inherent in all symphonies and which is the "main key" of his music.

E. Tsareva

Deep in content, perfect in skill, the work of Brahms belongs to the remarkable artistic achievements of German culture in the second half of the 19th century. In a difficult period of its development, in the years of ideological and artistic confusion, Brahms acted as a successor and continuer classical traditions. He enriched them with the achievements of the German romanticism. Great difficulties arose along the way. Brahms sought to overcome them, turning to the comprehension of the true spirit of folk music, the richest expressive possibilities musical classics of the past.

“The folk song is my ideal,” said Brahms. Even in his youth, he worked with the rural choir; later he spent a long time as a choral conductor and, invariably referring to the German folk song, promoting it, processed it. That is why his music has such peculiar national features.

With great attention and interest, Brahms treated the folk music of other nationalities. The composer spent a significant part of his life in Vienna. Naturally, this led to the inclusion of nationally distinctive elements of Austrian folk art in Brahms' music. Vienna also determined great importance in the work of Brahms Hungarian and Slavic music. "Slavicisms" are clearly perceptible in his works: in the frequently used turns and rhythms of the Czech polka, in some techniques of intonation development, modulation. The intonations and rhythms of Hungarian folk music, mainly in the style of verbunkos, that is, in the spirit of urban folklore, clearly affected a number of Brahms's compositions. V. Stasov noted that the famous "Hungarian Dances" by Brahms are "worthy of their great glory."

Sensitive penetration into the mental structure of another nation is available only to artists who are organically connected with their national culture. Such is Glinka in Spanish Overtures or Bizet in Carmen. Such is Brahms - an outstanding national artist of the German people, who turned to the Slavic and Hungarian folk elements.

In his declining years, Brahms dropped a significant phrase: "The two biggest events of my life are the unification of Germany and the completion of the publication of Bach's works." Here in the same row are, it would seem, incomparable things. But Brahms, usually stingy with words, put a deep meaning into this phrase. Passionate patriotism, a vital interest in the fate of the motherland, an ardent faith in the strength of the people naturally combined with a sense of admiration and admiration for the national achievements of German and Austrian music. The works of Bach and Handel, Mozart and Beethoven, Schubert and Schumann served as his guiding lights. He also studied the ancient polyphonic music. Trying to better comprehend patterns musical development, Brahms paid great attention to issues of artistic skill. He entered in his notebook wise words Goethe: “Form (in art.- M. D.) is formed by thousands of years of efforts of the most remarkable masters, and the one who follows them, far from being able to master it so quickly.

But Brahms did not turn away from the new music: rejecting any manifestations of decadence in art, he spoke with a sense of true sympathy about many of the works of his contemporaries. Brahms highly appreciated the "Meistersingers" and much in the "Valkyrie", although he had a negative attitude towards "Tristan"; admired the melodic gift and transparent instrumentation of Johann Strauss; spoke warmly of Grieg; the opera "Carmen" Bizet called his "favorite"; in Dvorak he found "a real, rich, charming talent." Artistic tastes of Brahms show him as a lively, direct musician, alien to academic isolation.

This is how he appears in his work. It is full of exciting vital content. In the difficult conditions of the German reality of the 19th century, Brahms fought for the rights and freedom of the individual, sang of courage and moral stamina. His music is full of anxiety for the fate of a person, carries words of love and consolation. She has a restless, agitated tone.

The cordiality and sincerity of Brahms' music, close to Schubert, are most fully revealed in the vocal lyrics, which occupies a significant place in his creative heritage. In the works of Brahms there are also many pages of philosophical lyrics, which are so characteristic of Bach. In developing lyrical images, Brahms often relied on existing genres and intonations, especially Austrian folklore. He resorted to genre generalizations, used dance elements of landler, waltz, and chardash.

These images are also present in the instrumental works of Brahms. Here, the features of drama, rebellious romance, passionate impetuosity are more pronounced, which brings him closer to Schumann. In the music of Brahms, there are also images imbued with vivacity and courage, courageous strength and epic power. In this area, he appears as a continuation of the Beethoven tradition in German music.

Acutely conflicting content is inherent in many chamber-instrumental and symphonic works of Brahms. They recreate exciting emotional dramas, often tragic. These works are characterized by the excitement of the narrative, there is something rhapsodic in their presentation. But freedom of expression in the most valuable works of Brahms is combined with the iron logic of development: he tried to clothe the boiling lava of romantic feelings in strict classical forms. The composer was overwhelmed with many ideas; his music was saturated with figurative richness, a contrasting change of moods, a variety of shades. Their organic fusion required a strict and precise work of thought, a high contrapuntal technique that ensured the connection of heterogeneous images.

But not always and not in all of his works Brahms managed to balance emotional excitement with the strict logic of musical development. those close to him romantic images sometimes clashed with classic presentation method. The disturbed balance sometimes led to vagueness, foggy complexity of expression, gave rise to unfinished, unsteady outlines of images; on the other hand, when the work of thought took precedence over emotionality, Brahms' music acquired rational, passive-contemplative features. (Tchaikovsky saw only these, distant to him, sides in the work of Brahms and therefore could not correctly assess him. Brahms' music, in his words, “as if teasing and annoying musical feeling»; he found it dry, cold, foggy, indefinite.).

But on the whole, his writings captivate with remarkable mastery and emotional immediacy in the transfer of significant ideas, their logically justified implementation. For, despite the inconsistency of individual artistic decisions, Brahms' work is permeated with a struggle for the true content of music, for the high ideals of humanistic art.

Life and creative path

Johannes Brahms was born in the north of Germany, in Hamburg, on May 7, 1833. His father is from peasant family, was a city musician (horn player, later double bass player). The composer's childhood passed in need. From an early age, thirteen years old, he already performs as a pianist at dance parties. In the following years, he earns money with private lessons, plays as a pianist in theatrical intermissions, and occasionally participates in serious concerts. At the same time, having completed a composition course with a respected teacher, Eduard Marksen, who instilled in him a love for classical music, composes a lot. But the works of the young Brahms are not known to anyone, and for the sake of penny earnings, one has to write salon plays and transcriptions, which are published under various pseudonyms (about 150 opuses in total.) “Few lived as hard as I did,” said Brahms, recalling the years of his youth.

In 1853 Brahms left his native city; together with the violinist Eduard (Ede) Remenyi, a Hungarian political exile, he went on a long concert tour. This period includes his acquaintance with Liszt and Schumann. The first of them, with his usual benevolence, treated the hitherto unknown, modest and shy twenty-year-old composer. An even warmer reception awaited him at Schumann. Ten years have passed since the latter ceased to take part in the New Musical Journal he created, but, amazed by the original talent of Brahms, Schumann broke his silence - he wrote his last article entitled "New Ways". He called the young composer a complete master who "perfectly expresses the spirit of the times." The work of Brahms, and by this time he was already the author of significant piano works (among them three sonatas), attracted everyone's attention: representatives of both the Weimar and Leipzig schools wanted to see him in their ranks.

Brahms wanted to stay away from the enmity of these schools. But he fell under the irresistible charm of the personality of Robert Schumann and his wife, the famous pianist Clara Schumann, for whom Brahms retained love and true friendship over the next four decades. Artistic views and the convictions (as well as prejudices, in particular against Liszt!) of this remarkable couple were indisputable for him. And so, when in the late 50s, after the death of Schumann, an ideological struggle for his artistic heritage flared up, Brahms could not but take part in it. In 1860, he spoke in print (for the only time in his life!) against the assertion of the New German school that its aesthetic ideals were shared by all the best German composers. Due to an absurd accident, along with the name of Brahms, under this protest were the signatures of only three young musicians (including the outstanding violinist Josef Joachim, a friend of Brahms); the rest, more famous names were omitted in the newspaper. This attack, moreover, composed in harsh, inept terms, was met with hostility by many, Wagner in particular.

Shortly before that, Brahms' performance with his First Piano Concerto in Leipzig was marked by a scandalous failure. Representatives of the Leipzig school reacted to him as negatively as the "Weimar". Thus, abruptly breaking away from one coast, Brahms could not stick to the other. A courageous and noble man, he, despite the difficulties of existence and the cruel attacks of the militant Wagnerians, did not make creative compromises. Brahms withdrew into himself, fenced himself off from controversy, outwardly moved away from the struggle. But in his work he continued it: taking the best from the artistic ideals of both schools, with your music proved (albeit not always consistently) the inseparability of the principles of ideology, nationality and democracy as the foundations of life-truthful art.

The beginning of the 60s was, to a certain extent, a time of crisis for Brahms. After storms and fights, he gradually comes to the realization of his creative tasks. It was at this time that he began to work for a long time on major works of a vocal-symphonic plan (“German Requiem”, 1861-1868), on the First Symphony (1862-1876), intensively manifests himself in the field of chamber literature (piano quartets, quintet, cello sonata). Trying to overcome romantic improvisation, Brahms intensively studies folk song, as well as Viennese classics (songs, vocal ensembles, choirs).

1862 - a turning point in the life of Brahms. Finding no use for his strength in his homeland, he moves to Vienna, where he remains until his death. A wonderful pianist and conductor, he is looking for a permanent job. Native city Hamburg refused him this, inflicting a non-healing wound. In Vienna, he twice tried to gain a foothold in the service as the head of the Singing Chapel (1863-1864) and the conductor of the Society of Friends of Music (1872-1875), but left these positions: they did not bring him much artistic satisfaction or material security. Brahms' position improved only in the mid-70s, when he finally received public recognition. Brahms performs a lot with his symphonic and chamber works, visits a number of cities in Germany, Hungary, Holland, Switzerland, Galicia, Poland. He loved these trips, getting to know new countries and, as a tourist, was eight times in Italy.

The 70s and 80s are the time of Brahms' creative maturity. During these years, symphonies, violin and Second piano concertos, many chamber works(three violin sonatas, Second Cello, Second and Third Piano Trios, three string quartets), songs, choirs, vocal ensembles. As before, Brahms in his work refers to the most various genres musical art (with the exception of only musical and dramatic, although he was going to write an opera). He strives to combine deep content with democratic intelligibility and therefore, along with complex instrumental cycles, he creates music of a simple everyday plan, sometimes for home music-making (vocal ensembles "Songs of Love", "Hungarian Dances", waltzes for piano, etc.). Moreover, working in both respects, the composer does not change his creative manner, using his amazing contrapuntal skill in popular works and without losing simplicity, cordiality in symphonies.

The breadth of Brahms' ideological and artistic outlook is also characterized by a peculiar parallelism in solving creative problems. So, almost simultaneously, he wrote two orchestral serenades of different composition (1858 and 1860), two piano quartets (op. 25 and 26, 1861), two string quartets (op. 51, 1873); immediately after the end of the Requiem is taken for "Songs of Love" (1868-1869); along with the "Festive" creates the "Tragic Overture" (1880-1881); The first, "pathetic" symphony is adjacent to the second, "pastoral" (1876-1878); Third, "heroic" - from the Fourth, "tragic" (1883-1885) (In order to draw attention to the dominant aspects of the content of Brahms' symphonies, their conditional names are indicated here.). In the summer of 1886, such contrasting works were written and mostly completed. chamber genre like the dramatic Second Cello Sonata (op. 99), the bright, idyllic mood of the Second Violin Sonata (op. 100), the epic Third Piano Trio (op. 101) and the passionately excited, pathetic Third Violin Sonata (op. 108).

At the end of his life - Brahms died on April 3, 1897 - his creative activity is weakening. He conceives a symphony and a number of other major works, but only realizes his plans. chamber plays and songs. Not only the circle of genres has narrowed - the circle of images has narrowed. It is impossible not to see in this a manifestation of the creative fatigue of a lonely person, disappointed in the struggle of life. The painful illness that brought him to the grave (liver cancer) also had an effect. Nevertheless, these last years were also marked by the creation of truthful, humanistic music, glorifying high moral ideals. It suffices to cite as an example the piano intermezzos (op. 116-119), the clarinet quintet (op. 115) or the Four Strict Melodies (op. 121). And Brahms captured his unfading love for folk art in a wonderful collection of forty-nine German folk songs for voice and piano.

Style Features

Brahms is the last major representative of the German music XIX century, developing the ideological and artistic traditions of advanced national culture. His work, however, is not without some contradictions, because he was not always able to understand the complex phenomena of modernity, he was not included in the socio-political struggle. But Brahms never betrayed high humanistic ideals, did not compromise with bourgeois ideology, rejected everything false, transient in culture and art.

Brahms created his own original creative style. His musical language is noted individual traits. Typical for him intonations associated with the German folk music, which affects the structure of themes, the use of melodies according to the tones of the triad, and the plagal turns inherent in the ancient layers of songwriting. And plagality plays a big role in harmony; often, a minor subdominant is also used in a major, and a major in a minor. The works of Brahms are characterized by modal originality. The "flickering" of major - minor is very characteristic of him. So, the main musical motive of Brahms can be expressed by the following scheme (the first scheme characterizes the thematic main party First symphony, second - a similar theme of the Third symphony):

The given ratio of thirds and sixths in the structure of the melody, as well as the techniques of third or sixth doubling, are favorites of Brahms. In general, it is characterized by an emphasis on the third degree, the most sensitive in the coloring of the modal mood. Unexpected modulation deviations, modal variability, major-minor mode, melodic and harmonic major - all this is used to show the variability, the richness of the shades of the content. Complex rhythms, the combination of even and odd meters, the introduction of triplets, dotted rhythm, syncopation into a smooth melodic line also serve this.

Unlike rounded vocal melodies, Brahms' instrumental themes are often open, which makes them difficult to memorize and perceive. Such a tendency to “open” thematic boundaries is caused by the desire to saturate music with development as much as possible. (Taneyev also aspired to this.). B. V. Asafiev rightly noted that Brahms even in lyrical miniatures “everywhere one feels development».

Brahms' interpretation of the principles of shaping is marked by a special originality. He was well aware of the vast experience accumulated by European musical culture, and, along with modern formal schemes, he resorted to long ago, it would seem, out of use: such are the old sonata form, the variation suite, basso ostinato techniques; he gave a double exposure in concert, applied the principles of concerto grosso. However, this was not done for the sake of stylization, not for aesthetic admiration of obsolete forms: such a comprehensive use of established structural patterns was of a deeply fundamental nature.

In contrast to the representatives of the Liszt-Wagner trend, Brahms wanted to prove the ability old compositional means to transfer contemporary constructing thoughts and feelings, and practically, with his creativity, he proved this. Moreover, he considered the most valuable, vital means of expression, settled in classical music, as an instrument of struggle against the decay of form, artistic arbitrariness. An opponent of subjectivism in art, Brahms defended the precepts of classical art. He turned to them also because he sought to curb the unbalanced impulse own fantasy, overwhelmed by his excited, anxious, restless feelings. He did not always succeed in this, sometimes significant difficulties arose in the implementation of large-scale plans. All the more insistently did Brahms creatively translate the old forms and established principles of development. He brought in a lot of new things.

Of great value are his achievements in the development of variational principles of development, which he combined with sonata principles. Based on Beethoven (see his 32 variations for piano or the finale of the Ninth Symphony), Brahms achieved in his cycles a contrasting, but purposeful, "through" dramaturgy. Evidence of this are the Variations on a theme by Handel, on a theme by Haydn, or the brilliant passacaglia of the Fourth Symphony.

In interpreting the sonata form, Brahms also gave individual solutions: he combined freedom of expression with the classical logic of development, romantic excitement with a strictly rational conduct of thought. Plurality of images in the embodiment of dramatic content - typical feature music by Brahms. Therefore, for example, five themes are contained in the exposition of the first part of the piano quintet, the main part of the finale of the Third Symphony has three diverse themes, two side themes are in the first part of the Fourth Symphony, etc. These images are contrasted contrastingly, which is often emphasized by modal relationships ( for example, in the first part of the First Symphony, the side part is given in Es-dur, and the final part in es-moll; in the analogous part of the Third Symphony, when comparing the same parties A-dur - a-moll; in the finale of the named symphony - C-dur - c -moll, etc.).

Brahms paid special attention to the development of images of the main party. Her themes throughout the movement are often repeated without changes and in the same key, which is characteristic of the rondo sonata form. The ballad features of Brahms' music also manifest themselves in this. The main party is sharply opposed to the final (sometimes linking), which is endowed with an energetic dotted rhythm, marching, often proud turns drawn from Hungarian folklore (see the first parts of the First and Fourth Symphonies, the Violin and Second Piano Concertos and others). Side parts, based on the intonations and genres of Viennese everyday music, are unfinished and do not become the lyrical centers of the movement. But they are an effective factor in development and often undergo major changes in development. The latter is held concisely and dynamically, as the development elements have already been introduced into the exposition.

Brahms was an excellent master of the art of emotional switching, of combining images of different qualities in a single development. This is helped by multilaterally developed motivic connections, the use of their transformation, and the widespread use of contrapuntal techniques. Therefore, he was extremely successful in returning to the starting point of the narrative - even within the framework of a simple tripartite form. This is all the more successfully achieved in the sonata allegro when approaching the reprise. Moreover, in order to exacerbate the drama, Brahms likes, like Tchaikovsky, to shift the boundaries of development and reprise, which sometimes leads to the rejection of the full performance of the main part. Accordingly, the value of the code as a moment increases higher voltage in the development of the part. Remarkable examples of this are found in the first movements of the Third and Fourth Symphonies.

Brahms is a master of musical dramaturgy. Both within the boundaries of one part, and throughout the entire instrumental cycle, he gave a consistent statement of a single idea, but, focusing all attention on internal logic of musical development, often neglected externally colorful expression of thought. Such is Brahms' attitude to the problem of virtuosity; such is his interpretation of the possibilities of instrumental ensembles, the orchestra. He did not use purely orchestral effects and, in his predilection for full and thick harmonies, doubled the parts, combined voices, did not strive for their individualization and opposition. Nevertheless, when the content of the music required it, Brahms found the unusual flavor he needed (see the examples above). In such self-restraint, one of the most characteristic features of his creative method is revealed, which is characterized by a noble restraint of expression.

Brahms said: "We can no longer write as beautifully as Mozart, we will try to write at least as cleanly as he." It is not only about technique, but also about the content of Mozart's music, its ethical beauty. Brahms created music much more complex than Mozart, reflecting the complexity and inconsistency of his time, but he followed this motto, because the desire for high ethical ideals, a sense of deep responsibility for everything he did marked the creative life of Johannes Brahms.

BRAHMS (Brahms) Johannes (May 7, 1833, Hamburg - April 3, 1897, Vienna), German composer. From 1862 he lived in Vienna. He performed as a pianist and conductor. Brahms' symphonism is distinguished by an organic combination of Viennese classical traditions and romantic imagery. 4 symphonies, overtures, concertos for instruments and orchestra, "German Requiem" (1868), chamber instrumental ensembles, piano compositions ("Hungarian Dances", 4 notebooks, 1869-1880), choirs, vocal ensembles, songs.

First experiences

Born in the family of a musician - horn player and double bass player. At the age of 7 he began to learn to play the piano; from the age of 13 he took lessons in theory and composition from the famous Hamburg musician Eduard Marksen (1806-1887). He gained his first composing experience making arrangements of gypsy and Hungarian melodies for orchestra. light music 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 creativity 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 later years he acted as 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 influenced the atmosphere of the musical life in Germany and Austria in the 1860s-80s.

In 1868 Brahms finally settled in Vienna. His last official position was 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 worldwide fame. The period of the highest creative activity continued with Brahms until 1890. One after another, his central works appeared: all four symphonies (No. 1 Op. 68, No. 2 Op. 73, No. 3 Op. 90, No. 4 Op. 98), concerts, in including the brightly "extroverted" Violin Concerto Op. 77 (1878), dedicated to Joachim (hence the Hungarian intonations in the finale of the concerto), and the monumental four-movement Second Piano Op. 83 (1881), all three sonatas for violin and piano (No. 1 Op. 78, No. 2 Op. 100, No. 3 Op. 108), Second Cello Sonata Op. 99 (1886), the best songs for voice and piano, including Feldeinsamkeit ("Loneliness in the Field") from Op. 86 (c. 1881), Wie Melodien zieht es mir and Immer leiser wird mein Schlummer from Op. 105 (1886-8) and others. In the early 1880s, Brahms became friends with the outstanding pianist and conductor Hans von Bülow (1830-1894), who at that time 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 Mülfeld, 1856-1907), as well as a number of piano pieces. His career ended in 1896 with a vocal cycle for bass and piano, Op. 121 "Four strict melodies" on biblical texts and a book of choral preludes for organ Op. 122. Many pages of late Brahms are imbued with a deep religious feeling. Brahms died of cancer less than a year after the death of K. Schumann.

Composer's innovation

Being a follower of the Leipzig school, Brahms remained faithful to the traditional forms of "absolute", non-program music, but Brahms' outward traditionalism is largely deceptive. All of his four symphonies follow the four-movement pattern that has been established since Viennese classicism, however, 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 is also distinguished by a huge variety of dramatic solutions - despite the fact that all of his numerous sonatas, trios, quartets, quintets and sextets also outwardly do not deviate from the traditional four- or three-part schemes. Brahms raised variation technique to a new level. For him, this is not only a method of constructing large forms (as in the variation cycles on themes by Handel, Paganini, Haydn, or in separate parts of some cyclic works, including the final passacaglia of the Fourth Symphony, the finales of the Third String Quartet, the Second Sonata for Clarinet and Piano and etc.), but also the main way of working with motifs, which makes it possible to achieve the highest intensity of thematic development even in relatively small spaces (in this respect, Brahms was a faithful follower of the later one). The Brahms technique of motivic work had a great influence on A. Schoenberg and his students, the composers of the new Viennese school. Brahms' innovation was clearly manifested in the field of rhythm, which in his work is unusually free and active due to frequent and diverse syncopations.

Brahms felt equally confident in the field of "scientific", intellectual music for connoisseurs, and in the field of popular, "light" music, as his "Gypsy Songs", "Waltzes - Love Songs" and especially "Hungarian Dances" convincingly testify to. which continue to perform the function of first-class entertainment music in our time.

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.

1833 - 1897

creative path

Brahms is the largest composer of the 2nd half of the 19th century, who lived at the same time as Wagner, Liszt, and was their antipode. A very unique composer. He denied the extremes of romanticism (anguish, exaggeration). Brahms sought and found support in the classical traditions, which played a huge role in his work. This gives objectivity to his work. All romantic experiences are enclosed in a classical form. He revived Bach's forms and genres (for example, the Passacaglia). Brahms has organ prelude and fugue, fugue, chorale preludes. He was the greatest symphonist - he has 4 symphonies, 2 overtures. His symphony is not programmatic. He denied programming. In this regard, Brahms did not like Liszt and Wagner.

Bülow called Brahms' 1st Symphony Beethoven's 10th Symphony. Brahms considered folklore to be of great value. He 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. He worked a lot in piano music (here he is close to Schumann).

Main works: 2 piano concertos, 1 violin concerto (D-dur), double concerto for violin and cello, 3 violin sonatas, 2 cello sonatas, 2 clarinet sonatas; chamber ensembles of different composition ( classical tradition): 3 string quartets, piano quartets and piano quintet, piano trios, horn trio, clarinet quintet (not 5 clarinets).

Works for piano: 3 sonatas, variations on themes by Handel, Schumann, Paganini, various pieces, 1 scherzo, etudes after pieces by Bach, Weber, Schubert, Chopin.

Vocal works: about 200 songs and romances, vocal ensembles for everyday music making, choirs "Acapella" and with orchestra accompaniment.

life path

Born in Hamburg. Father is a city musician. Brahms studied piano with many (including Marxen). Marxen instilled in Brahms a love of the classics. From childhood, Brahms was industrious. He quickly mastered the piano. He played his works and classics. Childhood passed in difficult conditions. I had to earn money by playing in the theater, in restaurants. It was domestic music.

In 1849, Brahms became friends with the Hungarian violinist Ede Remenyi. In 1853 Brahms traveled with Rémeigny as his accompanist for Europe. Remenyi's repertoire included Hungarian folk songs and dances. By this year, Brahms had written Scherzo, chamber ensembles, a sonata, and songs. Together they went to Weimar, where they met Liszt.

In 1853, through his violinist friend Joachim, Brahms met Schumann in Düsseldorf. Schumann received Brahms with enthusiasm and wrote his last article about him, New Ways, for which Brahms became famous.

Brahms became friends with Clara Wieck. Brahms, Clara Wieck, Joachim, and others organized a support group for the classics and opposed programming. Brahms wrote his only article in his life, where he spoke out against software.

In the second half of the 50s - Brahms' concert trips as a pianist. Played with the Gewandhaus Orchestra. Performed with Clara Wieck and Joachim.

1858-1859 Courtier's Guide choir chapel in Detmold (Germany). Conducted works by Palestrina, Orlando Lasso, Handel, Bach. Wrote Moira. Choral music is very important in the work of Brahms. He later wrote a German requiem.

Since the 60s, Brahms lived in Vienna, but not permanently (he traveled to Hamburg, Baden-Baden, Zurich, etc.). Since the late 60s he settled in Vienna. Again directs the choir chapel (Viennese). Major conductor. He performed Handel, Bach's Matthew Passion, Mozart's Requiem.

1872-1875 Brahms was at the head of a society of music lovers and conducted symphony concerts. But then I decided to delve into creativity. Dawn years - 70-80 years:

4 symphonies, violin and 2nd piano concertos, 2 piano trios (2nd and 3rd), 3 string quartets, songs and choirs, vocal ensembles, a lot of everyday music for home music - “Songs of Love”, Hungarian dances, waltzes, orchestral serenades, piano quintets, string quartets.

In the last years of his life, Brahms was friends with Dvorak. Became a member of the Academy of Arts in Berlin, Doctor of Music at Cambridge and Breslau Universities. At the end of his life he wrote little: pieces for piano - "Intermezzo", a clarinet quintet, a collection of 49 German folk songs. Brahms died in 1897.

4th symphony (e-moll)

Lyric-dramatic symphonic four-movement cycle. The first hour begins softly, sincerely. The 1st theme is soft, song. The symphony ends with a tragic ending.

Part I e-moll. Sonata Allegro. In this part, the whole cycle (code of the 1st part) is predetermined.

G.P. It sounds dramatic in chord texture, with canonical intonation.

Part II. Typical for Brahms. Lyrics. Serious. There are echoes of the landscape. E-dur. Sonata Allegro.

III h. Contrasting the 1st and 2nd parts. Festive. Looks like a scherzo. C major.

IV part e-moll. Tragic ending. This is a passacaglia. 32 variations on one theme. Symbolizes death. Variation form.

G.P. In the tradition of Schubert. Song. Sounds like violins. Melody and accompaniment. S.P. built on this theme.

At the end of S.P. before P.P. a strong-willed fanfare motive appears. Fis-dur. It plays a big role in development. After him immediately comes P.P.

P.P. Lyrical. At the cellos. H-moll.

Z.P. Several theme elements. 1st soft in H-dur. The 2nd theme is related to the fanfare motif. Heroic. The 3rd theme is gradual dissolution.

Development

Starts with G.P. in the main tone. This gives the 1st part the features of narrative, ballad.

2 sections are under development.

1st section. Isolation. Motifs are isolated from the theme, distant tones are touched upon.

2nd section. A fanfare motive and the 2nd element of G.P.

Starts with G.P. in magnification. From the 2nd phrase of G.P. sounds like an exposition. P.P. and fanfare motif sound already in e-moll.

Topic G.P. changes greatly. Passes canonically and in chords.

E-dur. Sonata form with introduction. Introduction - horns. Melodic E-dur.

G.P. Melodic E-dur.

P.P. Violins have a light lyrical theme. H-dur. Landscape.

Development

The main development method in development is variational. There is a code.

sonata form.

G.P. C major. Flickering of different elements.

P.P. More melodious. G-dur.

Development

There is a new theme in Des-dur (called "episode in progress"). Next, elements of the themes of the exposition are developed.

Main tone.

The end is big and tragic. It starts with a choral melody. Sounds terrible. The entire variation cycle is divided into 3 parts (groups of variations).

1st group - up to 12 variations.

2nd group - 2 variations. 1st variation - At the beginning of the flute solo. lyric theme. Something like a lamento aria. 2nd variation - E-dur.

3rd group. E-moll.

Compositions:

vocal-symphonic works and works for choir with orchestra accompaniment, etc.:

Ave Maria (op. 12, 1858), Funeral song (Begrabnisgesang, lyrics by M. Weise, op. 13, 1858), 4 songs (for female choir with accompaniment of 2 horns and harp, op. 17, 1860), 13th psalm (for women's choir accompanied by organ, or piano, or string orchestra, op. 27, 1859), German Requiem (Ein deutsches Requiem, words from the Bible translated by M. Luther, op. 45, 1857-1868), 12 songs and romances (for women's choir with piano accompaniment ad libitum, op. 44, 1859-63), Rinaldo (cantata, words by J. W. Goethe, op. 50, 1863-68), Rhapsody (words by J. W. Goethe, 53, 1869), Song of Destiny (Schicksalslied, lyrics by F. Hölderlin, op. 54, 1868-71), Triumphal Song (text from the Apocalypse, Triumphlied auf den Sieg der deutschen Waffen, op. 55, 1870-71 ), Nenia (words by F. Schiller, op. 82, 1880-81), Song of the Parks (Gesang der Parzen, words by J. W. Goethe, op. 89, 1882);

for orchestra-

4 symphonies: No. 1 (c-moll, op. 68, 1874-76), No. 2 (D-dur, op. 73, 1877), No. 3 (F-dur, op. 90, 1883), No. 4 ( e-moll, op. 98, 1884-85);

2 serenades: No. 1 (D-dur, op. 11, 1858), No. 2 (A-dur, op. 16, 1858-60);

2 overtures: Academic Solemn (c-mol, op. 80, 1880), Tragic Overture (d-moll, op. 81, 1880-81), Variations on a Theme of Haydn (B-dug, op. 56-a, 1873) ;

for one instrument with orchestra -

4 concertos, including concerto No. 1 for piano and orchestra (d-moll, op. 15, 1854-59), concerto No. 2 for piano and orchestra (B-dur, op. 83, 1878-81), concerto for violins and orchestra (D-dur, op. 77, 1878);

for two instruments with orchestra -

double concerto for violin and cello (a-moll, op. 102, 1887);

for an ensemble of instruments -

2 sextets: No. 1 (for 2 violins, 2 violas and 2 cellos, B-dur, op. 18, 1858-60), No. 2 (the same composition, G-dur, op. 36, 1864-65);

quintets-

2 quintets for 2 violins, 2 violas and cello: No. 1 (F-dur, op. 88, 1882), No. 2 (G-dur, op. 111, 1890), quintet for piano, 2 violins, viola and cello ( f minor, op. 34, 1861-64), clarinet quintet, 2 violins, viola and cello (h minor, op. 115, 1891);

quartets-

3 piano quartets: No. 1 (g-moll, op. 25, 1861), No. 2 (A-dur, op. 26, 1861), No. 3 (c-minor, op. 60, 1855-74), 3 strings quartet: No. 1 (c-minor, op. 51, circa 1865-73), No. 2 (a-moll, op. 51, no. 2, 1873), No. 3 (B-dur, op. 67, 1875);

3 piano trios: No. 1 (H-dur, op. 8, 1854; 2nd edition 1889), No. 2 (C-dur, op. 87, 1880-82), No. 3 (c-minor, op. 101) , 1886), trio for piano, violin and horn (Es-dur, op. 40, 1856), trio for piano, clarinet and cello (a-moll, op. 114, 1891);

sonatas for violin and piano

No. 1 (G-dur, op. 78, 1878-79), No. 2 (A-dur, op. 100, 1886), No. 3 (d-minor, op. 108, 1886-88);

sonatas for cello and piano

No. 1 (e-moll, op. 38, 1862-65), No. 2 (F-dur, op. 99, 1886);

sonatas for clarinet and piano

No. 1 (f-moll, op. 120, 1894), No. 2 (Es-dur, op. 120, 1894), Scherzo (c-moll, for sonata, composed jointly with R. Schumann and A. Dietrich, without op. ., 1853);

for piano 2 hands -

3 sonatas: No. 1 (C-dur, op. 1, 1852-1853), No. 2 (fis-moll, op. 2, 1852), No. 3 (f-moll, op. 5, 1853), Scherzo (es -moll, op. 4, 1851); variations: 16-on a theme by R. Schumann (fis-moll, op. 9, 1854), on his own theme (D-dur, op. 21, 1857), on a theme of a Hungarian song (D-dur, op. 21, about 1855), Variations and Fugue on a theme by G. F. Handel (B-dur, op. 24, 1861), Variations on a theme by Paganini (a-moll, op. 35, 1862-63); 4 ballads (op. 10, 1854); 18 piano pieces (8, op. 76, No. 1 - 1871, No. 2-7 - 1878; 6 - op. 118, 1892; 4 - op. 119, 1892), 2 rhapsodies (No. 1 - h-moll and No. 2-g-moll, op. 79, 1879), fantasies (3 capriccios and 4 intermezzos, op. 116, 1891-92), 3 intermezzos (op. 117, 1892); in addition, without op.: 2 gigues (a-moll and h-moll, 1855), 2 sarabandes (a-moll and h-moll, 1855), theme and variations (d-moll, from the sextet op. 18, 1860 ), 10 Hungarian dances (arr. Hungarian dances for piano in 4 hands, 1872), 51 exercises (collected in 1890), gavotte (A-dur, gavotte by X. V. Gluck), 5 etudes (based on works by Chopin, Weber and Bach); 8 cadenzas for piano concertos: J. S. Bach (d-moll), W. A. ​​Mozart (G-dur, 2 cadenzas; d-moll, c-moll), Beethoven (G-dur, 2 cadenzas; c- moll);

Johannes Brahms (German: Johannes Brahms) (May 7, 1833, Hamburg - April 3, 1897, Vienna) is one of the most important German composers.

The son of poor parents (his father was a double bass player in the city theater), he did not have the opportunity to get a brilliant music education and studied piano and composition theory with Ed. Markzen, in Altona. I owe further improvement to myself. In 1847, Brahms made his first public appearance as a pianist.

Later, in 1853, he met Robert Schumann, for whose high talent he had a special reverence. Schumann treated the talent of Brahms with great attention, which he expressed very flatteringly in a critical article in a special musical organ: Neue Zeitschrift für Musik.

The first work of Brahms - piano pieces and songs, published in Leipzig in 1854. Constantly changing his location in Germany and Switzerland, Brahms wrote whole line works in the field of piano and chamber music. From 1862 he settled in Vienna, where he was a bandmaster at the Singakademie, and from 1872-1874 he conducted the well-known concerts of the Musikfreunde society. Later, Brahms devoted most of his activity to composition.

He wrote more than 80 works, such as: monophonic and polyphonic songs, a serenade for orchestra, variations on a Haydnian theme for orchestra, two sextets for string instruments, two piano concertos, several sonatas for one piano, for piano with violin, with cello, piano trios, quartets and quintets, variations and miscellaneous pieces for pianoforte, cantata "Rinaldo" for tenor solo, male choir and orchestra, rhapsody (on an excerpt from Goethe's "Harzreise im Winter") for solo alto, male choir and orchestra, "German Requiem" for solo, choir and orchestra, "Triumphlied" (on the occasion of the Franco-Prussian War), for choir and orchestra; "Schicksalslied", for choir and orchestra; violin concerto, concerto for violin and cello, two overtures: tragic and academic.

But his symphonies brought Brahms special fame. Already in his early works, Brahms showed originality and independence. Through hard work, Brahms developed a style for himself. Of his works, by their general impression, one cannot say that Brahms was influenced by any of the composers who preceded him. But at the same time, it should be noted that, striving for independence and originality, Brahms often falls into artificiality and dryness. The most outstanding work in which the creative power of Brahms had an especially bright, original effect is his German Requiem.

Among the masses of the public the name of Brahms is very popular, but those who think that this popularity is a consequence of his own compositions will be mistaken. Brahms transferred Hungarian melodies to the violin and piano, and these melodies, called “Hungarian dances,” entered the repertoire of a number of the most outstanding virtuoso violinists and served mainly to popularize the name of Brahms among the masses.

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