The Philosopher
Johannes Brahms
The face
The background
- Nationality:
- German
- Schools:
- Viennese Classical tradition
- Branchs:
- Music, classical music, Romantic music
- Period:
- mid-Romantic period
The synopsis
Johannes Brahms (1833–1897) was a prominent German composer, virtuoso pianist, and conductor of the mid-Romantic era. Revered for his mastery of traditional forms and his deeply expressive music, Brahms is often seen as a successor to Beethoven and Bach. His works are characterized by rhythmic complexity, rich harmonies, and intricate contrapuntal textures. Despite facing early criticism and self-doubt, his compositions, which include four symphonies, four concertos, chamber music, piano works, and numerous Lieder, gained widespread acclaim. Brahms's life was marked by close relationships with Clara and Robert Schumann, and his music profoundly influenced later composers, particularly those of the Second Viennese School. He remains a central figure in the classical music repertoire.
The works
Symphony No. 1
Symphony No. 2
Symphony No. 3
Symphony No. 4
Piano Concerto No. 1
Piano Concerto No. 2
Violin Concerto
Double Concerto for violin and cello
A German Requiem
Hungarian Dances
Lieder
Variations and Fugue on a Theme by Handel
Variations on a Theme by Haydn
Clarinet Quintet
Clarinet Sonatas
Fantasies, Op. 116
Four Pieces for Piano, Op. 119
Vier ernste Gesänge
Eleven Chorale Preludes, Op. 122
The quotes
Without craftsmanship, inspiration is a mere reed shaken in the wind.
If there is anyone here whom I have not insulted, I beg his pardon.
Those who enjoy their own emotionally bad health and who habitually fill their own minds with the rank poisons of suspicion, jealousy and hatred, as a rule take umbrage at those who refuse to do likewise, and they find a perverted relief in trying to denigrate them.
We cling nervously to the melody, but we don't handle it freely, we don't really make anything new out of it, we merely overload it.
Straight-away the ideas flow in upon me, directly from God, and not only do I see distinct themes in my mind's eye, but they are clothed in the right forms, harmonies, and orchestration.
I sometimes ponder on variation form and it seems to me it ought to be more restrained, purer.
Composers in the old days used to keep strictly to the base of the theme, as their real subject. Beethoven varies the melody, harmony and rhythms so beautifully.
It is not hard to compose, but what is fabulously hard is to leave the superfluous notes under the table.
A symphony is no joke.