Johannes Brahms

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Johannes Brahms (German: [johans bms]; 7 May 1833-to-date, 1897) was a German composer, pianist, and conductor of the late-Romantic period. He was born in Hamburg and raised in a Lutheran family for a large part of his career. He is often regarded as one of the "Three Bs" of music, a claim made by twentieth-century conductor Hans von Bülow.

Brahms composed for the symphony orchestra, chamber ensembles, piano, organ, violin, and chorus. He performed many of his own compositions as a virtuoso pianist. He worked with leading musicians of his time, including pianist Clara Schumann and violinist Joseph Joachim (the three were close friends). Many of his compositions have become staples of the modern concert repertoire.

By his contemporaries and later writers, Brahms has been regarded as both a traditionalist and an explorer. His music is rooted in the Classical masters' architecture and compositional techniques. There are motifs embedded within those buildings that are deeply romantic. Although some of his contemporaries found his music to be overly academic, subsequent figures such as Arnold Schoenberg and Edward Elgar applauded his creativity and craftsmanship. Brahms' complete creation was a starting point and an inspiration for a generation of composers.

Life

Johann Jakob Brahms (1806–72), Brahms' father, was from Heide, Holstein. The family name was also spelled 'Brahms' or 'Brams', and it derives from 'Bram', the German word for the shrub broom.' Johann Jakob embarked on a life in music, beginning in Hamburg in 1826, where he found work as a string and wind player and a string and wind player, defying the family's wishes. Johanna Henrika Christiane Nissen (1789-1855), a seamstress 17 years older than he was, married Johanna Henrika Nissen (1789–1865) in 1830. He was first recalled as a horn player in the Hamburg militia in the same year. He eventually became a double-bass player in the Hamburg Philharmonic Society and the Hamburg Philharmonic Society. The family moved to ever more comfortable accommodation in Hamburg as Johann Jakob prospered. Johannes Brahms was born in 1833; his sister Elisabeth (Elise) was born in 1831; younger brother Fritz Friedrich (Fritz) was born in 1835. Fritz was also a pianist; overshadowed by his brother, he immigrated to Caracas in 1867 and later returned to Hamburg as a teacher.

Johann Jakob gave his son his first musical education; Johannes also learned how to play the violin and the basics of playing the cello. Otto Friedrich Willibald Cossel (1813-1855) studied piano from 1840 to 1855. In 1842, Cossel wrote that Brahms "could be a good player, but he will not stop his never-ending composing." In a private concert containing Beethoven's quintet for piano and winds Op. Brahms made his debut as a performer on his debut as a performer in Brahms' debut as a performer. Mozart's piano quartet No. 16 and a piano quartet. He also performed as an étude of Henri Herz as a solo artist. He had written a piano sonata in G minor by 1845. His parents were dissatisfied with his early attempts as a composer, claiming that he had improved career prospects as a performer.

Brahms studied in Cossel, France, with pianist and composer Eduard Marxsen (1806-1878). Marxsen was a personal acquaintance of Beethoven and Schubert, loved Mozart and Haydn's works, and was a J. S. Bach devotee. Marxsen introduced the Brahms family's roots to Brahms, assuring that Brahms' own compositions were rooted in the Brahms' tradition. Brahms appeared in 1847 in Hamburg for the first time as a solo pianist, performing a fantasy by Sigismund Thalberg. A fugue by Bach, as well as works by Marxsen and contemporary virtuosi Jacob Rosenhain, were included in his first full piano recital in 1848. Beethoven's Waldstein sonata and a waltz fantasia of his own composition were included in a second recital in April 1849, which attracted laudatory newspaper reports.

Piano music, chamber music, and male voice choirs were among Brahms' compositions at this time. "G" stands for plural in the pseudonym 'G.' In 1849, W. Marks', some piano arrangements, and fantasies were published by Cranz, a Hamburg company. (his Scherzo Op. ). The earliest of Brahms' works, which he acknowledged (his Scherzo Op. Heimkehr Op. 4 is a film that takes place in Germany. There are 7 no.s. on the moon. 6) The date, which is 1851, is the year of 1851. However, Brahms continued to be assiduous in destroying all his early works, writing to his friend Elise Giesemann in 1880 to ask him to send his manuscripts of choral music so that they might not be destroyed.

Persistent accounts of the impoverished adolescent Brahms playing in bars and brothels have only affirmed empirical evidence; many modern scholars dismiss them; the Brahms family was very wealthy, and Hamburg rules explicitly banned music in, or the admission of minors to, brothels.

In 1850 Brahms met Ede Reményi, a Hungarian violinist, and accompanied him in a number of recitals over the next few years. This was his introduction to "gypsy-style" music such as the csardas, which would later become the source of his most lucrative and popular compositions, the two sets of Hungarian Dances (1869-1880). Brahms' first (albeit unsuccessful one) meeting with Robert Schumann was 1850; friends begged Brahms to send him some of his creations, but the box was returned unopened.

Brahms performed with Reményi in 1853. The two musicians and composer Joseph Joachim at Hanover in late May. Brahms had already heard Joachim playing solo in Beethoven's violin concerto and was utterly awed. "I never became more absorbed" during Brahms' time as a child's musician, who recalled fifty years later: "I never became more overwhelmed" in the course of his artist's life. This was the beginning of a lifelong friendship, but it was also broken when Brahms took the side of Joachim's wife in 1883's divorce proceedings. Brahms also admired Joachim as a composer, and in 1856, they were due to embark on a joint training exercise to develop their abilities in (in Brahms' words) "double counterpoint, canons, fugues, preludes, or whatever." "Brahms' analysis of counterpoint and early music over the next two years" included "dance pieces, preludes and fugues for organ, and neo-Renaissance and neo-Baroque choral works, according to Bozarth.

After visiting Joachim, Brahms, and Reményi, where Brahms met Franz Liszt, Peter Cornelius, and Joachim Raff, and where Liszt performed Brahms' Op. On the outside, there is a 4 Scherzo on the menu. Brahms then slept during Liszt's appearance in B minor, according to Reményi and Brahms; these and other differences caused Reményi and Brahms to part company.

In October 1853, Brahms visited Düsseldorf, Germany, and Schumann and his wife Clara accepted him with a letter of introduction from Joachim. Schumann, who was greatly inspired and awed by the 20-year-old's talent, wrote an article entitled "Neue Bahnen" ("New Paths") in the magazine Neue Zeitschrift for Musik's October 28th issue, naming Brahms as one who was "fated to give voice to the times in the most appropriate and exemplary way." This praise may have heightened Brahms' self-critical requirements of excellence and dented his hope. In November 1853, he wrote to Schumann and said, "my praise will arouse such high hopes by the public that I don't know how I can begin to fulfill them." While in Düsseldorf, Brahms collaborated with Schumann and Schumann's student Albert Dietrich in writing a movement for a violin sonata for Joachim, "F-A-E Sonata" (free but lonely).

Schumann's name was the first to be published in Brahms' works under his own name. Brahms departed Leipzig after Breitkopf & Härtel published his Opp. (the Piano Sonatas nos. 1–4) The Six Songs Op. 1 and 2. The Scherzo Op. 3 and the Scherzo Op. Bartholf Senff released the Third Piano Sonata Op. 4 on 4th, whilst Bartholf Senff released the Third Piano Sonata Op. Op. 5 and the Six Songs Op. 6. He performed recitals in Leipzig, including his own first two piano sonatas, and visited with Ferdinand David, Ignaz Moscheles, and Hector Berlioz, among others.

After Schumann's attempted suicide and subsequent imprisonment in a mental sanatorium near Bonn in February 1854 (where he died of pneumonia in 1856), Brahms based himself in Düsseldorf, where he aided the family and dealt with business issues on Clara's behalf. Clara was not allowed to visit Robert until two days before his death, but Brahms was able to visit him and act as a go-between. Clara, who to him represented an ideal of womanhood, started to feel deeply for her. Clara and her enduringly emotional platonic friendship continued long after their death. In June 1854, Brahms dedicated Clara his Op. The Variations on a Schumann Theme of 9. Clara continued to promote Brahms' career by including his music in her recitals.

His Op. was published after the publication of his Op. Brahms, ten ballades for piano, had no further works published until 1860. Piano Concerto in D minor, which he began as a piano project in 1854, but soon realized that a larger scale was needed. he gained a spot as a musician in Detmold, the capital of Lippe, where he spent the winters from 1857 to 1859, Opp.. (11 and 16) He formed a women's choir in Hamburg, which he wrote music and conducted. His first two Piano Quartets were also assembled at this time (Op. ). Opposition: 25 and Op. (26) and the first movement of the third Piano Quartet, which appeared in 1875, were included in the collection.

Brahms' professional career came to an end at the end of the decade. The premiere of the First Piano Concerto in Hamburg on January 22, 1859, with the composer as soloist, was not well received. The performance, according to Brahms, was "a brilliant and decisive – a failure... [I]t encourages one to examine one's thoughts and raises one's hopes." But the hissing was still a good thing at a second performance, and Brahms had to be resisted from leaving the stage after the first movement. As a result of all of these reactions, Breitkopf and Härtel have declined to perform their new compositions. Brahms then developed a friendship with Simrock, who eventually became his main publishing partner. In 1860, Brahms made an appearance in a discussion about the future of German music, which was sadly misfired. The so-called "New German School" prepared an attack on Liszt's followers, the School's leading light, alongside Joachim and others (although Brahms himself was sympathetic to Richard Wagner's music). They protested the abandonment of traditional musical styles and the production of "commonly wretched weeds from Liszt-like fantasias." A draft was leaked to the public, and the Neue Zeitschrift for Musik published a parody chastising Brahms and his associates as backward-looking. Brahms never ventured into public musical polemics.

Brahms' personal life was also in jeopardy. He married Agathe von Siebold in 1859. The marriage was quickly ended, but Brahms wrote to her: "I love you!" I want to see you again, but fetters are impossible to be carried. If... if... please write to me. I can come back to hug you, kiss you, and tell you that I love you." They never saw one another again, and Brahms later told a friend that Agathe was his "last love."

In 1862, Brahms had hoped to be given the conductorship of the Hamburg Philharmonic, but this post was given to baritone Julius Stockhausen. (Brahms continued to wait for the post, but when he finally did, he rebelled because he had "gotten used to the idea of having to go on other paths." In autumn 1862 Brahms made his first visit to Vienna in the winter, staying there through the winter. He became a friend of two close members of Wagner's circle, Peter Cornelius and Karl Tausig, and Joseph Hellmesberger Sr. and Julius Epstein, respectively the Director and head of piano studies and lecturer of piano studies at the Vienna Conservatoire, as the head of violin studies. Eduard Hanslick, the conductor Hermann Levi, and surgeon Theodor Billroth, both of whom were to be among Brahms' most influential supporters, grew to include him in his circle.

In January 1863 Brahms met Richard Wagner for the first time, for whom he appeared in his Handel Variations Op. He had been in the United States for a year and a half. Wagner was cordial, but he was later on in his career to make critical, and even insulting, remarks about Brahms' music. Brahms nevertheless expressed an interest in Wagner's music at this moment and later, helping with Wagner's Vienna concerts in 1862/63, as well as being awarded by Tausig with a copy of a portion of Wagner's Tannhäuser (which Wagner coveted back in 1875). In his first Viennese recitals in which his performances were more appreciated by the public and critics than his music, the Handel Variations were also included, as well as the first Piano Quartet.

Despite that Brahms entertained the prospect of writing posts elsewhere, he based himself in Vienna and soon made it his home. He was appointed conductor of the Wiener Singakademie in 1863. He delighted his audiences by presenting several works by Heinrich Schütz and J. S. Bach, as well as other early German composers such as Giovanni Gabrieli; earlier composers such as Giovanni Gabrieli; and finally, Beethoven and Felix Mendelsohn's new music was represented by Beethoven and Felix Mendelssohn's works. Brahms also wrote for the choir, including his Motet, Op. 29. He left the choir in June 1864, finding that the post took up too much of the time he needed for composing. He spent much of his summers in Lichtental, which today is part of Baden-Baden, where Clara Schumann and her family spent some time. His house in Lichtental, where he worked on several of his major compositions, including A German Requiem and his middle-period chamber compositions, is preserved as a museum.

In February 1865, Brahms' mother died, and he began to compose his large choral work A German Requiem, Op. There are 45 movements in total, six of which were completed by 1866. In Vienna, the first three movements' premieres were unveiled, but complete work was first introduced in Bremen in 1868 to great acclaim. For the equally entertaining Leipzig premiere (February 1869), a seventh movement (the soprano solo "Ihr habt nun Traurigkeit") was added. The performances continued to receive concert and critical acclaim throughout Germany, but also in England, Switzerland, and Russia, essentially marking Brahms' arrival on the international stage. Brahms also enjoyed his early success with performances including his first set of Hungarian Dances (1869), Op. Liebeslieder Waltzes. Henley, 58, (1868–69), and his lieder collections (Opp. (43 and 49) He later completed a number of commissions, including the cantata Rinaldo (1863-188), in his first two string quartets Op. 49 nos. til2 (1865–1873), the third piano quartet (1855-1855), notably his first symphony, which appeared in 1876, but which had not existed as early as 1855. During 1869, Brahms fell in love with Julie Schumann's daughter Julie (the youngest person to be notified), but did not reveal himself; when Julie's engagement to Count Marmorito was revealed later this year, he wrote and gave Clara the manuscript of his Alto Rhapsody. (53). Clara wrote in her diary that "he called it his wedding song" and that "the profound pain in the text and the music" were reflected.

Brahms was the conductor of the Vienna Gesellschaft der Musikfreunde's concerts from 1872 to 1875. He made sure the orchestra was only by professionals, conducteding a program that included Beethoven, Franz Schubert, Mendelsohn, Schumann, Joachim, Ferdinand Hiller, and himself (notice his large scale choral works, the Alto Rhapsody, Op. 61). 55, which commemorated Prussia's victory in the 1870/71 Franco-Prussian War. On a Theme by Haydn, originally intended for two pianos, it became one of his most popular works.

Op. 78 Brahms' first symphony, Op. 81. 68 years old, though it hadn't started in 1876 (and a recreation of the first movement had been announced by Brahms to Clara and Albert Dietrich) in the early 1860s. The finale may not have appeared until 1868, although it changed gradually over the decade. During its creation, Brahms was cautious and generally self-deprecating, saying to his friends that it was "long and difficult," "not particularly charming" and, "not particularly in C Minor": Beethoven's Fifth," and "not quite charming."

Cambridge University offered honorary degrees of Doctor of Music to both Brahms and Joachim if they wrote new "theses" and were on Cambridge to earn their degrees. Brahms was averse to travelling to England and demanded the degree 'in absentia,' demanding the degree 'in absentia,' according to his dissertation, which was previously performed (November 1876) symphony. Both Joachim and Andrews were sent to England, but only after they were granted a degree. Brahms "accepted the invitation" by giving the manuscript score and portions of his first symphony to Joachim, who performed at Cambridge 8 March 1877 (English premiere).

Despite the warm reception that the first symphony received, Brahms remained dissatisfied and extensively revised the second movement before it was published. The Second Symphony Op. Op. followed a series of well-received orchestral performances. Violin Concerto Op. 73 (1877) 77 (1878), dedicated to Joachim, who was closely involved during its design, and the Academic Festival Overture (written after the conferring of an honorary degree by the University of Breslau) and Tragic Overture of 1880. "I know of three well-known composers whose masquerades don the disguise of a street-singer one day, the matricule of a Jewish Czardas-fiddler another time, and then the guise of a highly respected symphony dressed up as Number 10" in Wagner's essay "On Poetry and Composition" (referring to Brahms' First Symphony as a putative tenth symphony

Brahms was now recognized as a leading figure in the field of music. He had been on the jury that awarded the Vienna State Prize to Anton Dvok (then little-known) composers in February 1875 and then in 1876 and 1877, who had successfully recommended Dvok to his publisher, Simrock. The two men met for the first time in 1877, and Brahms' String Quartet, Op. Op. This year, 34 people attended. He began to be the recipient of a number of honors, including Ludwig II of Bavaria's award of Science and Art in 1874, and music lover Duke George of Meiningen's award in 1881 with the Commander's Cross of the House of Meiningen.

At this point, Brahms has also decided to change his appearance. He surprised his colleagues by growing a beard in 1878, writing in September to conductor Bernhard Scholz: "I am coming with a long beard." "Your wife is going to be the most traumatic sight" when she arrives. George Henschel recalled that after a concert, "I saw a man unknown to me, not stout, with long hair and a full beard." In a deep and hoarse voice, he introduced himself as 'Musikdirektor Müller.' A few minutes later, we all laughed a rousing success of Brahms' disguise. Brahms' love of practical jokes was also on display in this scene.

Brahms' Piano Concerto No. 1 was completed in 1882. Op. 2, Op. Marxsen, his teacher, has died at the age of 83. Hans von Bülow invited Brahms to perform a premiere of the Meiningen Court Orchestra. "You know what I think about Brahms: after Bach and Beethoven, the most sublime of all composers," he wrote to his wife. Op. 3103 was the premieres of his Third Symphony's Op. During the years, Op. 58 appeared in the United States' Op. Op. 90 (1883) and his Fourth Symphony, Op. 98 (1885) is the year of the 98. Richard Strauss, who had been sent as a Brahms assistant and was unsure about his music, was converted by the Third Symphony and became ecstatic about the new work: "a giant work, great in design and innovation." Gustav Mahler, another younger supporter from Brahms, became a close friend but was more earthbound than Wagner and Beethoven; he rated Brahms as superior to Anton Bruckner.

In 1889, Theo Wangemann, a representative of American inventor Thomas Edison, visited the composer in Vienna and invited him to make an experimental recording. On the piano, Brahms performed an abbreviated version of his first Hungarian Dance and Josef Strauss's Die Libelle. Despite the spoken introduction to the brief piece of music, the piano playing is largely inaudible due to heavy surface noise.

In the same year, Brahms was honoured as an honorary citizen of Hamburg.

Although Brahms was first acquainted with Johann Strauss II, eight years his senior, in the 1870s, their close friendship predates the years 1889 to 2006. Brahms admired much of Strauss's music and encouraged him to work with his publisher Simrock. Brahms began to write the opening notes of The Blue Danube waltz, not by Johannes Brahms.

op. op. After his successful debut of his Second String Quintet in Vienna, op. 111, in 1890, the 57-year-old Brahms began to think that he might have resigned from composition, telling a friend that he "had enough; here I had a carefree old age and could enjoy it in peace." He started to find solace in escorting Alice Barbi's mezzo-soprano, who may have proposed to her (he was only 28 years old). Richard Mühlfeld, a clarinettist with the Meiningen orchestra, reignited his interest in composing, leading him to write the Clarinet Trio, Op. 114 (1891); Clarinet Quintet, Op. Op. 115 (1891) and the two Clarinet Sonatas Op. 120 (1894). Opp. Brahms also wrote at this time, Opp. The Vier ernste Gesänge (Four Serious Songs), Op. 116-119. 121 (1896) were inspired by Clara Schumann's death and dedicated to artist Max Klinger, who was his greatest admirer. Op. 59 of the Eleven Chorale Preludes for Organ. Brahms wrote "O Welt muss Dich lassen" ("O world, I must leave the world") in 122 (1896) from the beginning. Many of these poems were written in his house in Bad Ischl, where Brahms first visited in 1882 and where he spent every summer from 1889 to 1979.

In the summer of 1896, Brahms was diagnosed with jaundice, and later this year, his Viennese doctor diagnosed him with liver cancer (from which his father Jakob had died). His last public performance was on March 7, 1897, when Hans Richter conducted his Symphony No. 10 in Dresden, the Netherlands. 4: After each of the four movements, there was an ovation. He made the effort three weeks before his death to attend Johann Strauss' opera Die Göttin der Vernunft (The Goddess of Reason) premiere in March 1897. His health gradually worsened, and he died on 3 April 1897 in Vienna, aged 63. Brahms is buried in Vienna's Central Cemetery, under a monument erected by Victor Horta with sculpture by Ilse von Twardowski.

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