Celebrating Google's 190th Birthday Commemoration of Brahms!
In the rich history of classical music, the figure of Brahms stands tall. His profound innovation and skill satisfied the desire for romantic music while adhering to the aesthetics of classical form. This article delves into Brahms' musical career and his three piano sonatas and rhapsodies, which reveal his unique musical language and compositional skills. Through an in-depth analysis of these works, we will gain a better understanding of this great composer!
Brahms' Biography
Johannes Brahms, a German composer and pianist, was born on May 7, 1833, and died on April 3, 1897. He is one of the representative figures of the 19th-century Romantic period in music, alongside Beethoven and Bach. He is frequently revered as one of the "Three Bs."
Brahms was born into a poor family of musicians, his father being a musician, and he had a deep love for music from a young age. His early compositions demonstrate the full utilization and honing of Brahms' musical talent. At the age of 16, he composed his first piano work, which garnered attention in the local music community.
In 1853, Brahms' life took a significant turn. He had the good fortune of befriending the musical giants of his time - Liszt, Schumann, and Joseph Joachim. Schumann particularly admired his talent and praised him highly in Neue Zeitschrift für Musik, making him the focus of the music world overnight.
Brahms' musical works cover many forms, including symphonies, chamber music, piano pieces, choral works, and songs, among others. His style preserves the rigorous structure of classical music, incorporates the expressive techniques of Romanticism, and is deeply influenced by Hungarian folk music. While his work has been criticized by some music critics, it has also won the praise of many audiences and music critics.
On April 3, 1897, Brahms died of liver cancer in Vienna at the age of 63. His musical works have had a profound impact on musicians of later generations and are still performed at concerts around the world.
About Neue Zeitschrift für Musik
Neue Zeitschrift für Musik is a music magazine founded by Robert Schumann in Leipzig in 1834. The primary purpose of Schumann creating this magazine was to promote new musical ideas and new musical talent, opposing the mainstream music thoughts and trends of the time.
Under Schumann's leadership, Neue Zeitschrift für Musik became a significant force in promoting 19th-century Romantic music. Through this platform, he recommended many composers who were not widely known at the time to the public, including Brahms.
Descriptions of Brahms
In 1853, Schumann wrote in "Neue Zeitschrift für Musik" (New Music Magazine): "If someone asks me about the prospects of the new era, I will answer that our expectations are centered on Brahms; if he continues to progress, I anticipate he will achieve the greatest heights. The emergence of a genius like him is always a miracle."
In the "Neue Bahnen" (New Pathways) article of the same magazine, Schumann further praised Brahms' talent, directly comparing the 20-year-old Brahms to Athena, the goddess of wisdom born from Zeus's head.
After Schumann's Death
However, Schumann's mental state severely deteriorated in 1854, and he was forced to resign from his editorship of the magazine. Subsequently, Clara Schumann, Schumann's wife, sold "Neue Zeitschrift für Musik" after his death. Though a talented musician and music educator, Clara was not an outstanding editor or publisher. Thus, the sale of the magazine was likely a practical decision in response to her challenging financial situation.
Don't know about the war between the New German School and Brahms? You're welcome to read:New German School vs. Brahms: A Discourse on Traditional and Innovative Music Aesthetics
The magazine was eventually sold to Albert Brendel after Schumann's death. Brendel was a music critic and a key advocate of the New German School. Under Brendel's stewardship, the magazine indeed started to support more heavily the ideas and composers of the New German School, a notable shift from Schumann's editorial policy. Nevertheless, despite this change in direction, the magazine maintained its crucial role as a platform for promoting new music and talent.
Introducing the Works
Brahms – Piano Sonata No. 1, Op. 1
Brahms' Piano Sonata No. 1, Op. 1, his first officially published work, marked a significant milestone in his early career.
It was composed in C Major, but most of it (apart from the slow movement) was written after the F minor Sonata Op. 2 and the Scherzo in E minor, Op. 4. The Op. 1 holds an important place in Brahms' early career as he used it to introduce himself to Joachim, Liszt, and the Schumanns. In 1853, when Brahms was only 20 years old, he chose this work as his first to be published by the prestigious publisher Breitkopf and Härtel.
This sonata is characterized by a grand four-movement structure, similar to Beethoven's early sonatas (Op. 2 and Op. 7). The conceptual contrast between Brahms' Op. 1 and Liszt's Sonata in B minor was highlighted during a meeting between the two composers, where Brahms played his Op. 1, and Liszt responded with his Sonata in B minor. Interestingly, there are reports that Brahms fell asleep during Liszt's performance, although this could be an exaggerated portrayal.
Just like Mendelssohn's Sonata Op. 106, the opening motive of Brahms' Sonata Op. 1 shares a striking similarity with Beethoven's Sonata Op. 106, also known as the "Hammerklavier Sonata". There is evidence that Brahms was aware of this similarity, as he heard his close friend, the pianist Franz Wullner, perform the "Hammerklavier Sonata" in Hamburg around the time he was composing his Op. 1.
This suggests that Brahms was deeply influenced by Beethoven when he composed his Sonata Op. 1. His music inherited the rigor and balance of Classicism, while also infusing the passion and innovation of Romanticism. This work not only displays his talent as a composer but also reflects his profound respect and understanding of musical tradition.
These works are divided into several movements:
- The first movement: Allegro – C minor. This movement is in the typical sonata form, with a radical and passionate emotional style.
- The second movement: Andante – E major. This is a poetic movement with a beautiful melody and a tranquil atmosphere.
- The third movement: Scherzo – Allegro molto e con fuoco – C minor. This is a lively movement, full of vitality and rhythm.
- The fourth movement: Finale – Allegro con fuoco – C minor. This movement is the climax of the entire sonata, ending with its majestic momentum and passionate emotional style.
Brahms – Piano Sonata No. 2, Op. 2
Brahms' second piano sonata (Op. 2) was completed in 1852, earlier than his first piano sonata (Op. 1). However, Brahms chose to make Op. 2 his second published work, probably because he felt this piece was more mature in its creation. This sonata was dedicated to Clara Schumann, the wife of Brahms' friend and mentor Robert Schumann and also an accomplished pianist.
Brahms' second piano sonata is a standard four-movement work:
- The first movement is a passionate sonata form composed of two main themes, demonstrating Brahms' musical language and mastery of harmonic structure.
- The second movement is a beautiful lyrical section, showing Brahms' deep understanding of song form and his lyrical creativity.
- The third movement is a lively scherzo with an added trio section, adding different colors and atmosphere to the work.
- The fourth movement ends in a splendid sonata form, showing Brahms' precise control over large forms and his strong dramatic instinct.
Brahms' Op. 2 is the shortest and most disjointed of his three piano sonatas. The opening material sounds like it should serve as an introduction, but is structurally used as the first theme. This work attempts to leave an early impression through strong octaves and long periods of dominant ninths in ornamental sections. This improvisatory writing style reappears in the final movement, both at the beginning and the end, wrapping the entire sonata allegro structure within them. The second movement also uses ornamental gestures to introduce the third and final variation of the folk theme, and as a bridge to the scherzo.
Brahms added some long, improvisatory sections, achieving a degree of unity by constructing related thematic material throughout the work. Some critics even believe this work is built on a single thematic idea, and in the four movements of the work, this theme appears in various forms, which can be seen as Brahms' application of thematic transformation, a technique prevalent in the music of Liszt and others at the time. However, despite the many brilliant moments in Op. 2, many people still find it the hardest to understand and least performed of Brahms' three piano sonatas.
Brahms – Piano Sonata No. 3, Op. 5
Brahms' third Piano Sonata, Op. 5, was completed around his 20th year (the same period when all three sonatas were completed). It is considered his last sonata composed for the piano and is viewed as one of his most profound and mature works. This five-movement piece marks the conclusion of Brahms' early works, showcasing his vast musical talent and forward-thinking musical vision.
Here's a further breakdown of Op. 5:
- First Movement (Allegro maestoso): This movement begins in C minor, with a powerful and grandiose melody demonstrating Brahms' refined command over musical forms and his deep understanding of harmony. The transformation and development of the theme on the piano exhibit the uniqueness of Brahms' musical language. The lyrical second theme appears in A-flat during the exposition, raised to D-flat in the development section, and extended into a rich melody played by the left hand in the cello range.
- Second Movement (Andante espressivo): The opening of the second movement portrays an evening scene of moonlight and lovers' reunion. This mood gently permeates the entire movement until the coda, a lengthy segment where Brahms surprisingly borrows a cello-like melody from the first movement's development section, constructing a highly emotionally charged climax. A lyrical movement, the theme melody is deeply emotional and touching. Brahms' delicate portrayal of inner feelings here creates a stark contrast between the emotional depth of the movement and its slow tempo.
- Third Movement (Scherzo: Allegro energico): This movement exhibits a strong rhythmic sense, striking contrasts, and powerful beats, highlighting the vitality and energy of the piece. Structured like the scherzo found in other sonatas, its driving force is apparent, with a texture of octave notes and big chords displayed in the outer sections and a more sustained, lyrical trio.
- Fourth Movement (Intermezzo: Andante molto): Prior to the final movement, a brief, impromptu Intermezzo titled "Rückblick" (Retrospect) is added, increasing the total number of movements to five – quite unusual in sonatas. The Intermezzo is based on the opening theme of the second movement, further enhancing the cyclical nature of the work. This movement is gentler, offering a quiet reflection on the previous three movements. It has a dreamlike texture and richness of melody, bringing depth and complexity to the work.
- Fifth Movement (Finale: Allegro moderato ma rubato): The final movement returns to C minor with passionate melodies and intense rhythms, but eventually shifts to C major, symbolizing hope and victory. This movement seemingly troubled Brahms greatly, causing him to delay completion of the work by two months (until the end of 1853), at which point he wrote to the publisher B. Senff, stating that the work was ready for publication. This movement remains the most enigmatic structurally, starting like an expected rondo, but after the second section's theme appears, Brahms becomes infatuated with it, persistently using it and continuing to do so even when the opening theme returns, right up to the end of the movement. A crucial theme appears in the later part of the final movement, which is also seen in Brahms' First Symphony Op. 68.
Among the works of Johannes Brahms, his Sonata Op. 5 is undoubtedly the most beloved. Though composed merely months apart from his other two keyboard sonatas, this piece is generally considered to be more meticulously structured, brimming with bold and dramatic effects characteristic of the Romantic style, as opposed to its preceding sonatas which can often pose discomfort to pianists. Like its two sister pieces, it begins with a dazzling opening, with the initial theme becoming the core of the entire movement. Interestingly, Brahms retained the repetition of the theme in Op. 1 and Op. 5, his two later sonatas, only abandoning this technique in his earliest work, Op. 2.
Brahms – Rhapsody Op. 79 No. 1
Brahms' two Rhapsodies, Op. 79, completed and published in 1879, are both dedicated to his friend, pianist and musicologist Elisabeth von Herzogenberg. Each rhapsody is imbued with intense emotional tension and demands challenging piano skills, making them favorites among pianists and audiences alike.
The first Rhapsody (Op. 79, No. 1) is in B minor and marked "Agitato, but not too fast". Here, Brahms employs the ternary form, a structure he excelled in, to convey profound and powerful emotions through various aspects of the music.
The opening of the piece features a captivating theme played in the lower register of the piano, accompanied by a rhythmic figure. In the middle section, the music turns more introspective, dominated by a singing melody that builds up to a climax with a broader dynamic range. Finally, the music returns to the opening theme, finishing the piece with intense and fervent sounds.
Both Op. 79 Rhapsodies begin with forceful, heavily accentuated sounds; they both provide softer, melancholic motives as contrasting second thematic material; and they both contain climactic flashes. These pieces are undoubtedly among Brahms' most popular keyboard works.
Liszt – Hungarian Rhapsody No. 2
On the other hand, Brahms' Rhapsodies and Liszt's "Hungarian Rhapsody No. 2", despite both being referred to as "rhapsodies", differ significantly in style, structure, and expressive technique. This is primarily due to the distinct compositional styles and understanding of musical structure between the two composers.
Liszt's "Hungarian Rhapsody No. 2" is one of his most famous works and a representative piece in his series of Hungarian Rhapsodies. The piece mainly consists of two parts: a slower introduction followed by a fast and brilliant section. Known for its showy and virtuosic piano technique, this piece by Liszt includes fast keyboard runs and dramatically intense sections.
In contrast, Brahms' rhapsodic style differs greatly from that of Liszt. Brahms' Rhapsodies are typically characterized by deep emotions and refined structures. His works are usually more introspective and cautious than those of Liszt.
The compositional backgrounds and styles of both composers have shaped their rhapsodic works. Liszt was a titan and innovator of piano playing in the 19th century, and his works often showcase flamboyant techniques and a dramatic style. Brahms, on the other hand, represented the late Romantic period, with his works often being thoughtful, formally structured, and emotionally profound.
Conclusion
Brahms' career and his compositions showcase his unparalleled musical talent. His sonatas and rhapsodies not only display his skills and innovations as a composer but also his profound understanding and respect for musical form. Brahms' music reminds us that true artistic creation requires both profound skill and a spirit of passion and innovation. Interested in delving deeper into Brahms' musical world and exploring the charm of his variations, intermezzos, and character pieces? Head over to our next article!Brahms' Musical Mastery - The Artistic Depth of Variations and Piano Miniatures
