In early youth.
]
Those who have met him will never forget the impression of his strong
personality. Nor will those who saw him conduct or heard him play ever
enter into the superfluous discussion whether he was a great leader of
orchestra and chorus or a master of his instrument. For in both
directions he was not only equal to the most exacting demands, but
always appeared as if inspired, and inspiring everybody who sang or
played under him or listened to the genius of his music. At the
pianoforte and the conductor’s desk he is a king, but socially he
appears unaffected and easy, neither reticent nor predominating in
conversation, jolly and kind among friends and children. He has never
married. Many honors have been conferred upon him: the degrees of Doctor
of Music by the University of Cambridge, England, in 1877, and of Doctor
of Philosophy by the Breslau University in 1879; also several orders and
the membership of many societies and institutes. Throughout the musical
world his music, especially his instrumental works, is now received with
enthusiasm, although still finding a strong opposition on the part of
many critics of either too conservative or too progressive tendencies.
Yet the time is not far distant when it will be generally granted a high
position in the history of our art.
[Illustration:
Fac-simile autograph manuscript of Canon by Brahms. “An Album Leaf.”
]
[Illustration:
Fac-simile autograph letter from Johannes Brahms to Karl Klauser.
]
Three prominent characteristics of Brahms’ works command our admiration.
From the start he appeared as a strong individuality, and
notwithstanding a leaning towards Bach’s polyphonic art and harmonic
wealth, Beethoven’s virile pathos and ideality of purpose, and
Schubert’s melodic charm, he has spoken his own distinct language. In
every field of composition except the opera he has contributed
masterpieces which show that in each he has to-day no superior, and in
but few an equal. Throughout he impresses us by the fact that to him art
has always been something sacred, worthy of highest effort and noblest
purpose. In this respect one may well compare him to Bach or Beethoven
or Schiller, of whom Goethe so beautifully said, that “far behind him
lay that which conquers us all,—vulgarity.” Whoever honestly strives for
the sympathy of his genius must be filled with a like earnest spirit,
willing to be guided by his subtle art into ideal regions full of higher
joys than common musical amusements afford.
The wealth of his melodic, rhythmic and harmonic invention is truly
astonishing; his combinations are so new and often intricate, the
thematic material so rich or peculiar, its development so elaborate,
that it is a commonly expressed opinion that his music has to do more
with the intellect than with imagination and feeling. The truth is, that
no modern composer has expressed deeper and more fervent feelings,
either jubilant or sad, than Brahms. His great intellect only guides the
wealth of emotion in order to find a well balanced, wholly original and
artistic construction for the creatures of his rich imagination. And he
is an eminently modern composer; with all his so-called conservative
tendencies there is hardly a page in his works which could have been
written at an earlier stage of musical art. Familiar with all the
subtleties of modern expression and innovations of harmony, rhythm, and
instrumentation, he has himself introduced many new and bold features.
To speak in detail of the one hundred and fifteen published works of
Brahms would require a space far beyond the limits of this sketch. Thus
only a summary classification is possible. Looking first at the
instrumental compositions, one cannot praise Brahms too highly, that in
opposition to prevailing tendencies towards a neglect of cyclic forms in
favor of free, rhapsodic or programmatic fantasias, he has cultivated
the former with supreme devotion, enriching and modifying them in many
ways, but so that they still appear as worthy representatives of their
types.
The three pianoforte sonatas and the Scherzo Op. 4 reveal the cardinal
features of his later chamber and orchestral works: a most excellent
thematic material, consisting often of but a few notes, awakening
highest expectations; a rich, ingenious development, always coherent and
logical; a Beethovenish virility; distinct contrasts and wonderful
climaxes in the lively opening and closing movements, usually beginning
directly with the principal subject, the working-out section being
especially interesting and elaborate, the coda often of rare charm; the
slow movements of delicate or intense, always noble feeling, in the form
of variations or a long cantilena; the scherzos on a large plan, in
three-four or six-eight time, very spirited, with a quieter trio
preceding the finale, except in No. 3, where a short intermezzo is
interpolated. Everywhere we note an ample and effective use of
syncopations, a peculiar style of accompaniments, bold modulations and
rhythmic devices, occasionally even some programmatic suggestions. Few
masters have shown such originality and maturity in their first works.
Of independent pianoforte variations there are sixteen on a touching
theme of Schumann, eleven on a beautiful original theme, thirteen on a
Hungarian theme (with a combination of three-four and four-four time),
twenty-five splendid variations on a short theme of Handel ending with a
great fugue, some very difficult variations on a theme of Paganini,
and—in a more romantic spirit—nine for four hands on that peculiar theme
which Schumann had received “from the spirits of Schubert and
Mendelssohn.” Some of these important works have a suggestive and
refined sentimental character, others are virtuoso pieces of the highest
order. As regards free conception of the variation form and variety of
construction and mood, Brahms goes decidedly farther than Beethoven or
Schumann. He seems inexhaustible in this form, which he used later most
ingeniously also in chamber and orchestra works. The four poetic ballads
Op. 10, the capriccios and intermezzos Op. 76 and two Rhapsodies Op. 79
are fine concert pieces of a freer but always coherent style, often very
difficult. More popular are the famous Hungarian dances (fascinating
settings of melodies, the authorship of which Brahms has never claimed),
which he has orchestrated and arranged for four hands. His waltzes Op.
39, also for four hands, are short character-pieces of a bright,
graceful or passionate spirit, in certain features recalling Schubert
and Schumann, yet so original that they have been much imitated by
younger composers. Several piano works for technical study (after Weber,
Chopin and Bach), and fine arrangements of most of his chamber works and
orchestra serenades and of a gavotte of Gluck may at least be mentioned.
The difficulties of his pianoforte style, so rich in polyphonic
figuration, harmonic and rhythmic combinations, syncopations, and wide
stretches, especially abound in the two seldom-played concertos. Yet,
without the highest appreciation and sympathetic devotion, the greatest
virtuosity would never be able to make their inner life clear.
Like a giant appears the early written D minor concerto. Quick
modulations, syncopations, chains of trills and a Beethovenish
importance of themes and development impress us mightily in the
passionate first movement, divine sweetness in the long adagio, while
the finale, with its fantasia-like cadenza, rises from a simple mood to
the acme of enthusiasm. The B flat concerto Op. 83 has even four
movements, the long and romantic opening allegro being followed by an
allegro appassionato of a superior scherzo character, the delightful
andante by a highly effective allegro grazioso as finale. In spite of
the elaborate development and the variety of contrasting moods, the
whole work retains a bright and inspiring character. In both concertos
the important and richly scored symphonic accompaniment only raises the
solo part to greater prominence.
A fugue and a choral prelude with fugue are Brahms’ only but significant
compositions for the organ.
The chamber works secure our master a place of honor beside the greatest
representatives of this high branch of composition; they comprise three
sonatas for violin and two for violoncello and pianoforte, five
pianoforte trios (one with horn and one with clarinet), three string
quartets, three pianoforte quartets, three string quintets (one with
clarinet), one pianoforte quintet and two string sextets. In the older
works one feels often the struggle of a great soul with strong passions,
longings, hopes and anxieties, joys and pains, yet not lacking in
sunshine and humor, while in the more recent compositions a quieter,
more contemplative spirit prevails. The classic arrangement of four
movements forms the rule, most of them being very elaborate and
extensive, rich in themes of importance and beauty, the working out and
coda showing Brahms’ genius in the finest light, the treatment of the
different instruments being throughout masterly. The complicated
development often prevents an immediate enjoyment, but increases our
desire for a closer acquaintance; for this counterpoint goes always hand
in hand with true feeling. In the opening movements the first part is
not always repeated, and other novel features are introduced; the slow
movements in the form of variations or of a long developed cantilena
often lift us into high and unwonted regions; the scherzos are so full
of genius that one wonders why Brahms has not used this form in his
symphonies. The finales are of the highest order, seldom reached by
other modern composers. In the works with horn and clarinets these much
neglected instruments have received a wonderful treatment in music of
great beauty. Unusual and complicated rhythms appear frequently, but
treated in a surprisingly easy way. The details are throughout deeply
interesting, yet often strange, even the most peaceful movements
requiring closest attention. If one of all these great works must be
distinguished as the greatest, we would name the pianoforte quintet in F
minor, Op. 34. Yet the very latest work, the clarinet quintet, shows the
same freshness and originality of invention, wonderful thematic
net-work, variety of distinctly expressed moods, and the finale
displaying an unsurpassed skill in variations.
The two orchestra serenades are real gems of spirited, delightful, well
constructed music, one being for complete orchestra, the other for
violas, ’celli, basses, reed instruments and horns. Besides the lively
first and last movements and adagios they contain each a scherzo and one
of them two minuets.
The theme for the nine orchestra variations Op. 56 is taken from one of
Haydn’s divertimenti for wind instruments. They crown Brahms’ glorious
achievements in the writing of variations; for, far from being “mere
algebraic experiments,” they are delightful and ingenious tone pictures
of distinct character and mood, with a nearer or more remote relation to
the principal theme. The composer has thus initiated a new field of
independent orchestral music, already successfully followed by others.
The instrumentation is prominently interesting. It is generally admitted
that Brahms is very conservative compared with Wagner and Berlioz in the
matter of instrumentation. At least he never allows orchestral colors to
divert our attention from the higher, inner meaning of a work. Yet in
this score and in all his other works for or with orchestra, there are
many features either of wonderful brilliancy or peculiar colors, which
as novelties are worth studying. The finale, built upon a much repeated
bass figure, successively joined by the different groups of the
orchestra with other themes, reaches a beautiful climax in the pompous
return of the original melody.
[Illustration: