Brahms,Johannes

(bHamburg,7May1833dVienna,3April1897).Germancomposer.Thesuccessor
toBeethovenandSchubertinthelargerformsofchamberandorchestralmusic,to
SchubertandSchumannintheminiatureformsofpianopiecesandsongs,andtothe
RenaissanceandBaroquepolyphonistsinchoralmusic,Brahmscreatively
synthesizedthepracticesofthreecenturieswithfolkanddanceidiomsandwiththe
languageofmidandlate19thcenturyartmusic.Hisworksofcontrolledpassion,
deemedreactionaryandepigonalbysome,progressivebyothers,becamewell
acceptedinhislifetime.
1.Formativeyears.
2.Newpaths.
3.Firstmaturity.
4.Atthesummit.
5.Finalyearsandlegacy.
6.Influenceandreception.
7.Pianoandorganmusic.
8.Chambermusic.
9.Orchestralworksandconcertos.
10.Choralworks.
11.Liederandsolovocalensembles.
WORKS
BIBLIOGRAPHY
GEORGES.BOZARTH(15,1011,worklist,bibliography),WALTERFRISCH(6
9,10,worklist,bibliography)
Brahms,Johannes
1.Formativeyears.
BrahmswasthesecondchildandfirstsonofJohannaHenrikaChristianeNissen
(17891865)andJohannJakobBrahms(180672).Hismother,anintelligentand
thriftywomansimplyeducated,wasaskilledseamstressdescendedfroma
respectablebourgeoisfamily.Hisfathercamefromyeomanandartisanstockthat
originatedinlowerSaxonyandresidedinHolsteinfromthemid18thcentury.A
resourcefulmusicianofmodesttalent,JohannJakoblearnttoplayseveral
instruments,includingtheflute,horn,violinanddoublebass,andin1826movedto
thefreeHanseaticportofHamburg,whereheearnedhislivingplayingindancehalls
andtaverns.In1830,asaconditionforgainingcitizenship(Kleinbrger),hejoined
thelocalmilitiaasahornplayerhealsobecameamemberofasextetatthe
fashionableAlsterPavilion.Laterheplayedthedoublebassandoccasionallythe
fluteintheHamburgPhilharmonie,obtainingaregularpositionasabassplayerin
1864throughtheinfluenceofhisson.
Brahms'sparentsweremarriedin1830.Hiseldersister,Elise(183192),
experiencedpoorhealththroughoutherlifeandwassupportedgenerouslyby
Brahms,evenafterhermarriagein1871.Theyoungestchild,Fritz(183586),
becameamusicianafterattemptingacareerasaconcertpianistandlivingin
Venezuela,hesettledinHamburgasamusicteacher.AlthoughBrahmswasnot
bornintoabjectpoverty,circumstanceswereprecarious,becauseofJohannJakob's
inabilitytohandlethefamily'shardearnedincomesensibly.Thefamilymoved

frequently,buttheirlivingquarters,thoughcrampedandofferinglittleprivacy,were
alwaysinrespectableworkingclassneighbourhoods.Tensionovermoney,
exacerbatedbythegreatdifferenceintheparents'ages,ledBrahms'sfathertoleave
hiselderlywifein1864.
Despitepersonaldifficulties,bothparentsweredevotedtotheirchildren,afeeling
reciprocatedbyBrahms.Bothsonsweresenttogoodprivateelementaryand
secondaryschools,wheretheirstudiesincludedhistory,mathematics,French,
EnglishandLatin.TheyoungBrahmsbecameavoraciousreader,borrowingbooks
andbuyingsecondhandvolumes.Hiswellusedlibraryofover800titles(preserved
intheGesellschaftderMusikfreunde,Vienna)includingpoetry,fiction,drama,
history,art,philosophy,religionandtravel,testifiestoanabidingloveoflearning.
Brahmswasgivenlessonsonthepiano,celloandhorn(thefamilyownedapiano
andboughthimacello).FromtheageofsevenhestudiedthepianowithOtto
FriedrichWillibaldCossel.Withinafewyearshewasacceptedforinstructioninthe
pianoandmusictheory,freeofcharge,byoneofHamburg'sleadingteachers,the
pianistandcomposerEduardMarxsen,whoconveyedtohisyoungpupilaloveand
knowledgeofthemusicofBachandtheVienneseClassicalcomposers.
Brahms'sfirstdocumentedperformancewasasapianistinachamberconcertin
1843heplayedantudebyHenriHerzandtookpartinaMozartpianoquartetand
inBeethoven'sWindQuintetop.16.Hisfirsttwosolorecitals(in1848and1849)
includedBachandBeethoven,andfashionablebravurapiecesthesecond
performancereceivedalaudatorypressnotice.Tocontributetothefamily'sincome
afterleavingschool,Brahmsgavepianolessons,earnedreasonablefeesplaying
popularmusicatprivategatheringsandinSchnken(respectableworkingclass
placesforeatingandentertainment),andaccompanyinginthetheatrehealsomade
arrangementsforbrassbandsandtheAlstersextet,andforfourhandpiano(some
ofthelast,Anh.IV/6,werepublished,underthecommonpseudonymG.W.Marks,by
CranzinHamburg).Theinfluenceoffolkandpopularmusic,apparentinhisown
compositions,haditsrootsintheseactivities.(TheallegationthatBrahmswassent
asaboytoplaythepianoinsailors'barshasbeencalledintoquestionbytherecent
researchofKurtHofmanncommentsallegedlymadebyBrahmstoMax
FriedlaenderandSiegfriedOchsprovideabasisforthisassertion,buttestimonyfrom
thosewhoknewtheyoungBrahmsandhisfamilywellspeakstothecontrarylaws
closelyregulatingtheseestablishmentsforbadeemploymentatsuchayoungage.)
TheenthusiasmsofBrahms'sformativeyearswerethepoetryoftheGerman
romantics,thenovelsofJeanPaulandE.T.A.Hoffmann,andthemusicofBachand
Beethoven.HeimmersedhimselfinthepoetryofEichendorff,HeineandEmanuel
GeibelheadoptedashispseudonymJohannesKreisler,jun.,afterthearchetypal
emotionallyerraticyoungcomposerinHoffmann'sKaterMurrandFantasiestckein
CallotsManierwhosemusicisfragmentary,bizarreandpainfullyexpressiveandhe
includedinhisfirstsoloconcertsaBachfugueandBeethoven'sWaldsteinSonata,
thelatteraworkthat,togetherwiththeHammerklavierSonata,informstheopening
phrasesofhisCmajorPianoSonataop.1(1853).Intheearly1850sBrahms
assembledhisfavouriteremarksonlife,artandmusicbyprominentpoets,writers,
philosophersandmusiciansinaseriesofchapbooksheentitledtheSchatzkstlein
desjungenKreislers.
Brahms'sloveoffolkloreincludingfolkpoetry,talesandmusicbeganduring
theseearlyyears.Bythelate1840shehadbeguntocompilemanuscriptcollections

ofEuropeanfolksongsanotebookofGermanfolkmaximsdatesfrom1855.Linked
tothisinterestwashislikingforpoemsandtalesfromtheageofchivalry.Overthe
yearsheacquiredpopularbookssuchasTieck'sDieschneMageloneandtheold
GermanlegendsofFaustandSiegfriedHerder'scollectionsoffolksongs,Arnimand
Brentano'sDesKnabenWunderhorn,andseveralvolumesbyJ.L.andW.C.Grimm
theNibelungenliedandtheEddaKretzschmerandZuccalmaglio'sDeutsche
Volkslieder(thesourceforthemajorityofthefolkliketuneshearrangedforchoirand
assolosongs)collectionsofoldEnglish,ScottishandDanishballadsandpopular
literaturefromaroundtheworldinGermantranslation.Theslowmovementofthe
PianoSonatainCop.1wasbasedonaGermanfolksongrecastbyBrahmsasa
MinneliedthecomparablemovementintheF minorPianoSonataop.2(1852)was
inspiredbyagenuineMinneliedpoembyCountKraftvonToggenburg.
WhenHungarianpoliticalrefugeesontheirwaytotheUSApassedthroughHamburg
afterthesuppressionoftherevolutionsof1848,Brahmswasexposedtothestyle
hongrois,ablendingofHungarianmusicalgesturesandgypsyperformingstyle.His
lifelongfascinationwiththeirregularrhythms,tripletfiguresanduseofrubato
commontothisstylecanperhapsbetracedtohisencounteratthistimewiththe
HungarianexpatriateviolinistEdeRemnyi.Anotherlastingimpressionwasmadeby
Joachim'sperformanceofBeethoven'sViolinConcertowiththeHamburgorchestra
in1848.TwootherworksthatgreatlyinterestedBrahmswereBeethoven'sFifth
SymphonyandMozart'sDonGiovanni.
AlthoughBrahms'sfirstextantworks(thesongHeimkehrop.7no.6andtheE minor
Scherzoforpiano,op.4)datefrom1851,hebegancomposingseveralyearsearlier.
EvidenceexistsofaPianoSonatainGminor(mid1840s),aFantasiaonabeloved
waltzforpiano(by1849),atleastonepianotrioandaLiedDuetforcelloandpiano
(by1851).DuringvacationsinWinsenanderLuhein18478hewroteseveralchoral
worksandarrangedfolksongsforthemen'schoirheconducted.Hismusical
confidante,LuiseJapha,recalledmanysongs.Byautumn1853,inadditiontothe
sonatasandsongsthatwerehisfirstpublishedworks,hisportfolioincludedastring
quartetinBminorandaviolinsonatainAminor.Alltheseyouthfuleffortsfellvictim
toBrahms'sintenseselfscrutiny,whichhecontinuedtoexercisethroughouthislife.
Aslateas1880hedestroyedthefirstmovementofanewlycomposedpianotrioinE
aftershowingittofriends.
BrahmsasayouthinHamburgwasrecalledbyacquaintancesasshyandreserved,
thoughtfulandselfeffacingbuthewascandidandalreadyverymuchhisown
person.Slender,withdelicatefeatures,longfairhair,radiantblueeyesandahigh
voice,heprojectedasomewhatandrogynousimage.Onealsodiscernsadualnature
inhisearlyworks:sensitivesettingsofpoemsabouttheproblemsofyoungmaidens
coexistwithhighlyenergeticinstrumentalallegrosandscherzossuggestiveofthe
athleticprowessoftheteenageboy.
Brahms,Johannes
2.Newpaths.
1853markedaturningpointinBrahms'spersonalandprofessionallife.Onreturning
fromtheUSA,RemnyiresumedhiscollaborationwithBrahmswitharecitalin
JanuaryandaconcerttourinnorthernGermanyfromApriltoJune.Amongother
places,theyvisitedGttingen,whereBrahmsbeganalifelongfriendshipwithJoseph
Joachim,andWeimar,wherehemetLiszt,whoplayedtheScherzoop.4atsight.

Brahms'sstayattheAltenburg,however,wasbrief(1224June).Isoondiscovered
thatIwasofnousethere,helatertoldRichardHeubergerthiswasjustat[Liszt's]
mostsuccessfultimewhenhewaswritingthesymphonicpoemsandallthatstuff,
andsoonitallcametohorrifyme.Brahmsconsideredhimselfamusicianofthe
future,andhismusicembodiedmuchthatwasprogressive,butheviewedthepath
tothefuturedifferently.
BrahmsreturnedtoGttingentospendthesummerwithJoachim,whorecognized
hisgeniusandencouragedhimtomeetotherprominentmusicians,especially
Schumann.AttheendofAugust,Brahmsdepartedonalongwalkingtourinthe
Rhineland,makingtheacquaintanceofseveralmusicians(includingWasielewski,
FerdinandHillerandFranzWllner).AtthecountryestateofthefinancierDeichmann
inMehlemhestudiedSchumann'smusic,whichafewyearsearlierhehad
dismissed,andon30SeptemberhepresentedhimselfatthehomeofRobertand
ClaraSchumanninDsseldorf.
TotheSchumannsitseemedasifBrahmshadsprunglikeMinervafullyarmedfrom
theheadofthesonofCronus,asRobertobservedinhislaudatoryessayon
Brahms,NeueBahnen(NZM,xxxviii/Oct,1853,pp.1856).Theyoungeagle
showedtheSchumannspiecesforpiano(includingtheop.4Scherzo,theandantes
fromthesonataop.5andthesonatasopp.1and2),duosforviolinandpiano,piano
trios,stringquartetsandnumeroussongs,everyworksodifferentfromtheothers
thatitseemedtostreamfromitsownindividualsource.Brahms'splayingofhis
compositionswasonagrandscaleSchumannremarkedhowthepianobecamean
orchestraoflamentingandloudlyjubilantvoices,makinghissonatassoundlike
veiledsymphonies.
InOctoberBrahmscompletedthePianoSonatainFminorop.5andcontributedthe
scherzowoo2totheFAEviolinsonatawrittenwithSchumannandAlbertDietrich
forJoachim.DuringthenexttwomonthshewenttwicetoLeipzig,precededby
enthusiasticlettersofrecommendationfromSchumann,topresenthiscompositions
topublishersandoverseetheirprintingwhilethereheperformedthesonatasopp.1
and4inpublicandmetJuliusOttoGrimm,FerdinandDavid,Moscheles,Berliozand,
again,Liszt.WhenhereturnedtoHamburgforChristmashewasabletoreportthe
acceptanceofhisfirstfouropusesbyBreitkopf&HrtelandthenexttwobyBartolf
Senff.
ThenewyearfoundBrahmsatworkontheBmajorPianoTrioop.8.InMarch,on
learningofSchumann'snervousbreakdown,suicideattemptandremovaltoa
sanatoriumatEndenich,BrahmsreturnedtoDsseldorftoassistClaraSchumann
withthecareofherfamily,therunningofthehouseholdandtheorganizationofher
husband'slibraryandbusinessdealingsconcerninghismusic.Heremainedthere
throughoutSchumann'sprotractedillness,attendingtomattersinDsseldorfwhile
sheresumedhercareerasaconcertpianistandreportingtoherfromEndenichon
theconditionofherhusband,whomshewasnotallowedtovisit.Atthesametimehe
conceivedastrongromanticpassionforher,despitethegreatdifferenceintheir
ages.TohimClaraSchumann,aswife,motherandmusician,representedallthat
wasidealinwomanhood.InJune1854hededicatedtoherhisnewlycomposed
VariationsonaThemebyRobertSchumannop.9thetheme,fromBunteBltter
op.99,isjoinedbyvariationsthatdrawuponotherworksbySchumann(aswellasa
melodybyClara)andareinitialledinBrahms'smanuscriptvariouslybythecalm,
introspectiveBrahmsandthemercurialKreisler.Forherpart,Claradrew

sustenancefromBrahms'screativity,whichfilledavoidinherlifeafterthesudden
endofherhusband'sactivityasacomposer.Onapersonallevel,thoughfeelinga
certainproprietaryrighttohisaffection,sheviewedhimmuchasamotherwoulda
devotedolderson.
AfterthedeathofSchumanninJuly1856,ClaraandBrahmstookatriptogether
alongtheRhineandintoSwitzerlandduringwhichtheynodoubtdiscussedtheir
futureandafterwhichtheywenttheirseparateways,henceforthtoremainthe
closestoffriends,despiteoccasionalintensedisagreements.Brahmssharedhisjoys
andsorrowswithher,andsoughtbutdidnotalwaysheedherassessmentsofhis
newcompositions.HealsoneverforgotthedebtheowedtoRobertSchumann,and
intherolesofcomposer,performer,arrangerandeditorhestrovetoperpetuatethe
legacyofthemanwhohadchampionedhismusic.
ThetwonaturesofBrahms'spersonality,revealedmusicallyintheSchumann
VariationsandacknowledgedbyBrahmsinalettertoClaraSchumanninAugust
1854,weredescribedbyJoachimaseinekindlich,genial,vorwiegendeine
dmonischeauflauernde.Thisdualityisalsoevidentinthecontrastsbetweenthe
demonicscherzosandthegentlertriosoftheearlypianosonatasandtheBallades
op.10,composedatthistime.Twolettersfrom1854offervividaccountsofBrahms
theselfstyled,nowconfidentyoungRomanticwholetnothinginterferewithhisart.In
April,JuliusGrimmwrotetoJoachim:
BrKrisfullofcrazyideasastheArtistGeniusofDsseldorfhe
haspaintedhisapartmentfullofthemostbeautifulfrescoesinthe
mannerofCallot,i.e.,allkindsofgrotesquevisagesandfacesof
Madonnas.
(ThereferenceistotheengravingsofJacquesCallotandE.T.A.Hoffmann's
FantasiestckeinCallotsManier.)ThefollowingOctoberJoachimcharacterized
Brahmsas
egoismincarnate,withouthimselfbeingawareofit.Hebubblesoverin
hischeerywaywithexuberantthoughtlessnessthethingsthatdonot
arousehisenthusiasm,orthatdonotfitinwithhisexperience,oreven
withhismood,arecallouslythrustasideHewillnotmakethe
smallestsacrificeofhisintellectualinclinationshewillnotplayin
publicbecauseofhiscontemptforthepublic,andbecauseitirkshim
althoughheplaysdivinely.
Brahms'swithdrawalfromthebroaderstageofGermanmusicallifeinthelater1850s
wasnearlycomplete.AfterthepublicationofhisBalladesop.10inFebruary1856,he
releasednootherworksuntiltheendof1860.Inthe18556season,inneedof
money,heresumedconcertactivities,playingsoloandchamberworksandforthe
firsttimewithorchestra,inMozart'sPianoConcertok466andBeethoven'sfourthand
fifthConcertos.Butduringtherestofthedecadehisappearancesweresporadic.In
autumn1857heacceptedawellpaid,threemonthpositionaspianoteacher,pianist
andconductoroftheamateurchoralsocietyatthecourtinDetmold,aposttowhich
hereturnedthefollowingtwoautumns.In1859hefoundedanamateurwomen's
choirinHamburgwhichheconductedforthenextthreeyears.Otherwisethemid
andlate1850swereatimeofintenseselfscrutinyandmusicalstudy.Schumann's
mentaldeteriorationcausedBrahmstopondertherelationshipbetweencreativity
andinsanity.HisromanticinvolvementwithClaraSchumannand,inautumn1858,

withAgathevonSiebold(aprofessor'sdaughterinGttingen),forcedhim,atleastto
hisownwayofthinking,tochoose(ashisheroKreislerhad)betweenthemarriedlife
ofdiegutenLeuteandtheexistenceofechteMusikanten,whodrawinspiration
fromthevenerationofidealizedwomenbutmustforgonormalintimaterelations.
Duringthesummerof1855,withlittletoshowfromrecenteffortsatcomposition,
BrahmswrotetoClaraSchumannthathefelthenolongerknewatallhowone
composes,howonecreates.Butanexchangeofpolyphonicexercisesand
compositionswithJoachimsoonsharpenedhiscontrapuntalskillsrenewedstudyof
earlymusicandfolksongforhisownedificationandinconjunctionwithhis
conductingdutiesgroundedhisartintraditionandenrichedhismelodic,rhythmicand
texturalvocabulariesandworkonhisSturmundDrangPianoConcertoinDminor
op.15andthetwoneoclassicalSerenadesopp.11and16(writtenforDetmold)
initiatedhimintotheartoforchestration.
ProductsofBrahms'sstudiesofcounterpointandearlymusicincludedBaroquestyle
dancepieces,preludesandfuguesfororgan,andneoRenaissanceandneo
Baroquechoralworks(motetsandacanonicmass)thevariationsetintheB String
Sextetop.18(1860),whichextendsthetraditionofthefolia,likewisetestifiestohis
knowledgeandloveofearlierstyles.InspiredbyAgathevonSiebold,Brahms
composedanumberofsongsandduetsin1858forhiswomen'schoirinHamburg
hewrotemanyoriginalworksandarrangementsoffolksongs.TheVariationsonan
OriginalThemeop.21no.1andonaHungarianmelodyop.21no.2(bothforsolo
piano)andthepassionateopeningmovementofthePianoQuartetinCminorop.60
alsocomefromthisdecade.InJuly1862BrahmssentClaraSchumannthe
prototypeofwhatbecamethefirstmovementofhisCminorSymphonyop.68(atthat
timewithoutaslowintroduction).
ThecompositionthatoccupiedBrahmsmostduringthe1850swastheDminorPiano
Concerto.Theopeningofthefirstmovementwaswritteninspring1854aspartofthe
openingAllegroofatwopianosonata.Realizingthatitsgesturallanguageexceeded
thecapabilitiesoftwopianos,heattemptedtoorchestratethemovementduringthe
summer,withtheassistanceofGrimm,JoachimandMarxsen.Itwasnotuntil
February1855thathethoughttorecastthesymphonicmovementasaconcerto,and
notuntilautumn1856thatrecompositionwascompleted.TheRondoFinalewas
finishedsoonafter,andtheAdagio,whichBrahmsdescribedasagentleportraitof
ClaraSchumannandwhoseopeningmelodyheunderlaidinhismanuscriptswiththe
textBenedictus,quivenit,innomineDomini!(fromovertheentrancetothe
monasteryinHoffmann'sKaterMurr,whereKreislerfinallyfoundpeace),waswritten
lateinDecember.Butformandorchestrationwerestillbeingsettledevenafterthe
firstpublicperformancesatHanoverandLeipziginJanuary1859.Afterthe
investmentofsomuchenergy,itwasakeendisappointmentforBrahmsthatthe
concerto'spremireintheLeipzigGewandhauswasgreetedwithhostilitybyboth
audienceandcritics.Theworkcannotgivepleasure,observedEdward
Bernsdorf,theconservativecriticofSignalefrdiemusikalischeWeltsaveits
seriousintention,ithasnothingtoofferbutwaste,barrendrearinesstruly
disconsolateonemustswallowadessertoftheshrillestdissonancesandmost
unpleasantsounds.AlthoughBrahmstriedtoappearphilosophicalaboutthefiasco,
anoteofpainsoundedforthinhislettertoJoachim:
myconcertoherewasabrilliantanddecidedfailure.Thefirst
movementandthesecondwereheardwithoutasign.Attheendthree

handsattemptedtofallslowlyoneupontheother,atwhichpointaquite
audiblehissingfromallsidesforbadesuchdemonstrations.Inspite
ofallthis,theconcertowillpleasesomeday,whenIhaveimprovedits
construction.Ibelieveitisthebestthingthatcouldhavehappenedto
meitmakesonepullone'sthoughtstogetherandraisesone's
courage.Butsurelythehissingwastoomuch?
Insteadofestablishinghimasacomposerofthefirstrank,theLeipzigperformance
castapalloverhiscareer,jeopardizingprospectswithpublishers.WhenBreitkopf&
Hrtelrejectedagroupofworksin1860,includingthepianoconcerto,Brahms
turnedtothesmallSwisspublishinghouseofJakobRieterBiedermann,which
acceptedtheconcertoandsubsequentlypublishedmanysongsandchoralworks,
includingtheGermanRequiem,andtotheGermanfirmSimrock,whicheventually
becameBrahms'smajorpublisher.
Duringthe1850sBrahms'soppositiontotheliteraryorientatedmusicofLisztandhis
circlegrew.InMarch1860,enragedbyaneditorialintheNeueZeitschriftfrMusik
claimingthatallseriousmusiciansofthedaysubscribedtothecauseoftheNew
GermanSchool,BrahmscollaboratedwithJoachimtodraftamanifestodeploringthe
MusicoftheFuture(i.e.thatofLiszt,butnotBerliozandWagner)asrunning
contrarytotheinnerspiritofmusic,thatis,totheneedofmusictoprogress
accordingtoitsownlogic.Prematurelyleakedtothepresswhilestillbeingcirculated
forthesignaturesofotherlikemindedmusicians,thedocument,publishedoverthe
namesofonlyBrahms,Joachim,GrimmandBernhardScholz,wassoundlyridiculed
andbecameanembarrassmenttoBrahms,whoneveragainexpressedhisposition
onartisticmattersinsuchapublicmanner.
Brahms,Johannes
3.Firstmaturity.
Duringthefirsthalfofthe1860sBrahmsproducedanillustriousseriesofchamber
works(twostringsextets,apianoquintet,twopianoquartets,ahorntrioandacello
sonata)andpianopieces(variationsonthemesbySchumann,Handeland
Paganini),aswellasnumeroussongsandsolovocalensembles(includingthe
PlatenandDaumerliederop.32andmostoftheMageloneRomancesop.33),and,
onthelighterside,dancemusic(theWaltzesop.39).Brahms'sstudyofhismusical
heritagenowencompassedboththelargerformsandtheshortpopulardancesof
Schubert.IninstrumentalmusictheimaginativeLisztianthematictransformations
thathadanimatedandunifiedthehighlyRomanticearlypianosonataswerereplaced
byabalanceofemotionalandintellectualelementsachievedthroughmotivicand
thematicprojection(termeddevelopingvariationbySchoenberg)boldtonalshifts
andlargeclimaxesarereminiscentofBeethoven,butlong,evolvingmelodiesand
majorminorinflectionsrecallSchubertlndlerrhythmsandfolkmusicdronesat
timesintroduceapopularelement.ThestyleBrahmsdevelopedduringthisperiodis
inevidencefortherestofhiscareer.
Inautumn1862BrahmsmadehisfirsttriptoVienna,where,withintroductionsin
handfromClaraSchumannandotherfriends,hewasrapidlyacceptedintothe
foremostmusicalcirclesandperformedaseriesofsoloandchamberconcerts.His
repertoryincludedtwoworkswithspecialappealforhisVienneseaudiences(both
completedin1861):theHandelVariationsop.24,withevocationsofvariationsetsby
BachandBeethoven,andtheGminorPianoQuartetop.25,witharondofinale

imitatingthecimbalomandfiddleplayingofthegypsies.Amongnewacquaintances
werethepianistJuliusEpstein,theviolinistJosephHellmesberger(withwhosestring
quartetBrahmsperformedhistwopianoquartets),OttoDessoff,directorofthe
PhilharmonicConcerts,thepianomakerJ.B.Streicher,andthepianistCarlTausig,
withwhomBrahmssharedaspecialinterestinthemusicofWagner.
BrahmshadlongcovetedtheconductorshipoftheHamburgPhilharmonische
Konzertgesellschaft,butinautumn1862hewaspassedoverinfavourofthebaritone
JuliusStockhausen(theposteludedhimagainin1867).Inspring1863heaccepted
thedirectorshipoftheViennaSingakademie,whichheconductedforthe18634
season,presentingacappellaRenaissanceworksaBachcantata,portionsof
anotherandtheChristmasOratorioandworksbyBeethoven,Mendelssohnand
Schumann,andpiecesofhisown.
Intheautumnof1862BrahmsmetWagner,wholistenedappreciativelytohisplaying
oftheHandelVariations.Muchhasbeenwrittenaboutthedifferencesbetweenthese
twostrongmusicalpersonalitiesfromthelate1860sWagnerwroteanumberof
highlycriticalremarksaboutBrahms'smusic.CriticssuchasEduardHanslick,
havinglittlesympathyforWagnerandhismusic,adoptedthebannerofBrahmsas
theirstandard.Forhispart,BrahmsconsideredhimselfasupporterofWagner,telling
friendsthatheunderstoodWagner'smusicbetterthananyone.Heevenhelpedthe
avidWagneritesCarlTausigandPeterCorneliusprepareperformingmaterialsfor
Wagner'sconcertsinViennaduringthe18623seasonin1870heattendedthefirst
productionsofDasRheingoldandDieWalkreinMunich.AlthoughBrahms
possessedakeendramaticinstinctandventuredtocomposesuchworksasthe
cantataRinaldoandtheAltoRhapsody,heneverfoundalibrettotohisliking.
Duringthesummerof1864,whileonvacationinBadenBaden,Brahmsbecame
friendlywiththeconductorHermannLevi,whoremainedoneofhisclosestmusical
confidantsintothemid1870s,whentheirfriendshipfounderedoverpersonaland
artisticdifferences.Healsorenewedhisacquaintancewiththeengraverand
photographerJuliusAllgeyer.AllgeyerintroducedhimtotheworkofAnselm
Feuerbach,whosecoollyclassicalpaintingswereamongBrahms'sfavourites.For
fivemoresummersduringtheyears186572BrahmsreturnedtoBadenBaden,
takingroomsinthevillageofLichtenthal,ashortdistancefromthesmallhouse
occupiedbyClaraSchumannandherfamily,inordertocomposeamidstthenatural
beautyoftheBlackForest.Infuturesummersheretreatedtocountrysettingsin
Germany,SwitzerlandandAustriaforthesamepurpose.
AlthoughBrahmscontinuedtospendasmuchtimeaspossibleinVienna,financial
problemspromptedhimtoundertakelengthyconcerttoursinGermany,Switzerland,
Austria,Hungary,DenmarkandtheNetherlandsduringtheyears18659.His
repertorywasextensive,rangingfromBachtohisowncompositions,includingworks
byHaydn,Mozart,Beethoven,SchubertandSchumann,andmanylesserknown
piecesbyScarlatti,Couperin,Rameau,Gluck,Bach'ssonsandClementi.Inaddition
tosoloconcerts,heperformedfrequentlywithJoachimand,withStockhausen,
pioneeredthefullpresentationofthesongcyclesofBeethoven,Schubertand
Schumann.
InFebruary1865Brahmswasprofoundlyshakenbythedeathofhismother.Soon
afterwardsheworkedontheGermanRequiemop.45,completingsixmovementsby
theendofthesummerof1866(thereisnodefiniteevidencethattheworkwas
conceivedinthe1850safterthedeathofSchumannorthatthetextsofthese

movementswereassembledin1861).Afteraperformanceofthefirstthree
movementsinViennatomixedreactionson1December1867andthepremireof
thesixmovementsinBrementotumultuousapplauseonGoodFriday1868,a
seventhmovement,thesopranosoloIhrhabtnunTraurigkeit,wasaddedandthe
completeworkreceiveditspremireattheLeipzigGewandhauson18February
1869.ThecriticalacclaimthatitreceivedanditsprogressthroughGermany,
Switzerland,theNetherlands,EnglandandevenasfarasRussiaestablished
Brahmsasacomposerofmajorsignificance.In1868hecompletedRinaldoop.50,a
lengthycantatafortenor,malechorusandorchestra(onatextbyGoethe)thathe
hadbegunin1863.Otherworksforchoirandorchestrafollowed:theAltoRhapsody
op.53(1869,alsoGoethe),apersonalresponsetothemarriageofJulieSchumann,
forwhomBrahmshadsecretlyharbouredanaffectiontheSchicksalsliedop.54
(completed1871,Hlderlin)theTriumphliedop.55(187071,biblicaltexts),an
expressionofstrongpatrioticfeelingsaftertheGermanvictoryintheFranco
PrussianWaranddedicatedtoEmperorWilhelmIandlaterNnieop.82(completed
1881,Schiller)andGesangderParzenop.89(1882,Goethe),theformeraresponse
totheprematuredeathofFeuerbach.
Brahmsalsocontinuedtoworkintheintimategenres.In1868hesupplementedthe
songsgatheringinhisportfoliosinceatleast1856toissuefivecollectionstotalling25
songs(opp.43,469).TheLiebesliederWalzerop.52(1869,onlyricsbyGeorg
FriedrichDaumer,oneofBrahms'sfavouritepoets)expressthejoyousexpectationof
lovefulfilledtheLiederundGesngeop.57(1871,alsoonpoemsbyDaumer)is
perhapshismostsensualcollectionofsongs.Suchpiecesasthepianowaltzes
op.39,theLiebesliederWalzer,thefirsttwobooksofHungarianDances,andthe
Wiegenliedop.49no.4endearedBrahmstomusicmakingamateurs.
Duringthe1860sBrahms'saffectionswerecapturedbyseveralyoungwomen.As
wellashisinfatuationwithJulieSchumannin1869,hehadalmostproposedtoOttilie
Hauer,aViennesegirlwithwhomhespentmanyhoursin1863readingSchubert's
songsandhisownandhisattractiontoElisabetStockhausen(latermarriedtothe
composerHeinrichvonHerzogenberg)wassostrongthathewithdrewfromgiving
herpianolessons.Intheend,though,hemaintainedhispersonalfreedom,inthe
serviceofhismusicalaspirations.Hisfather'scasewasquitedifferent:alittleovera
yearafterhiswife'sdeath,hemarriedCarolineSchnack,awidow18yearshisjunior.
Brahmsappreciatedhercareofhisfatherandrespectedherashehadhisown
mother,andinlateryearsprovidedherwithregularfinancialassistance.
Brahms,Johannes
4.Atthesummit.
InNovember1872Brahmsconductedhisfirstprogrammeasdirectoroftheconcerts
oftheGesellschaftderMusikfreundeinVienna,apositionheretainedforthree
years.Hehadlongrestrainedhimselffromacceptinganysortofofficialposition,in
ordertoprotecthisfreedomtocomposehisworkinDetmoldhadleftmostofhis
yearfree,andhistenurewiththeSingakademiehadlastedonlyoneyear.In1870he
haddeclinednominationasconductoroftheGesellschaftorchestra,buttwoyears
later,afterthedeathofhisfatherandasheapproachedhis40thbirthday,he
acceptedthedirectorshipofbothorchestraandchoir.Earlierthatyearhemovedinto
lodgingsatKarlsgasse4,neartheMusikverein,whereheremainedfortherestofhis
life,livingfirstintwomodestrooms,laterinthree.

AsmusicdirectorBrahmsreorganizedtheGesellschaftorchestra,replacing
amateurswithprofessionalsfromthecourtoperaorchestra,anddemandedextra
rehearsaltime.HebroughttohisVienneseaudiencesarichrepertoryofearly
music:worksbyJ.G.Ahle,Eccard,IsaacandJacobHandlfourBachcantatas
(bwv4,8,34and50)andtheStMatthewPassionandHandel'sDettingenTe
Deum,theOrganConcertoinDminor,.theodeAlexandersFeastandtheoratorios
Saul,Alexander'sFeastandSolomon.AlsopresentedweresymphoniesbyHaydn,
Mozart'soratorioDaviddepenitente,Cherubini'sCminorRequiem,Beethoven's
ChoralFantasyandMissasolemnis,andworksbyMendelssohn,Schubert,
FerdinandHiller,VolkmannandSchumann(DesSngersFluch,musictoManfred,
Fantasyforviolin)andbyBrahms'scontemporariesBruch(Odysseus),Dietrich,
Goldmark,JoachimandRheinberger.OfhisownworksheconductedtheGerman
Requiem,theAltoRhapsody,theSchicksalsliedandtheTriumphlied.Thecritics
commentedontheseriousnessofhisprogrammesandthechoirinitiallyresistedhis
repertory.However,hisdeparturefromthepostwasamicableandheremainedon
goodtermswiththeMusikvereinfortherestofhislife.
FormanyyearsBrahmshadstruggledtomastertwogenresdominatedby
Beethoven:thestringquartetandthesymphony.Inthesummerof1873he
completedthefirsttwostringquartets(op.51,inCminorandAminor)thathe
consideredworthyofpublication.Duringthewinterof18734headdedthefinal
movementstothePianoQuartetinCminorop.60,whichhehadbeguninthemid
1850sandcontinuedtopolishthrough1875.Afterthreeseriouschamberworksin
minorkeysthejoyousandbucolicStringQuartetinB op.67,writtenwhilehewason
vacationinZiegelhausennearHeidelbergin1875,providedawelcomecontrast.
Brahmsresumedthecompositionofpurelyorchestralmusicin1873withthe
VariationsonaThemebyHaydn,workingintheextendedformwithwhichhefelt
mostcomfortable(thepiecewasfirstdraftedinitsversionfortwopianos).Noless
thanagrandsymphonywasnowexpectedofhim,andinsummer1876hebrought
tocompletiontheSymphonyno.1inCminor,whichhadoccupiedhimatleastsince
1862.Suchwashisstrivingforperfectionthatevenafterithadbeenperformedforan
entireseason,toevermountingacclaim,herecasttheslowmovementbefore
allowingpublication.
TheSymphonyno.2inDsoonfollowed(1877),itspastoralmoodstandinginclear
distinctiontothedarkruminationsandmightyforcesofitspredecessor.Anotherpair
ofcontrastingorchestralworksdatefromthesummerof1880:thejocularAcademic
FestivalOverture,basedonstudentsongs(fortheoccasionoftheconferralon
BrahmsofanhonorarydoctoratebytheUniversityofBreslau),andtheTragic
Overture,whosecompletionmighthavebeenpromptedbythedeathofthepainter
FeuerbachinJanuary(although,fromthehandwriting,sketchescanbedatedaspre
1872).Thesummersof18835werealsodevotedtoorchestralcomposition,yielding
Symphonyno.3inF(1883)andno.4inEminor(1885).Threeconcertoscomplete
Brahms'smatureorchestralworks:theViolinConcertoinD(1878),composedfor
andinclosecollaborationwithJoachimtheSecondPianoConcertoinB (1881),
dedicatedtoMarxsenandtheDoubleConcertoforviolinandcello(1887),writtenfor
JoachimandRobertHausmann.
WhilecompletingtheViolinConcertoBrahmsbeganworkontheViolinSonatano.1
inG,whichhefinishedduringthefollowingsummer.Anillustriousseriesofsix
chamberworksfollowed:PianoTriono.2inCandStringQuintetno.1inF(both

completedin1882)theCelloSonatano.2inF,theViolinSonatano.2inA,andthe
PianoTriono.3inCminor(all1886)theViolinSonatano.3inDminor(18868)and
theStringQuintetno.2inGmajor(1890).Duringthe1870sand80sBrahmsadded
totheworksforsolopianotheeightKlavierstckeop.76(1871and1878)andthe
twoRhapsodiesop.79(1879),andcontinuedtocomposechoralmusic(bothwithand
withoutpianoaccompaniment),quartetsandduosforsolovoiceswithpiano(most
notablytheNeueLiebesliederWalzerop.65andZigeunerliederop.103),andsolo
lieder.
1874markedtheresumptionofBrahms'stravelsasconcertpianistandthebeginning
ofinvitationsasguestconductor.Theworksperformedweremostoftenhisown.
Compositionswritteninspringandsummerwouldreceivetrialperformancesthe
followingautumnandwinteronlythenweretheysenttothepublisher.Overthe
nexttwodecadesBrahmsappearedinallthemajorcitiesinGermany,the
NetherlandsandSwitzerland,andinBudapest,PragueandKrakw.From1881he
developedaspecialrelationshipwiththecourtorchestraatMeiningen,firstunder
Blow,laterunderFritzSteinbach.Thishighlytrainedensembleof49playersgave
BrahmsanopportunitytohearNnie,theSecondPianoConcertoandtheFourth
Symphonybeforetheirofficialpremires.Brahmswaswelcomedasanhonoured
guestbyDukeGeorgIIIandhiswife,andwaspresentedwiththeMeiningen
Commander'sCrossandGrandCross,yetcourtetiquettewaswaivedsothatthis
manofthepeoplecouldresidethereassimplyandagreeablyaspossible.He
expressedhisgratitudebydedicatingtheGesangderParzen(op.89)totheduke.In
1882BrahmstouredwithBlowandtheMeiningenorchestra,presentinghistwo
pianoconcertosandtheAcademicFestivalOverturetoaudiencesinBerlin,Kieland
Hamburg(withBrahmsandBlowsharingsoloistduties)subsequenttourstook
themtoBudapest,GrazandViennain1884(withthepianoconcertosandtheThird
Symphony)andtotheRhinelandandtheNetherlandsin1885(withtheFourth
Symphony).Brahms'sperformingschedulewasattimesextremelyintenseduringthe
1880sinthe18812season,forexample,heplayedhisSecondPianoConcerto22
timesinasmanycitiesduringathreemonthperiod.
AshisfamespreadacrosstheContinentandontoEnglandandtheUSA,Brahms
wasrepeatedlyhonouredbyhispeersandaristocraticadmirers.Inadditiontothe
awardsfromBreslauandMeiningen,hereceivedtheBavarianOrderofMaximilian
forscienceandart(1873,withWagner),theGoldMedalofthePhilharmonicSociety
inLondon(1877),aknighthoodinthePrussianOrderPourleMriteforscienceand
art(1887),thehonorarypresidencyoftheTonknstlervereininVienna(1886),the
Knight'sCrossoftheImperialAustrianOrderofLeopold(1889),thefreedomof
Hamburg(1889),honorarymembershipoftheBeethovenHausinBonn(1889),and
theAustrianOrderforArtandScience(1895).In1876hedeclinedanhonorary
doctoratefromtheUniversityofCambridgebecausehewasunwillingtotravelto
England.
Withtheincomefromconcertappearancesandsizablehonorariafromthesaleof
compositionsBrahmshadmorethanenoughmoneytosupporthismodeststyleof
life,andheamassedasubstantialfortunethat,inlateryears,heallowedhis
publisherSimrocktoinvestforhim.Sincetherewasnolongeranyneedforanofficial
position,heturneddownoffers,includingthatofmusicdirectorinDsseldorf(1876)
andheadoftheCologneConservatory(1884).Brahmswasgenerouswithhis
money,helpinghisfamilyandaspiringyoungmusicians,andunderwritingscholarly
projectsofGustavNottebohmandFriedrichChrysander.Hismostextravagant

expenditureonhimselfwasforeightlengthytripstoItalybetween1878and1893in
thecompanyofvariousfriendsandcolleagues.Otherwisehelivedfrugally,takinghis
mainmealatthefavouritegatheringplaceforVienna'smusicians,theinnZumroten
Igel.
YoungcomposerswithwhosemusicBrahmsfeltempathyalsoreceivedassistance.
Asanadjudicator,herecommendedthatDvokshouldbeawardedtheAustrian
StateStipendiumforseveralyears,encouragedSimrocktopublishhisworks,offered
financialsupporttohimandhisfamily,andevenhelpedwiththeproofreadingofhis
scores.HealsorecommendedtoSimrockthemusicofWalterRablandGustav
Jenner,thelatterBrahms'sonlycompositionpupil(188995).
Brahms'slargecircleoffriendsincludedmusicians,writers,artists,scholarsand
musiclovingmembersoftheprofessionalandwealthybusinessclasses.Intheyears
187492ElisabetvonHerzogenberginLeipzigemergedasoneofBrahms'smost
trustedmusicaladvisers,whoaswellasClaraSchumannandTheodorBillroth
offeredhimsensitiveandfrankassessmentsofhisworkshededicatedthe
Rhapsodiesop.79toher.Brahms'srelationshipswiththecomposersKarlGoldmark
andJohannStrausstheyoungerwerealwayscordialhetravelledinItalywith
GoldmarkandspentvacationsinBadIschlneartheStrausses.Inthe1870sthe
baritoneGeorgeHenschelwasofteninclosecontactwithBrahmsinlateryearsthe
youngcomposerRichardHeubergerwasaregularmemberofBrahms'sVienna
circle.Bothfriendswroteimportantmemoirs.
WiththepoetKlausGroth,severalofwhoselyricshesettomusic,Brahmscould
shareanenjoymentoftheLowGermandialectoftheircommonancestralDitmarsch
homelandwiththeSwisspoetandwriterJosefVictorWidmann,whounsuccessfully
triedtosupplyBrahmswithanoperalibretto,hecouldenterintodiscussionsof
literature,currentevents,scientificprogressandreligion,andenjoytravellinginItaly.
TheGermanpoetandnovelistPaulHeyse(whowaslateraNobelprizewinner)and
theSwisswriterGottfriedKellerwerealsofriendsofBrahms,whosettheirpoems.
InadditiontoFeuerbach,theartistsassociatedwithBrahmsincludedthecelebrated
BerlinpainterandillustratorAdolfMenzel,thepsychologicalinterpreterofclassical
mythologyArnoldBcklin,andthepainter,engraverandsculptorMaxKlinger,who
illustratedtitlepagesforseveralofBrahms'sworksandwasinspiredbyhismusicto
createaseriesofetchings,engravingsandlithographsentitledBrahmsPhantasie
(1894fig.4).TheBachbiographerPhilippSpitta,theHandelscholarFriedrich
Chrysander,theBeethovenspecialistGustavNottebohm,andthemusicarchivists
C.F.Pohl(biographerofHaydn)andEusebiusMandyczewski(editorofHaydnand
Schubert)wereallfriendsofBrahms,whotookaninterestintheirresearch.The
professionalmeninBrahms'scircleincludedthesurgeonTheodorBillrothandthe
physiologistT.W.Engelmann,bothcapableamateurmusicians(andthededicatees
oftheStringQuartetsopp.51and67respectively).
FromthebusinessandindustrialcommunityBrahmshadthefriendshipandsupport
ofRichardFellinger(ofSiemensBrothers),whosewife,Maria,sculptedand
photographedBrahmstheindustrialistArthurFaber,whowithhiswife,Bertha(a
specialfriendofBrahms'ssincethedaysofhiswomen'schoirinHamburg),caredfor
BrahmslikeafamilymemberandthesteelmagnateKarlWittgenstein,whose
musicalsisterssanginBrahms'sSingakademieandwhosedaughterMargaret
StonboroughamassedthelargestprivatecollectionofBrahmsmanuscriptsinthe
1920sand30s(nowintheLibraryofCongress,Washington).AlthoughBrahmslived

simplyandwaswaryofbeinglionized,heenjoyedtheattentionandfinefood
lavishedonhimbyhiswealthyadmirers.Thosesharinghiscompanywereregaled
byhisreparteeandreapedthebenefitsofaninquiringmindwithbroadinterestsand
knowledge.
ThepricklysideofBrahms'spersonality,usuallydirectedagainstthosewhoinvaded
hisprivacyorlackedmodestyorsincerityintheirdealingswithhim,wasexperienced
bycloseacquaintancesaswell.ClaraSchumann,whoconfessedthatevenafter25
yearsheremainedariddletoher,waswoundedmorethanoncebyhisgruffness.
ButBrahmscouldbeatrueandloyalfriend,aswhenhesupportedAmalieJoachim
inherdivorceproceedingsin1881,writingaletterhighlycriticalofherjealous
husband.Brahms'srelationshipwithJoachim,whosenaturewassodifferentfromhis
own,wassuspended,untilhetenderedtheDoubleConcerto(1887)asapeace
offering.Brahmsalsohadaspecialloveofchildren,whomheaccepted
unconditionallyandenjoyedteasingandspoiling.
InhislateryearsBrahms'sbachelorexistencewasbrightenedbyinfatuationswith
twoyoungsingers.HemetthecontraltoHermineSpies,astudentofJulius
Stockhausen,in1883.Thisgifted,quickwittedwomanfromtheRhineland
invigoratedthe50yearoldcomposerwithhermerrynatureandspiritedrenderings
ofhissongs.Brahms'schangedmoodwasdiscernedbyBillrothinthesongsof
opp.96and97.Forherpart,sheopenlyconfessedherJohannespassion,butby
thistimeinhislifemarriagewasnotaseriousoption.Theartistryandbeautyof
anothercontralto,AliceBarbi,capturedBrahms'sattentionin1890,andtheygreatly
enjoyedeachother'scompany(fig.5).ButBrahmswasalsocapableoftreatingless
talentedandlessintelligentwomenwithrudeness.
ThroughouthiscareerBrahmsdevotedmuchenergytopreparingarrangementsfor
pianofourhandsorfortwopianos.HistranscriptionsofSchumann'sPianoQuintet
andPianoQuartet,threeoverturesbyJoachimandmostofhisownchamberand
orchestralworksdemonstrateaspecialaffinityforthismedium,whichwasimportant
forthedisseminationofmusicbeforetheageofthegramophone.Healsomade
keyboardarrangementsofworksbyBach,Chopin,Gluck,SchubertandWeber
composedkeyboardrealizationsforvocalduetsandtriosbyHandelorchestratedsix
songsbySchubertandmadepianoreductionsoftheorchestralaccompanimentsto
Schubert'sMassinE (d950)andmanyofhisownchoralworks.
Brahms'sstudyofearlymusicledhimtooverseeeditionsofworksbyC.P.E.and
W.F.BachandFranoisCouperin.HeanonymouslypreparedaneditionofMozart's
Requiemforthecollectedworksandbroughtoutpreviouslyunpublishedworksby
SchubertandSchumann.HealsoeditedSchubert'sninesymphoniesforthe
Gesamtausgabe,providededitorialassistanceforChopin'scollectedworksand
helpedprepareClaraSchumann'scollectededitionofherhusband'smusic.
Brahms'sextensivecollectionofmusicalautographsandrareeditionsreflectsthe
depthofhishistoricalinterests,aswellashistastesinmorerecentmusic.Choice
itemsincludedearlyeditionsandmanuscriptsofDomenicoScarlatti'ssonatasmore
than60sheetsofBeethovensketchesandautographsofHaydn'sstringquartets
op.20,Mozart'sSymphonyno.40,severalSchubertsongsandhisQuartettsatzd703,
Berlioz'sLamortd'Ophlie,Chopin'sEminorMazurkaandA Prelude,theoriginal
versionofSchumann'sDminorsymphony(no.4),andexcerptsfromWagner's
TristanundIsoldeandDasRheingold.Brahmscopiedoutmusicthathecouldnot

acquireinmanuscriptorprint,assemblinglargecollectionsofEuropeanfolkmusic
andRenaissanceandBaroqueartmusic.Hewasalsoaninveteratecollectorof
passagesinthemusicofhispredecessorscontainingparalleloctavesand5ths.
Brahms'shistoricalawarenessfoundresonanceinhisownmusic.Hischoralmusic
drewheavilyonthemodelsofRenaissanceandBaroquepolyphony,unitingold
methodswithmodernmusicallanguageinworksthatrepresentapeakinmusical
historicism.Suchsynthesesarefoundinhisinstrumentalmusicaswell.Thedouble
variations(laHaydn)thatcomprisetheslowmovementoftheStringQuintetinF
(op.88),forexample,arebasedontwoneoBaroquedances(asarabandanda
gavotte)thathehadcomposedinthemid1850s.HisHaydnVariationsop.56
culminatewithasetofvariationsonagroundbass,andagrandlyscaledpassacaglia
closestheFourthSymphony.FolkmusicaswellinformsBrahms'smature
instrumentalcompositions.Austrianlndlerstylemovementsareoftenencountered,
andthestylehongroiscontinuestoexertitsinfluence.
Brahms,Johannes
5.Finalyearsandlegacy.
Duringthe1890sdeathtookaterribletollonBrahms'scircleoffriends.In1892
ElisabetvonHerzogenbergdiedattheageof45andinthefollowingyearHermine
Spiessuccumbedat36in1894Billroth,BlowandSpittaalldiedwithinathree
monthperiod.Brahmshimselfwasbeginningtofeelhisage.Thoughinrobusthealth,
latein1890andagainearlyin1894hedeclaredhisworkasacomposeratanend
atleasttwosymphonicmovementsweresketchedbutleftincomplete.Atbothtimes
theartistryofRichardMhlfeld,clarinettistofthecourtorchestrainMeiningen,stirred
himfromhislethargy,inspiringarichharvestofchamberworkswithclarinet
(opp.114,115and120),thelastissuedin1895.In1891Brahmscollectedand
published13canonscomposedfromthe1850sonwards,andin1894hegatheredin
sevenvolumeshisarrangementsforvoiceandpianoof49Germanfolksongs.His
fourcollectionsofshortpianopiecesopp.1169seemtorepresentasimilaractivity,
thoughevidencesuggeststhatmostifnotallthepieceswererecentlycomposed.
Brahms'smusiccontinueditstriumphantprogressthroughEurope.InJanuary1895
hischamberandorchestralworksweresurveyedinafestivalofthreeconcertsin
Leipzig,withEugend'Albertplayingbothpianoconcertos.ThefollowingSeptembera
similareventtookplaceoverthreedaysinMeiningen.InOctobertheTriumphlied
wasperformedwithBeethoven'sNinthSymphonytoopenthenewTonhallein
Zrich.InJanuary1896Brahmsmadehislastappearanceonthepodium,
conductinghistwopianoconcertosinBerlin,againwithAlbertassoloist.
InMay1896,withthedeathofClaraSchumannimminent,Brahmssethisreflections
onthemeaningoflifeanddeathtomusicintheVierernsteGesngeop.121.Inthe
wakeofherpassing(20May)hewrotehisfinalcompositions,the11Chorale
Preludesfororgan(op.posth.122).AtthistimeBrahmsfirstcametorealizethathis
owndayswerenumbered.Tofriendshedismissedhissallowcomplexionas
bourgeoisjaundice,buthesurelyrecognizedthealarmingsymptomofcancerofthe
liver,thediseaseofwhichhisfatherhaddied.Brahmswascaredforduringhisfinal
monthsbyhislandlady,CelestineTruxa,andbyloyalViennesefriends.Atoneofhis
lastappearancesinpublic,aperformanceoftheFourthSymphonybytheVienna
PhilharmonicunderHansRichter(7March1897),hereceivedanovationaftereach
movement.Hediedon3April1897andwasburiedintheZentralfriedhofinVienna,

inagraveofhonourneartheremainsofBeethovenandSchubert.
BecauseBrahmsdidnotleaveavalidwill,alengthylegaldisputeoverhisestate
ensued.Privatecorrespondentswereallowedtoreclaimtheirletterstheremaining
letterstoBrahms,mostofhisbooksandmusic,andalltheimportantmanuscripts
wereacquiredbytheGesellschaftderMusikfreundeinVienna,aswashiswish.
Brahms,Johannes
6.Influenceandreception.
Brahmsiseverywhere,observedthecriticWalterNiemannin1912whenassessing
thecomposer'sposthumousinfluenceoncontemporarypianomusicinEurope.
Indeed,fromabout1880Brahms'smusicwasapowerfulmodelforyounger
composers.TheBrahmsfog,asWilhelmTappertdisparaginglycalledthisinfluence
around1890,hadpermeatedthemajorconservatoriesinAustriaandGermany,
whereWagner'smusicwas,atleastofficially,disapprovedof.Furthermore,the
externalelementsofBrahms'sstylesuchastwoagainstthreerhythms,thick
chords,andtriadicmelodieslentthemselvesreadilytoimitation.
ComposerssuchasHeinrichvonHerzogenbergorthemoretalentedRobertFuchs
haddifficultydevelopingbeyondtheBrahmsianidiom.Other,mostlyyounger,
composers,includingZemlinsky,Reger,Schoenberg,Busoni,HindemithandWeill,
absorbedBrahms'stechniqueswithgreateroriginalityintostylesthatbecamethe
earliestmanifestationsofmusicalmodernism.
Brahms'smusicalsohadaprofoundinfluenceoutsideAustriaandGermany,
especiallyinEngland,onHubertParry,Stanford,ElgarandVaughanWilliams.
BrahmsisaudibleaswellinFrenchmusic,forexampleintherhythmicandtextural
aspectsofFaur.Furthertotheeast,SergeyTaneyev,whoproducedsymphonic
andchambermusicwithastrongBrahmsianstamp,wasdubbedtheRussian
Brahms.
Wellintothelater20thcenturyadiversearrayofcomposersacknowledgedtheir
indebtednesstoBrahms.ThecomplexmotivicandrhythmicstructuresofBabbitt
seektoextendBrahmsianpreceptstotheirlogicallimits.Ligeti'slyricalHornTrio
(1982)isadirecthomagetoBrahms'strioop.40.BerioorchestratedtheClarinet
Sonataop.120no.1(19846),addingafewintroductorybarsofhisowntothefirst
twomovements.HiseffortrecallstheearlieroneofSchoenberg,whoin1937
arrangedthePianoQuartetop.25forlargeorchestra.
ThecriticalreceptionofBrahms'smusicwasuniqueamongthemajorClassicaland
Romanticcomposers.Schumann's1853encomiumofBrahmsastheonedestinedto
giveexpressiontohisageinanidealfashionhadpowerfulrepercussions,both
negativeandpositive.Formanyyearsafterwards,hewasjudgedbythestandards
andhopesexpressedbySchumann.Sometimeswillingly,sometimesnot,Brahms
becamealightningrodinthemajormusicalaesthetictempestofthelater19th
century.HewascastindirectoppositiontotheLisztiansandWagneriteshis
preferredgenresofchambermusic,liederandsymphonyweresetagainstthemore
modernformsofmusicdramaandsymphonicpoem.
AnunusualparadoxbecameapparentinreactionstoBrahms'smusicfromaboutthe
periodoftheGermanRequiem.Evenashewasacknowledgedasamaster,andhis
worksenteredthestandardrepertoryandthenthecanon,therewerestrong
reservationsabouthismusic.Histechnicalprowesswasneverindoubt,buthis

musicwasfelttolacktrueoriginalityandexpressiveness.Theseviewswereheld
evenbysuchstaunchalliesasHanslickandKalbeck.
BeethovenwastheyardstickagainstwhichBrahmswasconstantlymeasured.For
LouisKhlerin1880,Brahmswouldneverriseaboveepigonalstatuswithout
spiritualqualitieshecouldbenokindofBeethoven.In1918PaulBekkeradvanced
oneofthemaintheoriesofBrahmsreception,whichhadalreadybeenadumbrated
asearlyas1879byWagner:Brahmswasessentiallyacomposerofchambermusic.
ForBekker,Brahms'swasasmallscale,bourgeoismentality,incapableofthe
societyforming(gesellschaftsbildend)impulsethatledBeethoventowritetheNinth
Symphony.Brahms'ssymphoniesweretoBekkernomorethanmonumentalized
chambermusic.
Someyearslater,TheodorAdorno,andafterhimCarlDahlhaus,radicallyinverted
theWagnerBekkercharacterizationfromadefecttoavirtue.Thechambermusic
qualitiesofBrahms'ssymphonicmusicwerenowdeemedtobethemostforward
lookingaspectofhiswork.Accordingtothisview,theintricatetexturesand
continuousmotivicvariationwereharbingersof20thcenturymusic,especiallythatof
theSchoenbergschool.ForAdorno,writingin1940,Brahms'smusicrepresentedthe
firsttimeinWesternmusicthatthesubjectiveelementsofthematicdevelopment
determinedobjectiveformalstructures.
Adornoanticipatedabetterknownarticulationofthisposition,anessayby
Schoenbergthat,besideSchumann'sarticle,isthemostrenownedpieceofBrahms
reception.InBrahmstheProgressive,originallypreparedasaradiotalkforthe
Brahmscentenaryof1933andrevisedin1947,Schoenbergadmiredthecompact
richnessofhisharmoniclanguageandhisabilitytospinthemes,sectionsandeven
entirecompositionsfromafewsmallmotifs.ForSchoenberg,theseproceduresof
Stufenreichtum(abundanceofscaledegrees)anddevelopingvariationpavedthe
waytowardsanunrestrictedmusicallanguageofthe20thcentury.
HalfacenturyaftertheappearanceofSchoenberg'sarticle(inStyleandIdea,1950),
suchspecialpleadingforBrahmsnolongerseemsnecessary.Hisworkscontinueto
bemainstaysontheconcertstageandinrecordings.Therehavebeenimpressive
achievementsindocumentary,historicalandanalyticalresearch,andinperforming
practice,partlyresultingfromactivitiesoftheBrahmsanniversaryyears1983and
1997.Allthisactivitysuggeststhatthespecialcombinationofbeautyandintegrityin
hismusiccontinuestoexertconsiderableappealinapostmodernage.
Brahms,Johannes
7.Pianoandorganmusic.
Brahms'searlyworksaredominatedbythepiano,theinstrumentonwhichhe,like
mostcomposersoftheperiod,receivedhistraining.Asbothrecitalistandcomposer
heseemedfromthestartintentontranscendingthevirtuosoandsalontraditionsthat
dominatedEuropeinthe1830sand40s.
Thefirstgroupofpianoworks,opp.4,2,1and5,completed(inthatorder)between
1851and1853,displayanimpressivecommandofthekindofmotivicdevelopment
andlargescalestructuresBrahmsstudiedinBachandBeethoven,atalentforthe
thematictransformationandcolouristicharmonyofLisztandChopin,andastrongly
poeticliteraryinclinationlikethatofSchumann.ThefirstmovementoftheFminor
PianoSonataop.5drawsimaginativelyonallthesetraditions:thesonataformisbuilt
bysubjectingaconcisemotiftoaseriesofmetamorphosesandwideranging

modulations,sothatweseemtobehearingthestoryofatheme.IntheScherzo
op.4Brahmssoughttocompensatefortheinherentlysectionalnatureoftheformby
forgingclosethematicinterrelationshipsbetweenthesections.
Theslowmovementsofthethreepianosonatasarecharacterpieces,orsongs
withoutwords.TheyreflectthepredilectionforfolkmaterialsalsoevidentinBrahms's
earlylieder.ThethemeoftheAndanteofop.1isVerstohlengehtderMondauf,
whosetextBrahmsreproducedunderthenotesandidentifiedasanoldGerman
Minnelied(thoughthemelodyisarecastingofoneprobablyinventedby
KretzschmerandZuccalmaglio,themoderncompilersofBrahms'ssource).The
Andantethemeofop.2bearsnowords,butBrahmstoldhisfriendDietrichthatitwas
inspiredbythetextoftheGermanMinneliedMiristleide.Inop.5bothandantesare
relatedtopoemsbyC.O.Sternau,andportionsofthemovementsmayhavebeen
inspiredbyafolklikemelodybySilcher,settoatextattributedtoWilhelmHauff.
Theslowmovementsofopp.1and2arealsosignificantforbeingBrahms'sfirstmini
experimentsinvariationformeachconsistsofonlyafewvariationsonashort
theme.Boththemesalsohaveadialogicorcallandresponsestructureexploited
withgreatfreedomandimagination,aswhenneartheendofthesecondvariationin
op.1,alaconicfournotemotifinthemiddleregister,inahomophonicchoralstyle,is
answeredbyasprinklingofpianisticfiligreefromonhigh.
Brahmsreturnedtovariationforminthesummerof1854forthemoreextended
VariationsonaThemebySchumannop.9.Notsurprisingly,thebroadrangeof
pianisticidiomsowesmuchtoSchumann'sownworks,towhichtherearealsomany
allusions.Themoodshiftsdramaticallyamongthe16variationsasareflectionofthe
twodifferentpersonasimpliedinthemusic(Brahms,slower,moremeditative
Kreisler,faster,moreimpulsive)andmadeexplicitintheautographmanuscript,
whereBrahmsextendedthedoublebarsintoeitheraBorKr.
Brahms'sfirstsetofsmallerpianopieces,theBalladesop.10,sharetheinterestin
folksources(thefirstisbasedontheScottishballadEdward)andSchumannesque
styleevidentinthesonatasandop.9.Aretrenchmentsetsinwiththepairsof
gavottes,giguesandsarabandsthatcomprisewoo35andwereprobablyintended
aspartsofcompletesuitesinthemannerofBach.TheAminorSarabandwoo5isan
exquisiteminiatureinroundedbinaryformcloselymodelledontheanalogous
numberinBach'sEnglishSuiteinGminor,andyetitshowshowwellBrahmscould
absorbtheessenceofBach'sstructuresintohisowndevelopingstyle.
Theretrospectivetrendofthemid1850scontinuesinfourorganworks(woo710),
someofwhichoriginatedinthecourseofBrahms'scounterpointexchangewith
Joachim.TheFugueinA minor(woo8),thegemofthegroup,isamasterful
synthesisofBaroqueandRomanticprinciples.Aslow,highlychromaticsubject
undergoesstrictcontrapuntaltreatmentbyinversion,augmentation,diminutionand
stretto,asitsimultaneouslyembarksonremoteharmonicjourneysthatcouldonly
havebeenchartedinthemid19thcentury.Alsodatingfromthistimeisthemasterly
ChoralePreludeonthePassionchoraleOTraurigkeit,oHerzeleid(woo7),towhich
Brahmslateraddedanimposingfugue.
ThetwosetsofVariationsinD(op.21nos.1and2)from18567showthat
BeethovenianinfluenceswerebeginningtotemperBrahms'sRomanticapproachto
thisform.TheVariationsandFugueonaThemebyHandel(op.24),whichlookstill
furtherbackintothemusicalpast,arethesuprememanifestationofthisneoclassical

orneobaroquetendency.Thecomposerhimselfvaluedthissethighly,callingithis
Lieblingswerk.EvenWagner,whoheardBrahmsplaythevariationsinViennain
1862,isreportedtohaveexpressedadmirationforwhatmaystillbedonewiththe
oldforms.TheHandelVariationstakeBach'sGoldbergandBeethoven'sDiabelli
Variationsasthestartingpointforbuildingamonumentalandvariegatedstructure
uponathemeoftheutmostsimplicity,heretheAirfromHandel'ssuiteinB .From
theviewpointofpianotechnique,theHandelVariationsaretheworkofacomposer
whohadforhistimeanexceptionalunderstandingofearlierkeyboardidioms.
TheSchumannVariationsop.23,basedonamelodySchumannhadwrittendown
notlongbeforehissuicideattempt,maintainamorerestrictedrangeofexpression
andcharacterthantheearlierop.9setandassuchmaybesaidtopartakeof
Brahms'sneoclassicismofthe1860s.Thefinalvariationisamajormodefuneral
marchintowhichisingeniouslywovenareturnoftheoriginaltheme.
BycomparisonwithalmosteveryotherkeyboardworkofBrahms,theVariationsona
ThemebyPaganini(op.35)placeanemphasisonextremevirtuosity.(Clara
Schumanncalledthemwitchvariationsandregrettedtheywerebeyondher
capacity.)Themoredidacticnatureofthesetissuggestedbyitsprincipaltitle:
StudiesforthePiano.Aswiththetudesofothergreatcomposers,however,
includingSchumann,Chopin,Liszt,andDebussy,techniqueisalwaysalliedwith
powerfulandwidelyrangingmusicalexpression.
Acompletecontrasttothevariationsetsisofferedbythepianoworksofthe1860s
basedonpopulargenres.Theexuberantsetof16Waltzesop.39,writtenforpiano
fourhandsandadaptedalmostimmediatelyfortwohands,werecomposedinthe
spiritandonthescaleofSchubert'sdances,someofwhich(theLndlerd790)
Brahmshadrecentlyeditedforpublication.DedicatedtoHanslick,theop.39setalso
constitutesBrahms'saffectionatetributetothedanceformmostcloselyidentified
withhisadoptedcityVienna.Theseminiatures,mostlyinroundedorrecapitulating
binaryform,unfoldagreatvarietyofexpression,fromthepropulsivestylehongroisto
Biedermeiersentimentality.
The1860salsosawBrahmspayingmoreconcentratedhomagetothegypsystyle:in
1869SimrockissuedthefirsttwoofwhatweretobefourbooksofHungarianDances
forpianofourhandswoo1.(Brahmslaterarrangedtenofthedancesforsolopiano
andthreefororchestra.)Thedancesarelargescalesectionalworksbasedmainlyon
preexistinggypsytunes,someofwhichBrahmsmayhaveknownasearlyas1853,
whenhetouredwiththeviolinistEdeRemnyi.Brahmsmanagedtocombinefolk
andhighartaseffortlesslyasheblendeddivergenthistoricalperiodsinotherworks.
WiththeeightKlavierstckeop.76,mainlycomposedin1878,Brahmsenteredthe
latephaseofhiswritingforpiano,dominatedbyshortercharacterpieces.Thisset
alternatesbetweenworkslabelledCapriccioandIntermezzo.Theformertendtobe
faster(sometimesmarkedagitato),withcontinuousrhythmicmotionthelatterare
morelyrical,butwithamelodicstylethatiseconomicalratherthanexpansive.
ThetwoRhapsodiesop.79areBrahms'slargestindependent,singlemovement
pianoworksaftertheScherzoop.4.Despitetheimplicationsofthetitle,bothpieces
haveclearformaldesigns.Onthelargestscale,no.1inBminorhasaternaryform,
whileno.2inGminorisinafullyfledgedsonataform.TheGminorRhapsodybegins
withoneofthemoststriking(andmostanalysed)gesturesinallofBrahms'smusic,a
kindofdeceptivecadenceinwhichdeceptioncomesnotinthebass,whichbehaves

properly(DG),butinthemelody,whoseDE resolutionsendsthepiecespiralling
offintoaboldharmonicsequence.
Amongthelatecollectionsopp.11619,Brahms'slastworksforpiano,theFantasien
op.116,dubbedamultipiecebyonecritic,havethestrongestclaimtobe
consideredasacoherentwholebecauseofthematic,harmonicandstylistic
connections.Theset,dividedlikeop.76betweenintermezzosandcapriccios,begins
andendswithenergeticpiecesinDminorintheinteriorthereisagroupcentredon
Emajor/minor.TheIntermezzoinEop.116no.4showshowfluidBrahms's
conceptionofstructurehadbecome.Thethreemainthematicunitsfallintoneither
conventionalternarynorrecapitulatingbinaryform,butratherarevariedcontinuously
sothatoneisjustifiedinspeakingofwhatSchoenbergcalledmusicalprose,a
discoursethatunfoldswithoutpatternedrepetition.
InalettertohisfriendRudolfvonderLeyen,BrahmscalledthethreeIntermezzos
op.117WiegenliedermeinerSchmerzen(lullabiesofmysorrow).Inthefirstpiece
theassociationwiththelullabyismadeexplicit:therhythmisasoftlyrocking6/8and
BrahmsprefacedthemusicwithapairoflinesfromaScottishballad,astranslated
byHerder,beginningSchlafsanftmeinKind(Sleepsoftly,mychild).Ithasbeen
suggestedthattheothertwointermezzosinthesetarealsorelatedtoScottish
ballads.
InBrahms'slatepianopieceswebegintoseeabreakdownofthetraditional
distinctionbetweenmelodyandharmonicsupport,betweenaboveandbelow.The
IntermezzoinFminorop.118no.4unfoldsasacanon,sometimesfree,sometimes
strict,betweenthehands.Thethematicmaterialisextraordinarilycompressed:inthe
middlesection,thecanonattheoctaveisbasedonnothingmorethanasustained
chordfollowedbyasinglenote.Astillstricterspatialsymmetrycharacterizesthe
harmonyandtextureoftheIntermezzoinEminorop.116no.5.Thetriadplayedby
eachhandinthefirstsixbarsisanexactmirrorofthatintheotherhand.Moreover,
eachchordappearsonaweakbeatandresolvestobare,twonotedissonanceson
strongbeats.Brahmsthusreversedthetraditionalmetricalprocedureofassociating
thesuccessionweakstrongwithdissonanceconsonance.
The11ChoralePreludesfororgan,composedinMayandJune1896,were
publishedposthumouslyin1902asop.122.Intimationsofthecomposer'smortality
areclearfromhischoiceofchorales,includingtwosettingsofOWelt,ichmussdich
lassen.ThemodelsforthissetarethepreludesofBach'sOrgelbchlein,described
byRegerassymphonicpoemsinminiature,inwhichthechoralemelodyremains
mostlyinthetoppart.Reger'sdescriptioncouldapplyequallywelltoBrahms.The
expressiveseemsinseparablefromthestructuralinmomentsliketheachingly
sustainedhalfdiminished7thchordthatprecedesthefinalcadenceinthefirstO
Weltprelude,orinthecomplexmotivicdevelopmentthatsupportstheguileless
melodyofOGott,dufrommerGott.Theselastworkscapturetheuniquesynthesisof
historicalandmodernthatliesatthecoreofBrahms'smusicalpersonality.
Brahms,Johannes
8.Chambermusic.
BrahmsrevivedchambermusicafterthedeathofSchumann,oneofitsgreatest
Romanticpractitioners,anddefineditforthelater19thcentury.Across40years,
fromthePianoTrioop.8(1854)totheClarinetSonatasop.120(1894),rangesa
corpusof24completeworksthatisarguablythegreatestafterBeethoven.Formany

commentators,chambermusiccapturesBrahms'sbasiccreativepersonality,asthe
musicdramadoesWagner's.
Agoodnumberofcompositions,alldestroyedorlost,precededtheBmajor/minor
PianoTrioop.8,whichinitsoriginalversionisanambitious,somewhatuneven
attempttosynthesizeClassicalandRomantictraditions.Themainthemeofthefirst
movementhasabreadthandtunefulnessreminiscentofSchubertthehymnlike
themeoftheAdagioseemsinspiredbyBeethovenandthepropulsiveScherzois
Mendelssohnianinspirit.IntothemixcomesBaroquecounterpoint:thelargesecond
groupofthefirstmovementbeginswithaBachinspiredchromaticthemewhichin
therecapitulationbecomesthesubjectofanelaboratefugato.
WrittenduringBrahms'searliestandmostintenseinvolvementwiththeSchumanns,
thetrioisalsorepletewithallusions.Thesecondthemeofthefinaleseemsbasedon
thelastsongofBeethoven'scycleAndieferneGeliebte,aworkwhichalsohad
particularsignificanceforSchumann.Brahms'sslowmovementincludesanapparent
referencetothesongAmMeer(fromSchubert'scycleSchwanengesang),whose
textbyHeineaboutfrustratedlovemayhavehadspecialresonanceforBrahmsat
thetime.
In1889,afterSimrockboughtfromBreitkopf&Hrtelthepublishingrightsforthis
andotherearlyworks,Brahmstooktheopportunitytoreviseop.8extensively.He
excisedthefugato,removedthemostobviousallusionsandtighteneduptheformal
structures.Thisprocessincludedwritinganewcontrastingthemefortheslow
movementandanewsecondthemeforthefinale.Brahms'srevisions,althoughnot
greetedwithenthusiasmbysomeinhiscircle,bringthetriomoreintothestyleofhis
laterchamberworks.
TheB StringSextetop.18(185960)standsattheheadofagroupofseven
chamberworks,extendingtotheHornTrioop.40(1865).Togethertheycomprise
whatDonaldToveycalledBrahms'sfirstmaturity,inwhichtheinfluencesofhis
predecessors,especiallyBeethovenandSchubert,wereabsorbedintoastyleof
greatoriginality.
TheB Sextetrepresentsaconsolidationinthespiritofthecontemporaneous
orchestralserenadesandtheHandelVariationsforpiano.Themainthemeofthefirst
movementisastunefulasthatofop.8,butmorecompactandrestrained.Brahms
adoptedastreamlinedversionofthethreekeymodelofSchubert'ssonataforms:
thetraditionaldominant,Fmajor,isdelayedbyamodulationfromtheinitialtonictoa
remotekey(Amajor).Theslowmovement,whosedourthemeandchaconnelike
bassrecallBeethoven's32pianovariationsinCminor(woo80),tempersthe
Romanticapproachtovariationformcharacteristicoftheearlypianoworks.
BycontrastwiththeSextet,thepianoquartetsinGminorop.25andAop.26are
unabashedlyinnovative.Botharemassiveinscale,lastingnearlythreequartersof
anhourinperformance.Theexpositionofthefirstmovementofop.25hasnofewer
thanfivethematicgroups,whichtraceapathfromthesombreopeningtoan
exuberantDmajorclose.Inastrikingtonalreversalthatmayowesomethingtothe
firstmovementofSchubert'sGmajorStringQuartetd887,therecapitulationbegins
inGmajorwiththemiddleratherthantheinitialsegmentofthetripartitefirsttheme.
IntheIntermezzoofop.25,Brahmsforthefirsttimesubstitutedfortheexpected
scherzoorminuetagentlermovementthatbecameahallmarkofhisworks.Thefiery
rondofinaleallaZingareseconstitutestheearliestappearanceofthestylehongrois

(andoneofthemostsuccessful)inBrahms'schambermusic.
ThefirstmovementoftheAmajorPianoQuartetisremarkableforthewayinwhicha
profusionoflyricalmelodiesisgeneratedbythekindofsmallscalemotivic
manipulationthatSchoenbergcalleddevelopingvariation.Theslowmovementis
fullofstrikingtimbraleffects,amongthemanepisode(reminiscentofSchubert'sDie
Stadt,fromSchwanengesang)inwhichthepiano'ssweepingdiminished7th
arpeggiosconfrontanimpassivefournotemotifinthestrings.
TheFminorPianoQuintetop.34originatedin1862asastringquintetwithtwocellos
(inimitationofSchubert'sidenticallyscoredwork)andwasalsoarrangedasatwo
pianosonata(op.34b).ItisperhapsthemosttightlyintegratedworkofBrahms'sfirst
maturity,especiallyinthewayharmonicandmelodicdetailsdeterminelargescale
structure.ThenoteD ,prominentintheopeningtheme(andrepresentingthe
flattenedsixthdegree),isprojectedontothetonalschemeofthethreekey
exposition,whichmovestoC minor,thentoitsenharmonicparallelD major.AD
Cmotivicfigureanditstranspositionspermeatethescherzo,especiallytheenergetic
finalcadences.ThecodaofthefinalebeginsinC minorandreturnstothetonic
areawithaprominentdescentinthebassfromD toC.
AlsoimportantintheFminorQuintetisthetechniqueofthematictransformation,
wherebythemesretaintheirbasiccontourandlengthbutarealteredinmoodor
character.Inthedevelopmentsectionofthefirstmovement,thesinuousmaintheme,
originallyplayedinstarkoctaves,isadjustedinrhythmandtexturetoyield,in
Tovey'saptphrase,theliltofanancientballad.
ThefirstmovementoftheGmajorSextetop.36isjustlyadmiredforitseleganttonal
andmotivicsymmetries.Themainthemeswiftlyoutlineskeysthatlieamajor3rdon
eithersideofthetonic:E andBmajor.ThetautfugalfinaleoftheEminorCello
Sonataop.38,basedonathemethatrecallsthetwomirrorfugues(Contrapunctus
nos.16and17)ofBach'sArtofFugue,showshowfarBrahmshadadvancedsince
thePianoTrioop.8intheintegrationofstrictcontrapuntaltechniqueandsonataform.
BrahmswrotetheHornTrioop.40forthenaturalorWaldhorn,whosetimbreand
capabilitieslendtheworkanunforgettablesoundanduniqueformalqualities.Forthe
onlytimeinthefirstmovementofaninstrumentalworkBrahmsabandonedsonata
form,asifsensingthatarelaxedrondostructuremightallowthehornabroader
rangeofexpression.TheHornTrioisalsocharacterizedbymotivicconnections,and
evendirectthematicrecalls,amongthefourmovements.
Afteraneightyearhiatusinchambermusicaperiodmarkedmainlybylargechoral
worksBrahmsreturnedtoitin1873withtherevisionandcompletionofthetwo
stringquartetsop.51,inCminorandAminor,begunsomeyearsearlier.TheCminor
Quartetreflectsanewstylisticphase,characterizedbymotivicdensityandformal
compactness.Thefirstmovementchurnswithchromaticturbulence,rarelysettling
downintostablekeyareasorbroadthemes.ItslanguageresemblesthatoftheFirst
Symphonyinthesamekey,whichwasgestatingatthistime.Themovementsare
linkedthematicallyinawaythatlendstheworkabreathlessunity.TheAminor
Quartetismoreovertlylyrical,butstillconcentratedintechnique.TheAndante,
whosethemeisgeneratedfromtheconstantrhythmicmetricdisplacementofthe
intervalofa2nd,wasjustlysingledoutbySchoenbergasamiracleofmusical
economy.

In1875BrahmsattackedmoreunfinishedchambermusicwiththePianoQuartetinC
minorop.60,begunin1855inC minor.Theearlydateofatleastthefirstmovement
mayaccount(aswiththeoriginalversionoftheBmajorTrio)fortheoddly
experimentaltreatmentofsonataform.Thesecondgroup,inthekeyofE ,isbuiltas
aquasiindependentthemeandvariations.Intherecapitulation,inacaseprobably
uniqueinthehistoryofsonataform,thisgroupistransposednottotheexpected
tonic,buttothedominant,Gmajor.
InthelastStringQuartet(no.3inB ,op.67)Brahms'swritingforthemedium
becomesespeciallytransparent.Formalandthematicstructuresarecorrespondingly
lucid,andofteninnovative.Inthefirstmovement,thesonataexpositionisarticulated
notonlybyconventionalharmonicandmelodicproceduresbutalsobymetricalones.
Themainthemeiscastinabuoyant6/8,thesecondinamorehesitant2/4.The
transitionbetweenthemismadebyaseriesofstrikinghemiolas.Thefinale
representsthefirsttimeBrahmsendedamultimovementworkwithasetof
variations,hereexploitedtocreateanewkindofcyclicunity.Afterthesixthvariation,
theopeningthemeofthefirstmovementreturnssuddenlyandmanagesasifby
magictointegrateitselfintothevariationstructure.Inthefinalbarsitiscombined
withtheoriginalvariationthemeinseeminglyeffortlesscounterpoint.
Intheinterregnumbetweenhissymphonicperiods,Brahmscompletedthree
chamberworks,theViolinSonatainGop.78,thePianoTrioinCop.87andthe
StringQuintetinFop.88.ThepastoralfirstmovementoftheViolinSonatarepresents
akindofexpressiveoverflowfromthefirstmovementoftheSecondSymphony.As
inthesymphony,amoresombretoneisstruckbytheslowmovement,especiallythe
funeralmarchinthepiandanteepisode,andbythefinale,whichbeginsinthe
minormodewithacitationofBrahms'ssongRegenlied,andintowhichthemain
themeoftheslowmovementmomentarilyreassertsitself.
IntheStringQuintetop.88Brahmsinnovatedathreemovementformatinwhicha
centralrondostructurecombinesthefunctionsofaslowmovementandscherzo.The
themeoftheGraveedappassionato,adaptedfromakeyboardsarabandof1854
(woo5),alternateswithanAllegrettovivacebasedonagavottefromthesameperiod
(woo3).LikethefinaleoftheCelloSonataop.38,theQuintet'slastmovement
integratessonataandcontrapuntalform,hereinamorejovialspirit.Thefirstgroupis
afugalexposition,withaBaroquestylesubjectinbusyquavers.Forthesecond
group,thesubjectretreatstoaninnerparttoaccompanyanexpansivemelody.
Brahmsachievedaremarkablenewlevelofeconomicallyricisminthenextfour
works,theCelloSonataop.99,theSecondViolinSonataop.100,theThirdPianoTrio
op.101andtheThirdViolinSonataop.108.Theopeningthemeofop.99consists
essentiallyofatwonotefigure(CF)whoseintervallicandrhythmicstructure
(semiquaverminim)evolvesrapidlybymeansofdevelopingvariation.Theprocess
issocontinousthatitalsoenvelopsthesecondgroup,derivedfromthesame
material.Inallfourworksthehighlyconcentratedapproachmakesforverybrief
structures:thefourmovementsofop.108altogetherlastjustover20minutes,barely
longerthanthefirstmovementoftheFminorPianoQuintet.
ThefirstmovementoftheGmajorStringQuintetop.111,aworkwithwhichBrahms
initiallythoughttotakeleaveofcomposition,seemstopressagainstthelimitsof
chambermusic.Thepowerfulopeningtremolosannounceasymphonicmanner,and
themaintheme,introducedbythecello,isoneofthemostexpansiveinallBrahms,

withanambitusandharmonicscopethatinvitecomparisonwiththeathleticmelodies
ofRichardStrauss.
Verydifferentinmoodarethoseinthefinalgroupofchamberworks:theClarinetTrio
op.114,theClarinetQuintetop.115andthetwoClarinet/ViolaSonatasop.120.
Althoughthetimbreoftheclarinetimpartsareflectivequalitycriticshaveusedthe
wordautumnalthereisnothingretrospectiveaboutthecompositionaltechniques.
Structuralfluidityisespeciallyevidentinthefirstmovements,wheretheconventional
boundariesofsonataformbecomeblurred.WiththeexceptionoftheClarinet
Quintet,theexpositionsarenotrepeated.Brahmsbuiltcomplexthematicgroups,in
whichtheopeningideas,harmonicallyandformallyambiguous,areatthesametime
introductoryinnatureandintegraltotheexposition.Inop.120no.1theinitialunison
flourishcouldbeineitherFminororD major.Whenthefirstthemereappearsatthe
endofthethedevelopment,itisharmonizedintheremotekeyofF minor.The
recapitulationproperbeginswiththeappearanceonthetonicofwhatwasthe
contrastingpartofthefirstgroup.Withthesekindsoftechniques,thelatechamber
worksachievebothcontinuityandclarityinawaythatisuniqueinthehistoryof
music.
Brahms,Johannes
9.Orchestralworksandconcertos.
InhisarticleNeueBahnen,SchumannhintedthatitwasBrahms'sdestinyto
composefororchestra.BythetimeofBrahms'sdeathin1897,thispredictionhad
beenfulfilledwiththecreationoftwoserenades,fourconcertos,asetofvariations,
twooverturesandfoursymphonies.
TheDminorPianoConcertoisoneofthemostpowerfulstatementsafterBeethoven
inwhatCarlDahlhauscalledthesymphonicstyle,whichaimedformonumental
effectsachievedbyorchestralmeansasymphonycouldnotbemerelythe
transcriptionofasonataandwasdefinedbymomentsliketheopeningoftheNinth
Symphony.ThefirstthemeoftheconcertorecallsBeethoven'sNinthinitsangularity,
rhythmicenergyanduseofathrobbingtimpanipedalpoint.Brahmsalsoexplored
thetonalrelationshipbetweenDminorandB majorcharacteristicoftheNinth.The
firstmovementoftheConcerto(markedMaestoso)isdistinctivefortheample
dimensionsoftheorchestralexposition,itsharmonicrangeandpianowritingthat,
unlikethatofmostconcertosoftheperiod,isvirtuosowithoutbeingflashy.
TheturbulentfirstmovementhasoftenbeenassociatedwithSchumann'sattempted
suicide.TheAdagiomovement,inbroadternaryform,isareflectivecounterpart:
BrahmscalleditagentleportraitofClaraSchumann.Strikingly,itisinthesame
unusualtimesignatureasthefirstmovement,6/4,andthereareclearthematiclinks.
Therondofinaleshowsaverydifferentspirit.Itsformalstructureismodelledclosely,
evenslavishly,onthefinaleofBeethoven'sThirdPianoConcertoinawaythatmight
becalledneoclassical.
Itisthisneoclassicalimpulsethatcomestotheforeinthenextorchestralworks.In
thefirstmovementoftheFirstSerenadeop.11,written(afterseveralmetamorphoses
ofmedium)forfull[grosses]orchestra,theangryDpedalpointoftheFirstConcerto
hasgivenwaytoapastoraldronetheferocioustrillsandchromaticismyieldtoa
themebouncinggentlyamongthenotesoftheDmajorscale.Themodelsforthe
FirstSerenadeareinHaydnandinearlyBeethoven(especiallytheSecond

Symphony,inthesamekey).Theapparentsimplicityofthework,however,conceals
sophisticatedBrahmsiantechniquesofmotivicdevelopmentandflexiblephrase
structure.TheSerenadeincludestwoscherzosandapairofexquisiteminuets.Inthe
minuetstheoriginoftheSerenadeasachamberworkisespeciallyapparent.The
expansiveslowmovementistheonlyoneinBrahms'sworkstousefullsonataform.
UnlikeitsDmajorcounterpart,theSecondSerenadeop.16inAwasconceivedfora
smallorchestra,distinctive(likethefirstmovementoftheGermanRequiem)in
havingnoviolins,ascoringthatgivesprominentmelodicrolestothewind
instrumentsandviolas.TheSecondSerenadehasfivemovements,includingtwo
innerdancemovements,ascherzoandaminuet.Thedarklyhuedslowmovementis
noteworthyforitsrichcounterpoint,expansiveternaryformandharmonic
adventurousness.
In1862Brahmsplungedbackintothesymphonicstylewiththefirstmovementof
whateventuallybecamehisCminorSymphony.Butonceagainthesymphonic
enginestalled.Heseemstohavemadenosubstantialprogresswiththeworkover
thenext14years.In1873hereturnedtoorchestralwritingwithvirtuallysimultaneous
versionsfortwopianosandfororchestraoftheVariationsonaThemeofHaydn
op.56,basedontheStAnthonychoraleforwindinstruments(apiecenolongerfirmly
attributedtoHaydn).TheHaydnVariationsisthefirstorchestralworkinwhich
Brahmsmaybesaidtohaveassimilatedfullyearliermodelsandinfluences.There
areeightvariations,plusafinaleintheformofapassacagliawith17variationsanda
coda.AlthoughthetechniquesowemuchtoBrahms'sforebears,whatisnewand
genuinelysymphonicisthewaythecounterpointisrealizedthroughtheorchestra,
notonlyinthestrictdevicesofcanonandinvertiblecounterpointbutalsointhe
polyphonicmovementoftheparts.ApassagelikethePresto(eighthvariation),with
itseeriepedalpointsspreadoutoversixoctaves,alsoindicatesanewlevelof
sophisticationinBrahms'sorchestration.
ThecompletionandpremireoftheFirstSymphonyin1876wasamilestonefor
BrahmsandforsymphonicmusicgenerallyinAustroGermanlands.Althoughitwas
notuniversallyloved,thesymphonywasacknowledgedasthemostsignificantsince
Schumann.Itadherestothestandardfourmovementformatandassuchwas
sometimesconsideredtocontributelittletothedevelopmentofthegenreafter
Beethoven'sNinth.Infact,Brahmsadaptedwithgreatoriginalitythemodelof
Beethoven'sFifthSymphony,whichlikewiseprogressesfromstruggleinCminor
towardstriumphinCmajorbymeansoflinksbetweentheindividualmovements.In
Brahms,thesetechniquesincludethematicmotivicconnectionsinvolvingespecially
thefiguresofadescending4thandachromaticrising3rd,aswellasaharmonic
tonalschemeinwhichthekeysofthesuccessivemovementsdepartfromandreturn
toCbymajor3rds:CEA C.
FromBeethoven'sNinthSymphonyBrahmstookovertheideaofgivingbothouter
movementsslowintroductions.Theintroductiontothefinalerevisitstheturbulent
moodofthefirstone,thenbringsforthtwonewelements(ahorncallandachorale
likepassage)thatpointtowardsresolution,whichcomeswiththefamousfirsttheme
ofthemovementproper,aCmajormelodyreminiscentofBeethoven'sOdetoJoy
theme.
TheFirstSymphonyisspecialinitscombinationofcontrapuntaldensity,fluidphrase
structure,andsoaringlyricism.Themainthemeofthefirstmovementisactuallya
complexofthreedifferentmotifspresentedsimultaneously,thenimmediately

developed.Thephrasesgeneratedareofirregular,constantlychanginglengths.At
certainmomentsandtheirraritymakesthemespeciallypowerfulthemomentum
ofthismotivicstyleletsuptoyieldbroadermelodies,asintheG tuneinthe
developmentofthefirstmovementand,moreprominently,intheCmajorthemeof
thefinale.
TheSecondSymphonyinDop.73,composedlessthanayearafterthecompletion
oftheFirst,isoftendescribedasitssunnycounterpart.Theworkindeedradiatesa
warmthandtunefulnessabsentinpartsoftheearlierwork.ButasBrahmshimself
acknowledged,theSecondSymphonyalsohasamelancholyside.Thelyrical
openingthemeofthefirstmovementunravelsalmostatonceintoadarkpassagefor
timpaniandtrombones.Thevoiceofmelodiccontinuityisreassertedofteninthis
movement,however,firstbytheviolinmelodythatfollowstheunravellingandagain
bythesecondgroupandthelargecoda.Thepensiveslowmovement,inBmajor
andinamodifiedsonataform,isdominatedbyamotivicallyrich,metrically
ambiguousmainthemeremarkableforitscombinationoftunefulnessanddeveloping
variation.
Thesecondhalfofthesymphonydistinctlybrightensinmood,althoughittoo
containssombremomentsofteninvolvingthetrombonesthatevokethe
expressiveworldofthefirsttwomovements.TheAllegrettorecaststhetraditional
scherzotrioalternationintoarondolikestructurethatisoneofBrahms'smost
originalcreations.AlthoughthefinaleendsthesymphonyinajubilantblazeofD
major,itglancesbackatthemoodoftheearliermovements,especiallyinthe
hauntingpassageattheendofthedevelopmentsection(whosechainsof
descending4thsMahlerrecalledhisFirstSymphony)andinthesyncopatedepisode
forbrassinthecoda.
Twoconcertosandtwooverturesseparatethefirsttwosymphoniesfromthesecond
pair.Temperamentally,theViolinConcertoop.77isinmanyrespectsacompanion
piecetotheSecondSymphony,withwhichitsharesthekeyofDandafirst
movementin3/4timebuiltfromtriadicallyorientatedthemesthatfurnishenergetic
developmentaswellasgentlelyricism.TheelegiacopeningritornellooftheAdagio,
scoredforwoodwindandsolooboe,introducesoneofBrahms'smostclassically
poisedslowmovements.TheexuberantrondoisoneofBrahms'sgreatestessays,
andcertainlyhismostvirtuoso,inthestylehongrois.
TheAcademicFestivalOvertureop.80andtheTragicOvertureop.81are
counterpartstoeachother,somewhatlikeasatyrplayandatragedy.Inthe
AcademicFestivalOvertureabouthalfadozenpopulartunesandstudentsongs,
includingtheRkcziMarchandGaudeamusigitur,arewovenintoasophisticated
largescalebinaryformconsistingofathreekeyexpositionandarecapitulationthat
incorporatesdevelopmentalelements.Beyonditstitle,theTragicOverturehasno
specificprogrammeornarrative.ThisimposingmovementisinthespiritofDminor
predecessors,includingBeethoven'sNinthandBrahms'sownFirstPianoConcerto.
Itisinabroadsonataform,inwhichtherecapitulationbeginswiththetransitionto
thesecondgroup.Theovertureisremarkableforitsmotivicconcentration,especially
thewayinwhichallthethematicmaterialseemstobegeneratedfromthebold
openingmottoofadescending4th.
TheB PianoConcertoop.83istheOlympiansuccessortoBrahms'sfirsteffortinthe
genre.(HisfriendTheodorBillrothremarkedthatthetwoworksstoodinthe

relationshipofyouthtoman.)Theinterpenetrationofsoloandorchestralparts,as
wellastheadditionofascherzotothenormalthreemovementdesign,bringsop.83
closertothegenreofsymphonythananyothermajorconcertoofthe19thcentury.
Thepianomakesanearlyappearance(asinBeethoven'sFourthandFifth
Concertos),respondingtoanevocativehorncall,thenembarksonafullyfledged
cadenza.AllofthisisapreludetoBrahms'smostexpansiveconcertomovement.
Thescherzoisanintense,compactsonataforminDminor,whichflowsintoa
radianttrioinDmajor:itisasiftheworldsoftheearlierDminorConcertoandthe
morerecentViolinConcertoareputsidebyside.Amasterpieceoftonepainting,the
Andanteisalmostadoubleconcertoforsolocelloandpiano.Thepianonevertakes
upthecello'sopeningmelodydirectly,respondinginsteadwithapparently
improvisatorygarlandsoffigurationthat(beingbyBrahms)areinfactthematic.The
finale,asonatarondo,encompassesagreatrangeofmoods,fromthegypsy
swaggerofthefirstepisodetotheclownishrompofthecoda.
WithhisThirdSymphonyop.90Brahmsachievedanewlevelofcoherenceina
largescaleorchestralwork.Itistheshortestofthefoursymphonies,lastingonlyhalf
anhourinmostperformances.Thedurationsoftheindividualmovementsarecloser
tobeingequalthaninanyoftheothers.Thecompactdimensionsandbalanced
proportionsseemintendedtopointupprocessesthatextendovertheentirework.
TheseincludethemostdirectthematicrecallinanysymphonicworkbyBrahms:the
openingmottoandthemereturntransfiguredattheendofthefinale.Coherenceis
alsoimpartedbyharmonicdevices,suchasthefrequentjuxtapositionofFmajorand
Fminor.Thetonalschemeisuniqueinthegenre:outermovementscentredonF
andinnermovementsonC,thuscreatingaplateauofharmonictensioninthe
dominantthatimpliesalargescalesonataformoverthewholework.
InmanywaystheFourthSymphonyop.98,composedsoonaftertheThird,
representsthesummitofBrahms'sachievementinthegenre.Thefinale,intheform
ofapassacagliawithaterseeightbarthemeand30variations,ishismost
thoroughgoingattempttosynthesizehistoricalandmodernpractice.Whileobserving
thestricturesoftheostinatosubject,hecreatedcontinuitybyarrangingthevariations
ingroupsaccordingtofiguration,thematicstyle,dynamicsandharmony.
AsintheThirdSymphony,tonalrelationships,hereinvolvingEandC,extendover
theentireworkatbothlargerandmoredetailedlevels.ThefourmovementsareinE
minor,Emajor,CmajorandEminor,respectively.Atthebeginningofthe
recapitulationinthefirstmovement,aCmajortriadthathadbeenonlyadiscreet
harmonyattheopeningbecomesabroadarpeggiounderthesustainedfourthnote
ofthetheme.IntheAndante,thePhrygianinflectionsofthethemecontinuallybring
C(asflattenedsixth)intoplay.Inthefinale,whoseostinatothemesuggestsasingle
harmonicframework,variations268arebroughtdeftlyintothekeyofCmajor.
TheFourthSymphonyisalsoremarkableforwhatEdwardT.Conecalledharmonic
congruence,wherebytheverticalandhorizontaldimensionsofthemusicare
fashionedfromthesamebasicmaterial.Thisprincipleisadumbratedbythe
descendingchainofmelodic3rdsthatshapesthemaintheme.Hereandelsewhere
inthefirstmovement,theaugmentedtriadformsasignificantelementonboththe
thematicandtheharmonicaxes.Congruenceofthistypeforeshadowsremarkably
Schoenberg'sconceptoftheunityofmusicalspace,inwhichthereisnoabsolute
down,norightorleft,forwardorbackward.

Brahms'sfinalworkinvolvingorchestraisthemuchunderratedConcertoforViolin
andCelloop.102,whichwascomposedin1887inpartasagestureofreconciliation
withJoachimafteralongperiodofcoolrelations.Thereisnoapparentprecedentfor
theuseofthesetwoinstrumentsinaconcerto,thoughBrahms'sworkisclearly
indebtedtoMozart'sSinfoniaconcertanteforviolinandviolak320dandto
Beethoven'sTripleConcerto.Theopeningofthefirstmovementisdominatedbytwo
cadenzas,oneforeachinstrument,correspondingtothetwomainthemesofthe
exposition.Becauseofthesubsequentinterpenetrationofsoloandorchestra,the
dialogicaspectofthesolopartsandthenatureofthethematicmaterial,thestandard
demarcationpointsinthesonataformareblurredtoanevengreaterdegreethanis
normalinBrahms.ThecentralAndantemovementisbuiltfromoneofBrahms'smost
expressivemelodies,which,whenplayedbythetwosoloistsinoctaves,almosttakes
onaPuccinianintensity.Thefinaleisasonatarondointhegypsystyle.
ThemanyorchestrasthatplayedBrahms'smusicinhislifetime,oftenunderhis
baton,variedwidelyinsize.ThelargestwastheViennaPhilharmonic,whichhad
about100playersatthetimeofthepremiresofthesecondandthirdsymphonies.
ThesmallestwerethecourtorchestrasatKarlsruheandMeiningen,whichgavethe
premiresoftheFirstandFourth,respectivelytheyhad49players,withonlynineor
tenfirstviolins.Especiallyinthesesmallergroups,thebalancebetweenstringsand
woodwindbrasswasmoreeventhaniscommontoday.
TwobasictrendsininterpretationofBrahms'sorchestralmusiccanbegleanedfrom
survivingevidence.OnewasthatofHansRichter,conductoroftheVienna
Philharmonic,whosestraightforward,moreliteralapproachwasinheritedinpartby
FelixWeingartner.Theotherwastheheavilynuancedstyle,withrhythmicinflection
andtempofluctuation,ofHansvonBlow,passedontoFritzSteinbach.Although
notalwayscontentwitheitherRichterorBlow,Brahmsapprovedofboth
WeingartnerandSteinbach.Thissuggeststhathehadnofixedideaofhowhis
symphoniesshouldsound,puttinghistrustinthemusicianshipofthebest
conductors.
Brahms,Johannes
10.Choralworks.
LargescaleworksforchorusandorchestraoccupyasignificantnicheinBrahms's
output.AttheheadofthisgroupformanyitstandsatthecentreofBrahms'sentire
outputistheGermanRequiemop.45,composedmainlybetween1865and1867,
withthefifthmovementaddedin1868.
TheGermanRequiemwasthefirstworkinwhichBrahmsfulfilledSchumann's
mandate(madeinthearticleNeueBahnen)todirecthismagicwandwherethe
massedforcesofchorusandorchestramaylendhimtheirpower.Schumann'sown
contributionstothechoralorchestraltradition,composedwithinthelastdecadeofhis
lifeandincludingsuchworksasSzenenausGoethesFaust,servedasinspirations
forBrahms,wholikewiseturnedforhistextstohighqualityGermanpoetryandtothe
scriptures.
Althoughitfallsintothetraditionofthesacredoratorio,theRequiem,whichemploys
baritoneandsopranosoloists,belongstonoestablishedgenre.Itisnota
conventionalrequiemmass,sinceitavoidstheliturgicalLatintext.Brahms
assembledhistextsforthesevenmovementsfrom15passagesinMartinLuther's
translationoftheBible.Thefocusislessondeaththanonconsolationfortheliving.

ThetextsarestrikingforavoidingaltogetherthenotionofredemptionthroughChrist,
whoisnotmentionedatall.ThereligioussentimentisthusmoreuniversalBrahms
saiditcouldbecalledahumanrequiemthandenominational.
ThechoralwritingintheRequiemdisplaysgreatdiversityandhistoricalawareness.
Atonetexturalextremeisthestark,sombrehomophonyattheopeningofthesecond
movement(DennallesFleisch)attheother,theelaborateneoHandelianfugues
thatclosethethirdandsixthmovements(atHerr,dubistwrdigandDerGerechten
Seelen,respectively).Thefirstpartofthefourthmovement(Wielieblichsinddeine
Wohnungen)evokestheliltofaViennesewaltz(fig.10).Inthesixthmovement,at
undderZeitderletztenPosauneandTod,woistdeinStachel?,Brahmscomposed
passagesasexplosivelydeclamatoryasanythinginthe19thcentury.
InmanywaystheRequiemsetthestylisticparametersforthechoralorchestral
worksthatfollowed.TheTriumphliedop.55(1871),whichemploysdoublechorus
andabaritonesoloist,isoftencalledneoHandelianbecauseofitscontrapuntal
textures,broadsequencesandfrequentinterjectionsofHallelujah.Suchalabel
tendstomasktheoriginalfeaturesofthisseldomperformedwork,includingthe
sophisticatedpolyphonicwritingandthemasteryoftimbreevidentinBrahms's
deploymentofthemassedforces.Thenationalistic,celebratoryTriumphliedis,
however,theanomalyamongthepostRequiemworks,whichotherwisedealwiththe
generalthemeofthealienationfeltbyanindividual(orbyhumanity)towardsthe
higherpowersthatcontrolexistence.
Betweenthem,theAltoRhapsodyop.53(1869)andRinaldoop.50(completed1868)
mayprovidetheclosestapproximationofhowanoperabyBrahmswouldhave
sounded.IntheRhapsody,BrahmsshapedthreestanzasfromGoethe'sHarzreise
imWinterintoacompact,quasitheatricalscena.Anorchestralritornelloisfollowed
byarecitativeandaria(orarioso)forcontralto,whoisthenjoinedbyamen'schoir
forachoralelikefinale.Thepsychologicalevolutionoftheprotagonistfromsolitary
despairtotheprayerofconsolationintheFatherofLoveistracedbytheincreasing
regularityofthephrasestructureandmelodicstyle,andbyaharmonictrajectory
fromachromaticallyinflectedCminortowardsaradiantCmajor.
Rinaldo,whichBrahmscalledacantata,isasettingofastillmoreovertlydramatic
poembyGoethe,itselfbasedonanepisodefromTorquatoTassoaboutaCrusader
knight(solotenor)whoispersuadedbyhiscrew(men'schorus)toleavethe
enchantressArmidaandreturntowar.Brahmsskilfullyinterwoveroundedforms
suchasRinaldo'srecitativeandlargescaleternaryariawithmoreopenended
onesthatconveythehero'sincreasingdoubts.
FriedrichHlderlin'spoemHyperionsSchicksalslied,setbyBrahmsasSchicksalslied
op.54(186871),maybesaidtoreversethepatternoftheHarzreisefragment:here,
thetroublefreelifeofthegodsonhigh(stanza1)iscontrastedwiththetormented
existenceofmortalsbelow(stanzas23).Toavoidendinginthedarkermood,
Brahmsbroughtbackthemusicoftheelegiacorchestralintroduction.Thetonal
schemeoftheSchicksalslied,E majorCminorCmajor,isdistinctiveinBrahmsas
anexampleofprogressivetonality.
ForthetextofNnieop.82(1881),amusicalmemorialtohisfriendtheneoclassical
painterAnselmFeuerbach,Brahmsturnedtoadistinguishedearlierneoclassicist,
Schiller.Liketheothershorterchoralorchestralworks,thisonetouchesonthe
themeofhumandestiny,heretheephemeralnatureofbeauty.Sincethetoneis

moreuniformlyelegiac,oneofBrahms'sremarkableachievementsinNniewasto
createsomuchvarietyofexpression.Thiswasdoneinpartthroughstrongly
contrastingchoraltexturesandkeyareas:thefugalopeningandclosingsectionsin
Dencloseacentral,morehomorhythmicsegmentinthe3rdrelatedkeyofF .
TheGesangderParzenop.89(1882),whosechromaticandturbulentDminor
tonalityseemstorevisittheworldsofBeethoven'sNinthandBrahms'sFirstPiano
Concerto,isasettingforsixpartchorus(withdividedaltosandbasses)ofa
monologuefromGoethe'sdramaIphigenieaufTauris.AsintheSchicksalslied,the
mortalsandimmortalsareseparatedbyanunbridgeablegulf.Theoverallformisa
rondo,achievedbyrepeatingtheopeningstanzaanditsmusicinthemiddleofthe
work.ThecodacontainsoneofBrahms'smoststrikingharmonicpassages,acycle
ofmajor3rds(DF B D)inwhicheachstepfunctionsasanaugmented6thchord
ofthenext.(Webernadmiredthisprogressionasthebeginningofthechromatic
pathtothe20thcentury.)
Brahmsalsocomposednumeroussmallerscalesacredandsecularworksfor
women's,men'sandmixedchoirs.Theearliestextantcompositions,writtenforhis
choirsinDetmold,HamburgandVienna,reflecthisinterestsinhistoricalstylesand
hisexchangeofcounterpointexerciseswithJoachim.ThefragmentaryMissa
canonicawoo18(1856)andthetwoLatinpiecesforGoodFriday,OboneJesuand
Adoramusteop.37nos.1and2(1859),wereinspiredbylateRenaissancemusic.In
theindependentKyriewoo17(1856)abassocontinuoaccompaniesBaroquestyle
polyphony.TheGeistlichesLiedop.30(1856)combineschoralelikemelodywith
strictcanonicprocedures,Classicalclosedformandafreepolyphonic
accompaniment.IntheReginacoeliop.37no.3(1863)amelodyemploying18th
centurydancerhythmsissunginduetwithitsinversionandispunctuatedbychoral
responses.ThetechniquesofearlymusicoccuraswellintheTwoMotetsop.29
(185660):inno.1,EsistdasHeilunskommenher,afourpartchoraleissucceeded
byanelaboratefugalvariationonthechoralemelodyinno.2thefirstandthirdparts
ofBrahms'ssettingofversesfromPsalmliarecanonic(astileanticoaugmentation
canonandagroupcanoninsicilianostyle),thesecondandfourthpartsfugal
(angularBachianversustriumphantHandelian/Beethovenian).
Twoworksfromautumn1858employorchestralforces.IntheAveMariaop.12
sweetlyflowingpassagesofparallel3rdsin6/8recallearlierMariansettings,butthe
structureisthatofaminiaturesonatamovement.InthemajesticBegrbnisgesang
op.13Brahmsmarshalledanimpressivearrayofhistoricaltextures:darklyhuedsolo
choralesingingwithchoralresponse,instrumentalostinatoaccompanyingchoral
psalmodyandcanonictriosonatatexturewithobbligatowindsreminiscentofBach's
cantatas,allunitedbyritornellosofwoodwindandlowbrassintoaClassicalrondo
structure.
ForestmysteryandtheripplingmusicofwindandwaterinfusetheVierGesnge
op.17forwomen'schoir,harpandhorns(1860),acycleofRomantictonesketches
thatopenswithamovementinCmajorthatismoreessencethansubstanceand
culminateswithafatefuldactylicdirgeinCminorrepletewithhowlinghounds,
restlessghostsandsweepingwind.Inbetweenaretwomoresongsofloveand
death,anAndanteandascherzolikeAllegretto,bothinE .Chiastictonalplanning
andafinalchoralelikesongonthethemeofhumanredemptioninthesevenstrophic
Marienliederop.22(1859)mayhavebeeninspiredbyBach'scantatas.

Brahms'sloveoffolksongisevidentinthe14arrangementsoftraditionalsecularand
sacredtunesformixedvoicespublishedintheDeutscheVolksliederwoo34(1864)
andintheLiederundRomanzenop.44(185960),originalcompositionsonfolksong
textsandfolkinfluencedpoetry.Thoughcastinsimplestrophicform,these
miniaturesaboundinartifice,movingattimesasclosetomadrigalastofolksong.
Amongtheeightopusespublishedbetween1874and1891mostofthe13Canons
op.113,twoofthesevenLiederop.62(nos.6and7)andtherichlycontrapuntal
choralemotetOHeiland,reissdieHimmelaufop.74no.2werecomposedbetween
1858and1869.ThemotetWarumistdasLichtgegebenop.74no.1(1877),oneof
Brahms'sfinestacappellaworks,drawsextensivelyonmaterialoriginallycomposed
fortheMissacanonicaof1856,settoanassemblageofbiblicalpassagescraftedby
Brahms.Anxioushomophonicqueries(Warum?)punctuatingadenselychromatic
fugaltexturegivewaytoimitativeentriesascendinginsixparts,ashumankindliftsits
handstoGod.Asteadilyprogressingmelodyunderlaidwithimitativevoices
effectivelyconveysthepatienceofJob.Themotetclosespeacefullywithacantional
settingoftheLutheranchoraleMitFriedundFreud.
InspiredbythepolychoralcompositionsofSchtz,thethreeFestund
Gedenksprcheop.109(completed1889),intendedascelebratorypiecesforthe
commemorationofGermannationalfestivalandmemorialholidays,revealBrahms's
fearofthedivisionsbetweenVolkandReichincreasinginGermanyatthetimeand
hisabidingfaithinthestrongarmedmanBismarck,whokeepethhispalacein
peace.Simplechoralesingingjuxtaposedwithmorelearnedresponsesinthefirst
piecesuggestsdisparateculturallevels,buteventuallyallareunitedinastrong
societyblessedbytheLordwithpeace.Inthesecondnumberpolyphonicdisunity
leadingtodissonantdesolationiscounteredbyconfident,militaristicorder.Withthe
finalpieceBrahmswarnedhisfellowGermansagainstforgettingthelessonsof
history.AnelaboratesevenfoldAmen,eachstatemententeringonadifferentdiatonic
pitch,celebratesthediversityoffuturegenerations,beforeclosingonaunifiedplagal
cadence.InthetriptychofMotetsop.110acentralfourpartcantionalhymnderiving
fromthechoraleEsistgenugisflankedbytwopiecesfordoublechoirs.Thesituation
hereispersonalratherthancommunal:thewretched,sorrowfulman,deceivedbythe
falserichesoftheworld,facesdeath,seekingcomfortandsalvationinGod.
Thesevenliederformixedchoirop.62(18734)employcantionaltextureand
strophicform,asbefitstheirlegendaryandfolkthemes.Eachoftheseseemingly
simplesongsischaracterizedbyoneortwoverysophisticateddevices,forexample,
therestrictedchordalmovementsofthedelicatelybuddingyoungheartthatis
graduallyopenedbyLoveinaseriesoftenderlyblossomingcanonichemiolasin
DeinHerzleinmild(no.4),andtheanxiouslamentofthewind'sbrideinparallel63
chordsoverintonedoctavesinEsgehteinWehen(no.6).
Brahms'sfinaltwosetsofsecularchorusesmingletraditionalRhenish,Bohemian
andSerbianverseswithrefinedlyricsbyGoethe,Rckert,AchimvonArnim,and
KlausGroth.WhileglimmersofhopecanstillbefoundintheLiederundRomanzen
op.93a(1883),thethemeoftheFnfGesngeop.104(18868)isresigned
acceptanceoftherealitiesofalonelyoldage.Unfoldinginstrophicvariation
exquisitelytailoredtoreflectthechangingnuancesoftheirtexts,theseminiatures
demonstrateBrahms'sdeftnessincreatingapttonalanalogiesforexample,the
closecanonthatportraysleavesglidingdownoneupontheotherinLetztesGlck
(no.3),andthedoubledottedrhythms,hollow5thsandchromaticismtemperedonly

byafleetingmomentofresignedwaltzinthepoignantImHerbst(no.5).
Brahms,Johannes
11.Liederandsolovocalensembles.
Brahmswasaprolificcomposerofsong.Overaperiodof43years(185396)he
published190sololieder,5songsforoneortwovoices,2songswithobbligatoviola,
20duetsand60vocalquartetsforsolovoices,allwithpianoaccompaniment.His
earliestextantsolosong,theexuberantHeimkehrop.7no.6,datesfromMay1851,
hisfinalworkinthisgenre,theprofoundVierernsteGesngeop.121forbassand
piano,fromMay1896.Thepublishedsongs,though,representonlyaportionofhis
totaloutput.SupressedweremanyyouthfulsettingsofpoetrybyJosephvon
Eichendorff,EmanuelGeibel,AdalbertvonChamissoandHeinrichHeine,aswellas
maturesongsonpoemsbyGeibel,FriedrichHalm,HeineandPaulHeyse,and
possiblyGeorgFriedrichDaumer,J.W.L.Gleim,HansSchmidtandFriedrichRckert
aswell.
TheopusnumberofaBrahmssongisnotalwaysagoodindicationofits
chronologicalposition.Typicallyhewouldcomposesongssinglyorinsmallclusters,
ashebecameinterestedinaparticularvolumeofpoetryortheversesofacertain
poet.Somesongsmightbepublishedsoon,otherswouldbeconsignedtohis
portfolio,wheretheycouldresideformanyyearsbeforebeingselected,revisedand
positionedinacarefullyorderedcollection(characterizedbyBrahmsasbouquetsof
songs).Hemightalsowritealargenumberofsongswithinarelativelyshortperiod,
forexample,the18Liebesliederwaltzesof18689forsoloquartet.Other
concentratedoutpouringsoccurredduringautumn1858andsummer1864,andin
March1877.ButmanyofthesongstraditionallyattributedtowhatKalbeckcalledthe
Liederjahrof1868cannotbedatedprecisely,andotherspublishedthenwere
writtenearlier,evenasfarbackas1853.Brahms'soneextendedcycleofsolosongs,
theMageloneRomancesop.33,consistsofpiecescomposedduringatleastthree
differenttimesoveraneightyearperiod(18619).
Brahmshasoftenbeencriticizedforthemediocrequalityofhistexts.Besidessetting
poemsbyleadingwriterssuchasEichendorff,Goethe,Heine,LudwigHlty,Mrike,
RckertandTheodorStorm,healsosettleduponlyricsbyminorversifiers,
fashionableinhistime,suchasDaumer(54settings,includingthetwosetsof
Liebesliederwaltzes),CarlCandidus,Halm,CarlLemcke,AdolfFriedrichvonSchack
andMaxvonSchenkendorff.Thetendencycannotbeexplainedbypooreducationor
lackofliterarytaste.Likemostculturedpeopleofhisday,Brahmswasanavid
readerofpoetrybybothestablishedmastersandcontemporaries.Rather,the
criterionheappliedwhenselectingtextswaswhetherthepoemleftroomfor
enhancementbyamusicalsetting.In1876hetoldGeorgeHenschelthatall
Goethe'spoemsseemedtohimsoperfectinthemselvesthatnomusiccanimprove
them.Themoodandsubstanceofthepoemmusthavesomespecialqualitythat
lendsitselfnaturallytomusicandthepoemmustaffectthecomposerspontaneously,
thoughnotsostronglyastodestroytheobjectivedetachmentthatBrahmsfelt
necessaryfortheactofcomposing.Onceattractedtoapoem,Brahmswouldreciteit
alouduntilhefelthecouldachieveinhismusicalsettingadeclamationsoeffortless
andnaturalthatitsmetre,rhythmandformwouldseeminevitable(inthisregard
Schubertwashisideal).YetBrahms,especiallyintheearlysongs,didnothesitateto
alterpoems,eventodeletewholestanzas,inordertoadaptthetexttohismusical
interpretation.

OnoccasionBrahms'schoiceofpoemwastheresultofexternalcircumstanceor
event.HermannLevicalledhisattentiontoGoethe'slatemasterpieceDmm'rung
senktesichvonoben,andafterhehadproducedasettingofhisownrathertoo
reminiscentofoneofBrahms'searlysongs,Brahmsacceptedthechallengeand
composedoneofhisfinestsongs,op.59no.1.Similarly,hewrotethequartetO
schneNachtop.92no.1asacorrectivetoasettingbyHeinrichvonHerzogenberg,
evenborrowinghiscolleague'sopeningbarstomakethepointclear.Attimesthe
moodandcontentofhistextsclearlyreflectedhisownfeelingatthetimeof
composition.Manyofthe14songsandduetsthatpouredfromhispeninautumn
1858seemtobeexploringaspectsofhisrelationshipwithAgathevonSiebold.His
infatuationswithothersingers,includingOttilieHauerandHermineSpies,certainly
wouldhavelentapersonalmeaningtosongswrittenforthemtosing.Thefive
Opheliasongsof1873woo22posth.werewrittenwithstageperformancebythe
actressOlgaPrecheiseninmind.Brahms'smostfamousoccasionalpieceisthe
celebratedWiegenliedop.49no.4,composedin1868tomarkthebirthofBertha
Faber'ssecondsonandemployinginitsaccompanimentanAustrianfolksongthat
thechild'smotherhadsungtoBrahmsmanyyearsbefore.Likewise,theGeistliches
Wiegenliedop.91no.2foralto,violaandpiano,whichemploysascantusfirmusthe
oldCatholicsongJosef,lieberJosefmein,waswrittentocelebrateabirth,thatofthe
firstchildofthealtoAmalieJoachimandherviolinist/violisthusbandJosephJoachim
in1864.
AlthoughBrahmscouldevokelightermoodsasintheperennialfavourite
VergeblichesStndchenop.84no.4,themuscularDerSchmiedop.19no.4,themore
convivialofthevocalensemblepiecesandUnberwindlichop.72no.5,ajocular
excursionintotherealmofoperabuffamostofhissongsexploresuchserious
themesasthepassionoflove,thetrueheartunrewarded,thelonelinessofthe
solitaryhuman,thelongingforhomeandthepassingoflife.Someofhisfinestsongs
animateNaturewiththeemotionsofthehumanheart.Amongtheearlysongs
severalexpresstheviewpointofyoungwomeninemotionaldistress(forexample,
Liebestreuop.3no.1,DieTrauerndeop.7no.5andAgnesop.59no5),whileothers
evokescenesfromtheageofchivalryintheirtextsandarchaicmusicalgestures
(VomverwundetenKnabenandMurraysErmordungop.14nos.2and3andDas
LiedvomHerrnvonFalkensteinop.43no.4).Withadvancingageanautumnaltoneis
sounded,lostopportunitiesinlovearelamentedandthespectreofdeathisfaced
(GestillteSehnsuchtop.91no.1,MeinHerzistschwerandKeinHaus,keineHeimat
op.94nos.3and5,andImmerleiserwirdmeinSchlummerandAufdemKirchhofe
op.105nos.2and4).Asaculminationalongthispath,yetuniqueinBrahms'soutput
andindeedintherepertoryofartsongaretheVierernsteGesngeop.121,on
scripturaltextsassembledbyBrahmshimself.Composedinexpectationofthedeath
ofClaraSchumann,thisausterecycleharksbacktoBaroquesacredmonodyto
explorethemeaningofhumanexistence.
ThesketchesforBrahms'ssongsconfirmanapproachtotexturethatisalsoobvious
inthefinishedworks.Fluent,expressiveandessentiallydiatonicmelodiesare
supportedbystrongbassesthatrivalthevocalpartinvitalityandoftenengageitin
contrapuntalinterplay.Theinteriorvoices,indicatedinthesketchesmostlybyfigured
basssymbolsandlefttobeworkedoutindetailatalaterstage,enrichtheminiature
withfurthercounterpointandchromaticinflection.Suchatexture,aswellas
Brahms'spredilectionforsimpleaswellasvariedstrophicformsandformelodic
formulationsthatarefoundinfolktunes,revealsthedeeprootsofhislyricalartinthe

folksongidealembracedbypoetsandcomposerssincetheEnlightenment.Attimes
itisdifficulttodistinguishhisartlessfolklikesongsfromhisartfularrangementsoffolk
melodies.Brahms'soriginalsettingoftheLowerRhenishfolkpoemDortinden
Weidenop.97no.4,forexample,isinmuchthesameveinashisarrangementofthis
poemusingthefolkmelodyconveyedintheDeutscheVolksliedermitihrenOriginal
WeisenofKretzschmerandZuccalmaglio,oneofhisfavouritecollectionsof
folktunes.(ThatKretzschmerandZuccalmaglioheavilyeditedandrewrotemanyof
theirsongsdidnotconcernBrahms,whohadlittleusefortheauthenticbutinartistic
collectionsofsuchfolktunepreservationistsasFranzBhmeandLudwigErk.)In
somesongs,suchasMagyarischop.46no.2andSonntagop.47no.3,thefolk
melodywithwhichthesettingopensisweddedseamlesslytotheoriginalmaterial
thatformsitscompletion.Brahms'sfirsteffortsatprovidingfolktuneswithpiano
accompaniments,datingfromthe1850sand60s,wereinspiredbythearrangements
ofFriedrichSilcherandFriedrichWilhelmArnold.Thesevenvolumesetof49
DeutscheVolksliederwoo33(1894),whichmarkstheculminationofalifelong
involvementwiththestudyoffolkidioms,presentsBrahms'ssolutiontothe19th
centuryagendaofunitingfolksimplicitywithurbanamateurmusicmaking.
DespiteapreferenceforpoemscastinVolksliedstropheandadedicationtostrophic
song,Brahmsalsowelcomedthechallengeofmorecomplexstructures.Worthyof
specialnoteisthesongDieMainachtop.43no.2,asettingofanAsclepiadeanode
byHlty.Thesong'sfirststanzademonstratesBrahms'sseeminglyeffortless
commandofanintricatemetricalscheme.Adevelopmentalcentralsectionfollows
thepoem'sstructurelessstrictly,asdoesthevariedandclimacticcloseofthe
musicalreprise.Suchaform,allowingforcontinuingdevelopmentasthepoem
unfolds,unitesfeaturesofstrophicsong,developingvariationandternaryform.(In
thiscase,though,balanceisachievedonlybythedeletionoftheHlty'ssecond
stanza.)Brahmsalsosettomusicasonnet(thebeautifullydelicateDieLiebende
schreibtop.47no.5),aSapphicode(op.94no.4)andanumberofghazals(inop.32).
TheextendedballadsamongtheMageloneRomances(op.33)posedspecial
difficultiesforthecreationofmusicalcontinuityandunity.
Brahms'ssongsuptothe1860scanbeclassifiedintothreeperiods.Asawholethe
18songspublishedin18534(opp.3,6and7)canbedistinguishedfromlaterones
bytheirhighlyexpressivevocalwriting,boldthoughnotalwayspurposeful
chromaticismandsometimesmelodramaticaccompaniments.Ontheotherhand,the
tensionbetweenmusicalmeansandstructureiswellcontrolledinsuchpiecesas
VolksliedandDieTrauernde(op.7nos.4and5),basedontraditionaltexts,andinthe
finestsongofthegroup,Liebestreuop.3no.1,whichBrahmsplacedattheheadof
hisfirstpublishedsetofsongs.ThreeoftheEichendorffsettings(op.3no.6andop.7
nos.2and3)evokenotonlytheirtextsbutalsothecontextsofthepoemsinthe
novelsfromwhichtheyweredrawn.
Duringthesecondperiod(18589),whichyieldedmostofthesongsinopp.14and
19andtheduetsop.20,Brahmsfocussedonfolkandfolkinspiredpoemsfrom
Herder,KretzschmerandZuccalmaglio,KarlSimrockandJ.L.Uhland.Theoriginal
versionsoftwoMrikesongsthepoignantAgnesop.59no.5,withfolkstylemixed
metres,andtheironicduetDieSchwesternop.61no.1,withabowtothestyle
hongroisalsodatefromthisperiod,togetherwiththreesettingsofGoethe:Die
Liebendeschreibtop.47no.5,TrostinTrnenop.48no.5andthequartet
WechselliedzumTanzeop.31no.1.Strophicformpredominates,andtheexcesses
oftheearliersongsaredispelledbysimplermelodiesandaccompaniments.The

influenceofBrahms'sstudyofearlymusicisattimesevidentinhisharmonic
languageanduseofcounterpoint.Thefirstofthefolksongarrangements28
DeutscheVolkslieder(woo32post.)giventoClaraSchumannand14Volks
Kinderlieder(woo31)dedicatedtotheSchumannchildrenwerepreparedatthis
time.
Aclearstylisticshiftisapparentintheearly1860s,duringBrahms'sfirstmaturity.
TheambitiouslyscaledsongsofthenineLiederundGesngeop.32onpoemsby
AugustvonPlatenandDaumerandthe15Romancesop.33fromTieck'sMagelone
revealoperaticaspirationsintheirproportions,interiorshiftsoftempoandstyle,
illustrativewriting,strongharmonies,foraysintoquasirecitativeandorchestral
pianoparts.SuchsongsasWiebistdu,meineKniginop.32no.9andVonewiger
Liebeop.43no.1,however,strikeamorebalancedposeandpointthewaytothe
future.AlthoughBrahmsindulgedinthegrandscaleagainintheearly1870swiththe
tempestuouslypassionateandintenselysensualeightLiederundGesngeop.57on
poemsbyDaumer,mostofhislatersongsfallwithintheparametersofthe
volkstmlichesKunstliedestablishedbySchubert.
Brahms,Johannes
WORKS
Editions:JohannesBrahmssmtlicheWerke,ed.H.Gl(ix)andE.Mandyczewski(xixxvi)(Leipzig,
19267/R)[BW]JohannesBrahms:NeueAusgabesmtlicherWerke(Munich,1996)[NA,ser./vol.]

orchestral
chamber
pianosolo
pianofourhands
twopianos
organ
canons
vocalquartets
vocalduets
accompaniedchoralworks
unaccompaniedchoralworks
solosongs
indextothesolosongs
folksongarrangements
otherarrangements

Brahms,Johannes:Works
orchestral

Op.

11

Firstperformance:
Hanover,3March1860

15

Firstperformance:
Hanover,22Jan1859

16

Title

Composed Published Remarks

56a

Serenade
no.1,D

18578

1860/61 orig.for
iv,1
smallorch

18549

1861/2
(pts),
1874(fs)

Piano
Concerto
no.1,d

vi,1

i/7

forsmall
orch
(without
vns)

iv,85

i/5

1874

St
iii,63
Anthony
Variations,
alsofor2
pf,see
op.566
theme
probably
notby
Haydn

i/6

186276

1877

i,1

i/1

1877

1878

i,87

i/2

Serenade
no.2,A

18589, 1860,
rev.1875 rev.
1875/6

Variationson 1873
aThemeby

68

Firstperformance:
Karlsruhe,4Nov1876

73

Firstperformance:

i/5

J.Haydn,B

Firstperformance:
Vienna,2Nov1873

NA

Firstperformance:
Hamburg,10Feb1860

BW

Symphony
no.1,c

Symphony
no.2,D

Vienna,30Dec1877

77

Violin
Concerto,D

1878

1879

writtenfor v,1
andded.
J.Joachim

i/9

Akademische 1880
Festouverture
[Academic
Festival
Overture],c

1881

writtenfor iii,1
U.of
Breslau

i/6

1880

1881

iii,37

i/6

1881

1882

ded.E.
Marxsen

vi,92

i/8

1883

1884

ii,1

i/3

18845

1886

ii,87

i/4

1888

writtenfor v,67
J.Joachim
andR.
Hausmann

Firstperformance:
Leipzig,1Jan1879

80

Firstperformance:
Breslau,4Jan1881

81

Firstperformance:
Vienna,26Dec1880

83

Firstperformance:
Budapest,9Nov1881

90

Firstperformance:
Vienna,2Dec1883

98

Firstperformance:
Meiningen,25Oct1885

102

Tragische
Ouverture
[Tragic
Overture],d

Piano
Concerto
no.2,B

Symphony
no.3,F

Symphony
no.4,e

Concerto,a, 1887
vn,vc

Firstperformance:
Cologne,18Oct1887

i/10

woo1

Three
arr.1873
Hungarian
Dances,no.1,
g,no.3,F,
no.10,F

1874

arr.from iv,143 i/6

orig.
versionfor
pf4hands

Firstperformance:
Leipzig,5Feb1874

Brahms,Johannes:Works
chamber

PianoTrio
no.1,B

18

Sextetno.1, 185960

25
26
34

36
38
40
51

18534,rev.
1889

B ,2vn,2va,
2vc
PianoQuartet 1861
no.1,g
PianoQuartet 1861
no.2,A
PianoQuintet, 1862
f

Sextetno.2, 18645
G,2vn,2va,
2vc
CelloSonata 18625
no.1,e
Trio,E ,vn, 1865
hn/vc,pf
TwoString
?18651873
Quartets,c,a

1854,rev.
1891

Danzig,13
Oct1855

1861/2

Hanover,20
Oct1860

1863

Hamburg,16
Nov1861
Vienna,29
Nov1862
Leipzig,22
June1866

1863
1865

1866

Zrich,20
Nov1866

1866

Leipzig,14
Jan1871
Zrich,28
Nov1865

1866
1873

rev.version ix,1
perf.
Budapest,10
Jan1890
vii,1

ii/6

ded.BaronR. viii,69
vonDalwigk
ded.E.
viii,154
Rsing
ded.Princess viii,1
Annaof
Hesseorig.
composedas
strqntalso
arr.for2pf
vii,45

ii/5

ded.J.
Gnsbacher
writtenfor
naturalhorn

x,96

ii/9

ix,209

ii/7

ii/1

ii/5
ii/4

ii/1

Vienna,11
ded.T.Billroth vii,186
Dec1873
(no.1)Berlin,
18Oct1873
(no.2)
Vienna,18
orig.
viii,236
Nov1875
composedinc

ii/3

vii,238

ii/3

60

PianoQuartet 185575
no.3,c

1875

67

StringQuartet 1875

1876

Berlin,30Oct ded.T.W.
1876
Engelmann

18789

1879

x,1

ii/8

188082

1882

ix,121

ii/6

1882

1882

Bonn,8Nov
1879
Frankfurt,29
Dec1882
Frankfurt,29
Dec1882

vii,95

ii/2

1886

1887

x,124

ii/9

1886

1887

Vienna,24
Nov1886
Vienna,2Dec
1886

x,31

ii/8

78
87
88
99
100

no.3,B
ViolinSonata
no.1,G
PianoTrio
no.2,C
Quintetno.1,
F,2vn,2va,
vc
CelloSonata
no.2,F
ViolinSonata
no.2,A

ii/5

101
108
111
114
115
120

PianoTrio
no.3,c
ViolinSonata
no.3,d
Quintetno.2,
G,2vn,2va,
vc
Trio,a,cl/va,
vc,pf
Quintet,b,
cl/va,strqt
TwoSonatas,

1886

1887

18868

1889

1890

1891

1891

1892

1891

1892

1894

1895

1853

1906

PianoTrio,A
Hymne,trio, 1853
A,2vn,db/vc

1938
1976

f,E ,cl/va,pf

woo2posth. Scherzo,c,
vn,pf

Anh.IV/5
Anh.III/1

Brahms,Johannes:Works

Budapest,20
Dec1886
Budapest,21 ded.H.von
Dec1888
Blow
Vienna,11

Nov1890

ix,171

ii/6

x,57

ii/8

vii,123

ii/2

Berlin,12Dec writtenforR. ix,249

1891
Mhlfeld
Berlin,12Dec writtenforR. vii,152
1891
Mhlfeld
Vienna,11
writtenforR. x,153
Jan1895
Mhlfeld
(no.1)and8
Jan1895
(no.2)
Dsseldorf,28 ded.J.
x,88
Oct1853
Joachimmovt
foraSonata
ina,collab.R.
Schumann
andA.
Dietrich
1925
?authentic

humorous

pieceforJ.
Joachim

ii/7

Leipzig,17
Dec1853
Frankfurt,
earlyDec
1855
Hanover,8
June1853
Leipzig,23
Oct1854
(movts23)
Magdeburg,
earlyDec
1854
(complete)
Berlin,12Dec
1879

xiii,1

iii/4

xiii,29

iii/4

ded.E.F.
xiv,1
Wenzel
ded.Countess xiii,55
I.von
Hohenthal

iii/6

ded.C.
Schumann

xiii,87

iii/5

xiv,13

iii/6

ii/2
ii/9

ii/8

ii/6
ii/3

pianosolo
1

Sonatano.1,C 18523

Sonatano.2,f

1852

1854

Scherzo,e

1851

1854

Sonatano.3,f

1853

1854

[16]Variations 1854
onaThemeby
R.Schumann,f

1854

10

[4]Ballades,d 1854
Edward,D,b,
B

1856

21

[Twovariation
sets]
[11]Variations 1857
onanOriginal
Theme,D
[13]Variations by1856

1862

xiii,103

iii/5

Hamburg,17
Nov1865

xiii,103

iii/5

London,25

1853

ded.J.
Joachim
ded.C.
Schumann

Vienna,21
ded.J.O.
March1860 Grimm
(nos.23)and
23Nov1867
(nos.1,4)

iii/4

24

35
39

onaHungarian
Song,D
[25]Variations 1861
andFugueona
ThemebyG.F.
Handel,B
[28]Variations 18623
onaThemeby
Paganini,a
[16]Waltzes
1865

March1874
1862

Hamburg,7
Dec1861

1866

Zrich,25
Nov1865

1867

xiii,125

iii/5

basedon
xiii,147
Capriceop.1
no.24
Hamburg,15 ded.E.
xiv,33
Nov1868
Hanslickarr.
ofversionfor
pf4hands
Vienna,22
xiv,61

Oct1879
(no.2)Berlin,
29Oct1879
(complete)

iii/5

iii/6

76

[8]
Klavierstcke

1Capriccio,f 1871
2Capriccio,b 1878
3Intermezzo, ?by1878

A
4Intermezzo,

5Capriccio,c 1878
6Intermezzo, 1878
A
7Intermezzo,a 1878
8Capriccio,C 1878
Two
1879
Rhapsodies,b,
g
[7]Fantasien
by1892

1880

Krefeld,20
Jan1880

ded.E.von
xiv,89
Herzogenberg

1892

xiv,105 iii/6

1Capriccio,d
2Intermezzo,a
3Capriccio,g
4Intermezzo,
E
5Intermezzo,e
6Intermezzo,
E
7Capriccio,d
Three
1892

Vienna,30
Jan1893
(nos.13)and
18Feb1893
(no.7)
London,15
March1893
(no.6)

London,30
Jan1893
(no.1)
Vienna,30
Jan1893
(no.2)
Hamburg,27

1892

79
116

117

?by1878

Intermezzos,E
,b ,c

1879

iii/6

iii/6

xiv,129 iii/6

xiv,141 iii/6

1893

London,22
Jan1894
(nos.2,4and
1or3)and7
March1894
(nos.14)

xiv,163 iii/6

1872

118

[6]
Clavierstcke

1Intermezzo,a
2Intermezzo,
A
3Ballade,g

4Intermezzo,f
5Romance,F
6Intermezzo,e

119

[4]
Clavierstcke

1Intermezzo,b
2Intermezzo,e
3Intermezzo,
C
4Rhapsody,E

[10]Hungarian by1872
Dances

woo1

by1893

by1893

Nov1893
(no.3)
London,22
Jan1894
(nos.3,5)and
7March1894
(nos.16)

1893

Themeand
Variations,d

1860

woo6
woo1115

51Exercises
Cadenzasto
concertosby
Bach(d,
bwv1052),
Beethoven(G,
op.58)and
Mozart(G,
k453d,k466
c,k491)
[5]Studiesfor
thePiano
1Studyafter
Frdric
Chopin,f

1850s93
?185561

arr.ofnos.1 xv,65
10fromorig.
versionforpf
4hands
1979
Gttingen,29

Oct1855
1927

xv,53

1917
Danzig,14
xv,57

Nov1855and
Vienna,20
Jan1856
1927
Frankfurt,31 ded.C.
xv,59
Oct1865
Schumann
arr.ofslow
movtofSextet
no.1,op.18
1893

xv,126

1907,1927
xv,101

aftersum.
1862

1869

Hamburg,11 arr.ofop.25
or15Nov
no.2
1868

woo3

[2]Gavottes,a, by1855
A
woo4posth. [2]Gigues,a,b 1855
woo5posth. [2]Sarabandes, 18545
a,b

Anh.Ia/1

iii/7

xv,1

ix/2

iii/7
iii/7
iii/7

iiA/1

iii/7
iii/7

Anh.Ia/2

Anh.Ia/6

2Rondoafter
C.M.von
Weber,C
34Presto
afterJ.S.Bach,
g(2versions)
5Chaconneby
J.S.Bach,d,pf
lefthand
arr.ofGavotte
byGluck,A

Vienna,4Dec arr.offinaleof
1883
Sonatano.1,
op.24

arr.offinaleof
bwv1001

Vienna,8Dec arr.of

1881
chaconne
frombwv1004
Hamburg,11 ded.C.
xv,42
Nov1868
Schumann
fromIphignie
enAulide(Act
2)

fromd814

nos.19

1983

fromPfQnt,
op.44

ix/2

1979

iii/7

1902

iii/7

sametheme
asin
Brahmss
variations
op.9
MSinUS
NYpm

ix/1

1995

iii/7

1927

xv,44

ix/2

arr.of
Schuberts
Impromptu
d899no.2,?
authentic
sometimes
attrib.
Brahms,by
Moscheles

1852

1869

?1877

1878

?1877

1878

by1868

1871

arr.of4Lndler by1869

1869

bySchubert,E
Anh.Ia/7

,A ,c,C
arr.ofScherzo 1854
bySchumann,

ix/2

ix/2

E
Anh.III/4
Anh.III/6

Pianopiece,B
Variationona by1868
Themeby
Schumann,f

Anh.III/9

Anh.III/10
Anh.IV/2

arr.ofH.C.
1852
Litolff:
Maximilian
Robespierre,
ov.,op.55,
physharmonika,
pf
arr.ofRkczi ?1850s
March,a
Studyforthe

LeftHand,E

AnhIV/7

Cadenzato

Beethoven:
PianoConcerto,
c,op.37

Brahms,Johannes:Works
pianofourhands
23

1861

1863

Hamburg,Oct
1863

ded.Julie
Schumann

xii,2

iii/2

1865

1866

ded.Hanslick

xii,26

iii/2

52a

[18]Liebeslieder, 1874
Waltzes

1874

Oldenburg,23
Nov1866
Vienna,14Nov
1874

iii/2

65a

[15]Neue
Liebeslieder,

1877

arr.fromorig.
xii,48
versionfor4vv,pf
4hands
arr.fromorig.
xii,80
versionfor4vv,pf

39

Variationsona
ThemebyR.
Schumann,E
[16]Waltzes

1875

iii/2

woo1

Anh.Ia/3
Anh.Ia/6
Anh.Ia/8

Waltzes
[21]Hungarian
Dances
Books12(10
dances)
Books34(11
dances)
arr.ofJ.Joachim:
HamletOverture,
op.4
arr.of16Lndler
bySchubert
arr.ofR.
Schumann:Piano

4hands

1868

1869

1880

1880

18534

Oldenburg,1Nov
1868
Mehlem,nrBonn,
3May1880

MSSinAWgm

by1869 1869

1855

1887

xii,106

iii/3

ix/1

fromd366(nos.1
6)

ix/1

pubdunderthe

pseudonymG.W.
Marks

iii/3

ix/1

Quartet,op.47,E
Anh.IV/6 Souvenirdela
by1852 by1852
Russie

1Hymnenational
russedeLvoff,F
2Chansonettede
Titoff,a
3Romancede

Warlamoff,a
4LeRossignol

deA.Alabieff,d
5Chant

bohmien,G
6KOCAchant
bohmien,G

Brahms,Johannes:Works
twopianos
34bis

Sonata,f

1864 1871 Vienna,17April

1864
1867 1897 Vienna,17March
1867

ded.PrincessAnna xi,1
ofHesse
39
[5]Waltzes
nos.1,2,11,14,15
arr.fromorig.version
forpf4handsalso
no.8,unpubd
56b
Variationsona
1873 1873 Vienna,10Feb1874 StAnthony
xi,78
ThemebyJ.Haydn,
Variations,alsofor
orch,seeop.56a
B
themeprobablynot
byHaydn
Anh.Ia/4 arr.ofJ.Joachim:
1856

MSSinWgm

DemetriusOverture,
op.6,D
Anh.Ia/5 arr.ofJ.Joachim:
1855 1902
MSSinWgm

HeinrichIVOverture,
op.7,C

iii/1
iii/1

iii/1

ix/1
ix/1

Brahms,Johannes:Works
organ

122posth. ElevenChorale
1896,?someearlier 1902 Berlin,24April1902
Preludes
1MeinJesu,derdu

mich
2HerzliebsterJesu

xvi,28

iv

woo7

woo8
woo910

3OWelt,ichmuss
dichlassen
4Herzlichtutmich
erfreuen
5Schmckedich,o
liebeSeele
6Owieseligseidihr
doch
7OGott,du

frommerGott
8EsisteinRos

entsprungen
9Herzlichtutmich
verlangen
10Herzlichtutmich
verlangen
11OWelt,ichmuss
dichlassen
ChoralePreludeand preludeby1858,
FugueonO
fugueby1873
Traurigkeit,o
Herzeleid,a
1856
Fugue,a

xvi,22

iv

1864 Leipzig,16April1873

xvi,17

iv

[2]Preludesand
Fugues,a,g

1927 Berlin,15Nov1929

xvi,1

iv

1882 Vienna,2Dec1882

1856,1857

Brahms,Johannes:Works
canons

Op.

113

Text:
J.W.vonGoethe

Text:
Goethe

Title,scoring Composed Published

BW

NA

Thirteen
1891

Canons,36
femalevv
1Gttlicher by1859
Morpheus, 62
4vv

xxi,179 viii/2

2Grausam
erweisetsich
Amoranmir,
3vv

3Sitzta

schns
Vgerlaufm
Dannabaum,


Text:
trad.Austrian,inA.vonKretzschmerandA.W.vonZuccalmaglio:
DeutscheVolkslieder

4vv

Text:
trad.Westphalian,inKretzschmerandZuccalmaglio

Text:
trad.Westphalian,inKretzschmerandZuccalmaglio

Text:
Gk.,trans.HoffmannvonFallersleben

Text:
J.vonEichendorff

Text:
Eichendorff

Text:
F.Rckert,afterHariri

Text:
Rckert

5Willewille
will,4vv

4Schlaf,
Kindlein,
schlaf!,3vv

6Solange
Schnheit
wird
bestehn,4vv

7Wenndie by1868
Klngenahn
undfliehen,
3vv

8EinGems by1859
aufdem
62
Stein,4vv

9AnsAuge by1870
des
Liebsten,4vv

10Leise
Tneder
Brust,4vv

by1859
62

Text:
Rckert

Text:
Rckert,afterHariri

Text:
Rckert,afterHfis

woo24posth.

Text:
Goethe

woo25

Text:

woo26posth.

Text:
G.F.Daumer

woo27posth.

11Ichweiss by1859
nichtwasim 62
Haindie
Taubegirret,
4vv

1927

xxi,190 vii/2

1881

xxi,189 vii/2

1908

xxi,191 vii/2

1927

xxi,192 vii/2

12Wenn
by1859
Kummer
62
httezu
ttenMacht,
3vv

13Einfrmig
istderLiebe
Gram,6vv

Grausam
by1863
erweisetsich
Amor,4
femalevv

Mirlchelt
by1877
kein
Frhling,4vv

Owiesanft, ?late
4femalevv 1860s
early
1870s

Spruch(In ?18545
dieserWelt
desTrugs
und
Scheins),1v,

va

Text:
HoffmannvonFallersleben

woo28

Tne,
by
lindernder
1861/by
Klang,4vv(2 1871
versions)

Text:
K.L.vonKnebel

xxi,156 vii/2

1885

xxi,192 vii/2

woo29

Wann?
by1881
(Wannhrt
derHimmel
auf),S,A

Text:
L.Uhland

woo30posth.

ZuRauch,
4vv(2
versions)

Text:
Rckert,afterHariri

?1860s
70s

1927/unpubd xxi,157/ vii/2

Anh.III/2

Instrumental 1864
canon,f

Text:

1979

iii/7

Anh.III/3

Circlecanon ?late
1850s

Text:

Anh.III/5

CanononR.
Schumann:
Papillon,
op.2no.7

Text:

Brahms,Johannes:Works
vocalquartets
forS,A,T,B,andpianounlessotherwisestated

1938,
1872/1876


Op.

31

Incipit:
Kommmit,oSchner

Title

Text

Composed Published BW

NA

1864

xx,17

vi/1

Goethe

1859

trad.
1863
Moravian,
trans.J.
Wenzig

3DerGangzum trad.
1863
Liebchen
Bohemian,
trans.
Wenzig

ThreeQuartets
1Wechsellied
zumTanze

Firstperformance:
Vienna,18Dec1863

2Neckereien

Incipit:
Frwahr,meinLiebchen

Firstperformance:
Vienna,11Jan1864

Incipit:
EsglnztderMondnieder

Firstperformance:
Karlsruhe,3Nov1865

52

Incipit:
[18]Liebeslieder,Waltzes,S,A,T,B,pf4hands

trad.,
trans.in
Daumer:
Polydora

18689

1869

xx,61

vi/1

Russ.

Firstperformance:
Vienna,5Jan1870


Incipit:
Rede,Mdchen,allzuliebes

Incipit:
AmGesteinerauschtdieFlut

Incipit:
OdieFrauen

Incipit:
WiedesAbendsschneRte

Incipit:
DiegrneHopfenranke

Incipit:
Einkleiner,hbscherVogel

Incipit:
Wohlschnbewandt

Incipit:
WennsolinddeinAugemir

Incipit:
AmDonaustrande

Incipit:
OwiesanftdieQuellesich

Russ.Pol.

Russ.Pol.

Russ.Pol.

Russ.

Hung.

Pol.

Pol.

Hung.

Russ.Pol.

Pol.

10

11


Incipit:
Nein,esistnichtauszukommen

Incipit:
Schlosserauf

Incipit:
VgeleindurchrauschtdieLuft

Incipit:
Sieh,wieistdieWelleklar

Incipit:
Nachtigall,siesingtsoschn

Incipit:
EindunkelerSchachtistLiebe

Incipit:
Nichtwandle,meinLicht

Incipit:
EsbebetdasGestruche

Firstperformance:

Firstperformance:
Vienna,14Nov1874

12

Russ.Pol.

Russ.Pol.

Russ.Pol.

Russ.Pol.

Hung.

Hung.

Hung.

1875

vi/1

186970

1938

vi/1

13

14

15

16

17

18

(arr.for4vv,pf
2hands)

(nos.1,2,46,
89,11arr.for
4vv,orch)


64

Incipit:
Heimat!Heimat!

[3]Quartets

1874

xx,35

vi/2

1864

F.Schiller 1874

Turk.,
trans.in
Daumer:
Polydora

by1874

nos.114
trad.,
trans.in
Daumer:
Polydora

186974

1875

xx,107

vi/1

Turkish

afterHfis

1AndieHeimat C.O.
Sternau

Firstperformance:
Vienna,7April1867(1stversion)

Incipit:
Senke,strahlenderGott

2DerAbend

Firstperformance:
Vienna,24Feb1875(nos.12)

3Fragen

Incipit:
MeinliebesHerz

Firstperformance:
Mannheim,13Feb1875

65

[15]Neue
Liebeslieder,
Waltzes,S,A,T,
B,pf4hands

Firstperformance:
Karlsruhe,8May1875

Incipit:
Verzicht,oHerz

Incipit:
FinstereSchattenderNacht

Incipit:
AnjederHanddieFinger

Incipit:
IhrschwarzenAugen

Incipit:
Wahre,wahredeinenSohn

Incipit:
RosenstecktmirandieMutter

Incipit:
VomGebirge

Incipit:
WeicheGrserimRevier

Incipit:
NagenamHerzen

Incipit:
Ichkosesss

Incipit:
Alles,allesindenWind

Incipit:
SchwarzerWald

Latvian
Lith.

Sicilian

Russ.

Sp.

Russ.Pol.

Russ.Pol.

Pol.

Malayan

Pol.

Serb.

10

11

12

Incipit:
Nein,Geliebter

Incipit:
Flammenauge

Incipit:
NunihrMusen,genug!

Firstperformance:
Vienna,14Nov1874

Firstperformance:

92

Incipit:
OschneNacht

13

Russ.

Russ.

186970

1938

v/1

vi/1

1884

xx,147

vi/2

Daumer

by1877

H.Allmers by1884

F.Hebbel by1884

14

15ZumSchluss Goethe

(no.9arr.for
4vv,orch)

(no.4arr.for1v,
pf)

[4]Quartets
1Oschne
Nacht

Firstperformance:
Krefeld,28Jan1885

Incipit:
DergraueNebeltropft

2Sptherbst

Firstperformance:
Frankfurt,4Feb1889

Incipit:
Friedlichbekmpfen

3Abendlied

Firstperformance:

Incipit:
Warumdocherschallen

4Warum?

Goethe

by1884

trad.
Hung.,
trans.H.
Conrat

18878

1888

xx,165

vi/2

Firstperformance:
Frankfurt,4Feb1889

103

[11]
Zigeunerlieder

Firstperformance:
Berlin,31Oct1888

Incipit:
He,Zigeuner,greife

Incipit:
HochgetrmteRimaflut

Incipit:
Wisstihr,wannmeinKindchen

Incipit:
LieberGott,duweisst

Incipit:
BraunerBurschefhrtzumTanze

Incipit:
RsleindreieinderReihe

Incipit:
Kommtdirmanchmal

Incipit:
Horch,derWindklagt

Incipit:
Weitundbreitschautniemand

Incipit:
MondverhlltseinAngesicht

Incipit:
RoteAbendwolkenziehn

112

1889

xxvi,66

vii/6

1891

xx,193

vi/2

F.Kugler ?1888

Kugler

?1888

Meiningen,
28Sept
1895

trad.
Hung.,
trans.
Conrat

by1891

10

11

(nos.17,11
arr.for1v,pf)
SixQuartets

Firstperformance:

Incipit:
EsrinnendieWasser

1Sehnsucht

2Nchtens

Incipit:
Nchtenswachenaufdieirren

Incipit:
Himmelstrahltsohelleundklat

3Vier
Zigeunerlieder,
no.1

Firstperformance:
(nos.36)Hamburg,21Nov1892

4Vier
Zigeunerlieder,
no.2

Incipit:
RoteRosenknospen

trad.
Hung.,
trans.
Conrat

by1891

trad.
Hung.,
trans.
Conrat

by1891

trad.
Hung.,
trans.
Conrat

by1891

1874

1927

xx,226

vi/2

5Vier
Zigeunerlieder,
no.3

Incipit:
BrennesselstehtanWegesRand

6Vier
Zigeunerlieder,
no.4

Incipit:
LiebeSchwalbe

woo16posth.

Kleine
G.Keller
Hochzeitskantate

Incipit:
ZweiGeliebte,treuverbunden

Firstperformance:
sum.1874

Brahms,Johannes:Works
vocalduets
20 ThreeDuets,S,A,
pf

1WegderLiebe,i berdie
Berge

trad.Eng.,
fromPercy:
Reliques,

1858

1862 Lucerne,10
xxii,1
March1864
(no.1or2)and
Munich,30
Nov1889
(no.3)

vi/3

2WegderLiebe, Den
ii
gordischen
Knoten

3DieMeere

28 [4]Duets,A,Bar,
pf

AlleWinde
schlafen

1DieNonneund DadieWelt
derRitter
zurRuh
gegangen
2VorderTr
Trittauf,tritt
auf

4DerJgerund
seinLiebchen

Esrauschet
dasWasser
Istnichtder
Himmelso
blau?

61 FourDuets,S,A,
pf
1DieSchwestern Wir
Schwestern
zwei
2Klosterfrulein Ach,ach,ich
armes
Klosterfrulein
Wennzuder
3Phnomen
Regenwand

4DieBotender
Liebe

66 FiveDuets,S,A,
pf
1Klnge,i

2Klnge,ii

3AmStrande

4Jgerlied

5Htdudich!

trans.in
Herder:
Volkslieder
trad.Eng.,
1858
fromPercy:
Reliques,
trans.in
Herder
trad.It.,inW. 1860
Mller:
Volksharfe

Eichendorff

1863 Vienna,18
xxii,17
Dec1863
(nos.12)and
5March1869
(nos.34)

vi/3

1860

OldGer.
1862
folksong,in
Hoffmannvon
Fallersleben
Goethe
1862

Hoffmannvon 1860
Fallersleben

1874

xxii,39

vi/3

E.Mrike

by1860,rev.
after1871

Vienna,24
April1880

J.Kerner

1852

Merseburg,21
Feb1895

Basle,5Feb
1884

Basle,5Feb
1884

1875

xxii,59

vi/3

before1875

before1875

1875

Hamburg,13
March1882

1875

by1873

Vienna,24
April1880

fromGoethe: 18734
Weststlicher
Divan
Wievielschon trad.
18734
derBoten
Bohemian,
trans.Wenzig

AusderErde K.Groth
quellen
Blumen
Wennein
Groth
mderLeib
begraben
Essprechen H.Hlty
undblickendie
Wellen
Jger,was
C.Candidus
jagstdudie
Hselein?
Ichweissein fromDes
Mdlein
Knaben
hbschund
Wunderhorn
fein

75 [4]Balladenund

Romanzen
1Edward,A,T,pf DeinSchwert, trad.Scottish,
wieistsvon
fromPercy:
Blutsorot?
Reliques,
trans.in
Herder:
Volkslieder
2GuterRat,S,A, AchMutter, fromDes
pf
liebeMutter
Knaben
Wunderhorn
AchMdchen, trad.
3Solassuns
wandern!,S,T,pf liebes
Bohemian,
Mdchen
trans.Wenzig
4Walpurgisnacht, LiebMutter, W.Alexis
2S,pf
heutNacht
84 [5]Romanzenund

Lieder,1/2vv,pf
(seesolosongs)

1878

xxii,79

vi/3

1877

Vienna,17
Dec1879

1877

1877

Berlin,7
March1880

1878

Vienna,14
Feb1881

1882

xv,81

vii/5

Brahms,Johannes:Works
accompaniedchoralworks

Op.

12

Firstperformance:
Hamburg,2Dec1859

13

Firstperformance:
Hamburg,2Dec1859

17

Firstperformance:
Hamburg,15Jan1861

Title

Incipit

Text

Composed Published BW

NA

AveMaria,4
femalevv,
orch/org

AveMaria, Bible
gratiaplena

1858

1860/61 xix, v/1

113

M.Weisse

1858

1860/61 xix, v/1

124

1860

1861

xix, v/1
135

Begrbnisgesang, Nunlasst
5vv,windinsts, unsden
timp
Leib
begraben

[4]Gesnge,3
femalevv,2hn,
hp

2Liedvon
Shakespeare

Estntein F.Ruperti

voller
Harfenklang
Komm
fromW.

herbei,
Shakespeare:
komm
TwelfthNight,

herbei

27

Firstperformance:
Hamburg,19Sept1859

30

Firstperformance:
Chemnitz,2July1865

45

Firstperformance:
Vienna,1Dec1867(movts13),
Bremen,10April1868(movts14,67)
andLeipzig,18Feb1869(complete)

3DerGrtner

Wohinich
gehund
schaue
4Gesangaus
Weinan
Fingal
denFelsen
Psalmxiii,3
Herr,wie
femalevv,org/pf, langewillst
stradlib
dumeinso
gar
vergessen?

trans.A.W.
vonSchlegel
Eichendorff

Ossian,trans.
Herder
Bible,trans. 1859
Luther

1864

xx,1 v/1

P.Flemming 1856

1864

xx,
13

Bible,trans.
Luther

1869

xvii, v/2
3

GeistlichesLied, Lassdich
4vv,org/pf
nurnichts
nicht
dauern

vi/1

Eindeutsches
Requiem,S,Bar,
4vv,orch,orgad
lib

18658

Matthewv.4
Psalmcxxvi,
56
1Peteri.24
5Jamesv.7
Isaiah
xxxv.10
Herrlehre Psalm

dochmich xxxix.58
[Lutheran
Psalter]after
Apocrypha:
Wisdomof
Solomoniii.1
Wielieblich Psalm

sinddeine lxxxiv.23,5
Wohnungen [Lutheran
Psalter]
Ihrhabtnun Johnxvi.22
Traurigkeit Ecclesiasticus
li.35Isaiah
lxvi.13
Dennwir
Hebrews

habenhier xiii.141
Seligsind,
diedaLeid
tragen
Dennalles
Fleisch


50

Firstperformance:
Vienna,28Feb1869

53

54

55

Rhapsodie,A,4
malevv,orch

Schicksalslied,
4vv,orch

Firstperformance:
Krefeld,28Jan1885

1870

xix,1 v/3

Ihrwandelt F.Hlderlin
drobenim
Licht

186871

1871

xix,
22

Bible:
187071
Revelationxix

1872

xviii, v/4
1

F.Schiller

1881

xix,
60

v/4

1883

xix,
86

v/4

1885

xx, vi/2
218

v/4

Auchdas
Schne
muss
sterben

18801

Gesangder
Esfrchte
Parzen,6vv,orch dieGtter

Aber
fromGoethe: 1869
abseits,wer Harzreiseim
ists?
Winter

Triumphlied,Bar, Halleluja!
8vv,orch
Halleluja!

Nnie,4vv,orch

93b

xviii, v/3
92

82

Firstperformance:
Basle,10Dec1882

1869

89

Firstperformance:
Bremen,7April1871(movt1),
Karlsruhe,5June1872(complete)

Firstperformance:
Zrich,6Dec1881

Seligsind
dieToten
Rinaldo(cantata), Zudem
T,4malevv,orch Strande

Firstperformance:
Karlsruhe,18Oct1871

Firstperformance:
Jena,3March1870

Corinthians
xv.512,54
5Revelation
iv.11
Revelation

xiv.13
Goethe
18638

fromGoethe: 1882
Iphigenieauf
Tauris

Tafellied,6vv,pf Gleichwie Eichendorff

Echofrohen
Liedern

1884

Anh.Ia/14

arr.ofF.
Schubert:Gruppe
ausdem
Tartarus,d583,
forunisonmale
vv,orch

Horch,wie Schiller
Murmeln
des
emprten
Meeres

by1871

1937

ix/5

by1873

1906

ix/5

1865

1865

ix/5

Firstperformance:
Vienna,8Dec1871

Anh.Ia/17

arr.ofSchubert: Jger,ruhe
EllensGesangII, vonder
d838,forS,3
Jagd!
femalevv,4hn,3
bn(seealsoother
arrangements)

Firstperformance:
Vienna,23March1873

fromW.
Scott:The
Ladyofthe
Lake,trans.
A.Storck

AnhIa/18

arr.ofSchubert:
Massno.6,E ,
d950,4vv,pf

Firstperformance:

Kyrie
liturgical
Gloria
Credo
Sanctus
Benedictus
AgnusDei

Brahms,Johannes:Works
unaccompaniedchoralworks

22

[7]Marienlieder,
4vv

1Derenglische
Gruss

Gegrsset
Maria

trad.,Lower
Rhenish,in
Kretzschmer
and
Zuccalmaglio:
Deutsche
Volkslieder
2Marias
Mariawolltzur trad.,Rhenish,
Kirchgang
Kirchegehn inKretzschmer
and
Zuccalmaglio
3MariasWallfahrt Mariaging
trad.,Lower
auswandern Rhenish,in
Kretzschmer
and
Zucculmaglio
4DerJger
Eswolltgut
trad.,inL.
Jgerjagen Uhland,ed.:

1859
1862
(nos.12,
47),by
1860
(no.3)

xxi,1

v/5

Munich,1
Dec1873

Vienna,17
April1864

Leipzig,13
May1874

Hanover,5
Dec1863

29

37

Altehochund
niederdeutsche
Volkslieder
trad.,inUhland

Dich,Mutter

Gottes,rufwir
an
6Magdalena
Andem
trad.,inUhland

sterlichen
Tag
7MariasLob
Maria,wahre trad.,Lower

Himmelsfreud Rhenish,in
Kretzschmer
and
Zuccalmaglio
(nos.1,2,47arr.
185962 1940

forfemalevv)
TwoMotets,5vv
1864

1
EsistdasHeil P.Speratus
by1860
unskommen
her
2
Schaffeinmir, Psalmli.1214 185660
Gott
ThreeSacred
liturgical
1865

Choruses,4
femalevv
5RufzurMaria

1
2

41

FnfLieder,4male
18612

vv
1
Ichschwing OldGer.,in

meinHornins Uhland:Alte
Jammertal
hochund
niederdeutsche
Volkslieder
2
Freiwilligeher! C.Lemcke

3Geleit

4Marschieren

(no.1alsofor4

femalevv)
(no.2alsofor4

femalevv)
DreiGesnge,6vv
1Abendstndchen Hr,esklagt
dieFlte
wieder
2Vineta
Ausdes
Meeres
tiefem,tiefem

42

OboneJesu
Adoramuste,
Christe
Reginacoeli
laetare

Wasfreut
einenalten
Soldaten?
Jetzthabich
schon
Gebtacht!
Gebtacht!

by1859
by1859

1863

Vienna,17
April1864

xxi,11 v/5

Vienna,17
April1864

Hamburg, xxi,159 v/5

19Sept
1859
(nos.12)

1867

xxi,193 v/6

Vienna,8
Dec1871

Vienna,11
March
1893
Vienna,4
March
1891
Vienna,27
Nov1867
Vienna,8
Dec1871

Lemcke

Lemcke

Lemcke

1968

195962 1938

?1868

xxi,79 v/6

C.Brentano

1859

Vienna,17
April1864

trad.,inW.
Mller:
Volksharfe

1860

Grunde
Mdchenvon Ossian,trans. 1861
Kola,du
inHerder:
schlfst!
Stimmender
Volkerin
Lieder

3Darthulas
Grabesgesang

(no.2alsofor4

femalevv)
ZwlfLiederund

Romanzen,4
femalevv,pfadlib
1Minnelied
Der
J.H.Voss
Holdseligen
sonderWank
2DerBrutigam Vonallen
Eichendorff
Bergennieder

3Barcarole

4Fragen

5DieMllerin

6DieNonne

AmWildbach
dieWeiden

10

11DieBraut

12Mrznacht

Undgehstdu
berden
Kirchhof
Eineblaue
W.Mller
Schrze
Horch!wie
Uhland
brausetder
Sturm

(no.1arr.for3

femalevv)
(nos.56arr.for
mixedchorus)
(no.9arr.for3

femalevv)
SiebenLieder,4
6vv
1Rosmarin
Eswolltdie
Jungfraufrh
aufstehn
2Vonalten
Spazieren
Liebesliedern
wolltichreiten

44

62

Munich,1
Feb1874

185962 1938

185960 1866

xxi,164 v/6

OFischerauf trad.It.,trans.
denFluten
K.Witte
Wozuistmein trad.Slavonic,
langesHaar trans.A.Grn
mirdann
DieMhle,die A.von
drehtihre
Chamisso
Flgel
Imstillen
Uhland
Klostergarten

Hamburg,
15Jan
1861
Hamburg,
15Jan
1861
Hamburg,
8Nov1873
Basle,4

March
1869

Nunstehndie nos.710from
RoseninBlte P.Heyse:Der
Jungbrunnen
DieBerge

sindspitz

Zrich,
earlyFeb
1868
Vienna,11
March
1885
Vienna,11
March
1885
Vienna,11
March
1885
Basle,4
March
1869
Vienna,2
Feb1895

185962 1968

185962

185962 1952

18734

1874

Kiel,24

April1899
xxi,95 v/6

fromDes
Knaben
Wunderhorn
fromDes
Knaben
Wunderhorn

Vienna,8
Nov1874

3Waldesnacht

(no.6arr.for4

femalevv)
(no.7arr.forS,

4vv)
TwoMotets,46vv

1
Warumistdas Bible(trans.
Lichtgegeben Luther)and
Luther
2
OHeiland,
F.vonSpee
reissdie
Himmelauf
[6]Liederund

Romanzen,4vv

1Derbucklichte
Fiedler

2DasMdchen

3
4

5DerFalke

6Beherzigung

104

FnfGesnge,4
6vv

74

93a

Waldesnacht, nos.36fromP.
du
Heyse:Der
wunderkhle Jungbrunnen
DeinHerzlein

mild
Allmeine

Herzgedanken

Vienna,8
Nov1874

Vienna,8
Nov1874
Hamburg,
9April
1886

Esgehtein

Wehen
Vergangenist OldGer.,inF.
mirGlckund Mittler:
Heil
Deutsche
Volkslieder

Munich,4
Jan1877

185962 1938

185962

1878

xxi,29 v/5

1877

Vienna,8
Dec1878

18634

1883

1884

Hamburg,

30Jan
1880
Hamburg, xxi,105
9Dec1884
(nos.1,3
5)Krefeld,
27Jan
1885
(complete)

Eswohnetein trad.Rhenish,
Fiedlerzu
inKretzschmer
Frankfurt
and
Zuccalmaglio
Standdas
trad.Serb.,
Mdchen
trans.S.
Kapper
OssserMai A.vonArnim
Fahrwohl,o F.Rckert
Vglein
HebteinFalke trad.Serb.,
sichempor
trans.Kapper
Feiger
Goethe
Gedanken

1888

Hamburg, xxi,117 v/6

25March
1887(no.5,
1st
version)
Hamburg,
29March
1889
(nos.2,5)
Vienna,3
April1889
(complete)

1Nachtwache,i

2Nachtwache,ii
3LetztesGlck

4Verlorene
Jugend

5ImHerbst

Ernstistder
Herbst

109

Festund
Gedenksprche,
8vv
1

110

ThreeMotets,4
8vv

1Ichaberbin
elend

Ichaberbin
elend

2Ach,armeWelt Ach,arme
Welt
3Wennwirin
Wennwirin
hchstenNten
hchsten
sein
Ntensein
Demdunkeln
Demdunkeln
Schossderheilgen Schossder
Erde
heilgenErde
[14]Deutsche

Volkslieder,arr.
4vv

woo20
posth.
woo34

Book1
1
2
3

Rckert

by1888

Rckert
M.Kalbeck

by1888
by1888

trad.
Bohemian,
trans.J.
Wenzig
K.Groth

by1888

1886,rev.
by1888

Bible,trans.
Luther

?18889 1890

UnsereVter
hofftenauf
dich
Wennein
starker
Gewappneter
Woisteinso
herrlichVolk

Psalmxxii.56
Psalmxxix.11

Luke,xi.21,17

Deuteronomy
iv.7,9

LeiseTne
derBrust
Ruhnsie?
Leblosgleitet
BlattumBlatt
Braustenalle
Berge

Hamburg, xxi,61 v/5

9Sept
1889

by1889

1890

Psalmlxix.30,
Exodus
xxxiv.67
oldsacred
song
P.Eber

Hamburg, xxi,47 v/5

15Jan
1890
(no.3)
Cologne,
13March
1890
(complete)

fromSchiller: by1880
DasLiedvon
derGlocke
inC.F.Becker by1864
(no.1),
Kretzschmer
and
Zuccalmaglio
(nos.23,9
11,13),D.G.
Corner(nos.4
5,7,12,14),
K.S.Meister
(no.6)from
F.W.Arnold
(no.8)

VonedlerArt
MitLustttich
ausreiten
Bei

1927

xxi,155 v/6

1864

xxi,127 viii/1

nchtlicher
Weil

KommMainz,
kommBayrn

Esflogein
Tublein
Achlieber
HerreJesu
Christ
Trstdie
Bedrngten

InstillerNacht
Ichfahrdahin
Espochetein
Knabe
11
DieWollustin
denMaien
12Morgengesang Wachauf,

meinKind
13SchnitterTod Esistein

Schnitter
14Derenglische Eswolltgut

Jger
Jgerjagen

woo35
posth.

[12]Deutsche
Volksleider,arr.
4vv

?18634 19267
(nos.9
12),?
1858
(nos.18)

xxi,144 viii/2

inKretzschmer
and
Zuccalmaglio
(nos.12,4
12)from
Arnold(no.3)

1Scheiden

4Vomheiligen
Mrtyrer
Emmerano,
Bischoffenzu
Regenspurg
5Tubleinweiss

7SanktRaphael

Book2
8
9Abschiedslied
10DertoteKnabe

AchGott,wie
wehtut
Scheiden
2Wachauf!
Wachauf,

meins
Herzens
Schne
3
Erlaubemir,
feinsMdchen
4DerFiedler
Eswohnetein
Fiedler
5
Dauntenim
Tale
6
DesAbends
kannichnicht
schlafengehn
7Wachauf!
Wachauf,

meins
Herzens
Schne
8
Dortinden

Weiden
9AltesVolkslied Verstohlen

10DerRitterund
dieFeine
11Der
Zimmergesell

gehtderMond
auf

Esstunden

dreiRosen
Eswareinmal
ein
Zimmergesell
Wirstehen

hierzur
Schlacht
bereit
Kyrieeleison liturgical

1856

1984

vi/2

v/6

12Altdeutsches
Kampflied

woo17
posth.
woo18
posth.

Kyrie,4vv,bc
Missacanonica,
5vv

Sanctus
Benedictus
Agnus
Dei/Dona
nobispacem

liturgical

1856

1956,
1984

Vienna,16
Oct1983
Vienna,16
Oct1983

woo19
posth.

DeinHerzleinmild

Heyse:
Jungbrunnen
(seeop.62
no.4)

1860

1938

Brahms,Johannes:Works

v/2

solosongs
for1voiceandpianounlessotherwisestated

Op.

Incipit:
Oversenk,oversenkdeinLeid

Incipit:
WiesichRebenrankenschwingen

Incipit:
Ichmusshinaus

Title

Text

Key Composed Published BW NA

1853

R.Reinick

1853

Hoffmannvon
Fallersleben

1853,rev. 2/1882
1882

Hoffmannvon
Fallersleben

1853

F.Bodenstedt

1853

SechsGesnge,
T/S,pf
1Liebestreu

xxiii, vii/1
1

2Liebeund
Frhling,i(2
versions)

3Liebeund
Frhling,ii

4Liedausdem


Incipit:
WeitberdasFeld

GedichtIvan

5InderFremde

Incipit:
AusderHeimat

Incipit:
LindesRauschenindenWipfeln

Incipit:
EslocktundsuseltumdenBaum

Incipit:
Sieistgegangen

Incipit:
WieistdochdieErdesoschn!

6Lied

SechsGesnge,
S/T,pf
1SpanischesLied

Eichendorff

1852

1853

Sp.,trans.P.
Heyse

1852

xxiii, vii/1
20

J.B.Rousseau

1852

A.Meissner

Reinick

1852

1852

Hoffmannvon
Fallersleben

1853

Hoffmannvon
Fallersleben

1853

1854

xxiii, vii/1

2DerFrhling

3Nachwirkung

4Juchhe!

Incipit:
Nachtigallenschwingenlustig

1852

Incipit:
WiedieWolkenachderSonne

Incipit:
IndemSchattenmeinerLocken

J.von
Eichendorff

SechsGesnge

1TreueLiebe

1852

Eichendorff

1852

Eichendorff

trad.,inG.
Scherer:
Deutsche
Volkslieder

38

1853

1852

trad.,inScherer a

1852

L.Uhland

1851

1858

1860/1

gG

xxiii, vii/1
50

E.Ferrand

Incipit:
EinMgdleinsassamMeeresstrand

Incipit:
SiestandwohlamFensterbogen

Incipit:
HochberstillenHhen

2Parole

3Anklnge

4Volkslied

Incipit:
DieSchwlbleziehetfort

Incipit:
MeiMuetermagminet

Incipit:
Obrichnicht,Steg

14

Incipit:
SollsichderMondnichthellerscheinen

Incipit:
EswollteinMdchenfrhaufstehn

5DieTrauernde

6Heimkehr

[8]Liederund

Romanzen
1VordemFenster trad.,inK.
Simrock:Die
deutschen
Volkslieder

2Vomverwundeten trad.Ger.,inJ.G. a
Knaben
Herder:
Volkslieder

3Murrays

trad.Scottish,

Ermordung

fromT.Percy:
Reliques,trans.
inHerder

Incipit:
OHochlandundoSdland!

attrib.Count
A
Thibault(13th
century),trans.in
Herder

trad.,inA.
F
Kretzschmerand
A.W.von
Zuccalmaglio:
Deutsche
Volkslieder

6GangzurLiebsten trad.,in
e
Kretzschmerand
Zuccalmaglio

trad.,in
F
Kretzschmerand
Zuccalmaglio

trad.,in
e
Kretzschmerand
Zuccalmaglio

(no.8arr.for3
femalevv)
FnfGedichte

185962

1968

1862

1DerKuss

L.Hlty

1858

xxiii, vii/1
67

4EinSonnett

Incipit:
Achknntich,knntevergessensie

5Trennung

Incipit:
Wachauf,wachauf,dujungerGesell

Incipit:
DesAbendskannichnichtschlafengehn

7Stndchen

Incipit:
GutNacht,gutNacht

8Sehnsucht

Incipit:
MeinSchatzistnichtda

19

Incipit:
UnterBltendesMais

2Scheidenund
Meiden

Uhland

1858

Uhland

dD 1858

Uhland

1859

a A 1858

1864

1865

A.vonPlaten

xxiii, vii/1
79

trad.Moravian,
trans.G.F.
Daumer

Platen

Platen

Platen

Incipit:
Sosollichdichnunmeiden

Incipit:
WillruhenunterdenBumen

Incipit:
IchhrmeinenSchatz

3InderFerne

4DerSchmied

5Aneineolsharfe E.Mrike

Incipit:
AngelehntandieEpheuwand

32

Incipit:
WierafftichmichaufinderNacht

[9]Liederund
Gesnge
1

Incipit:
Ichschleichumher

Incipit:
DerStrom,dernebenmirverrauschte

Incipit:
Wehe,sowillstdumichwieder

Incipit:
Nichtmehrzudirzugehen

Incipit:
Dusprichst,dassichmichtuschte

33

Incipit:
Keinenhatesnochgereut

Incipit:
Traun!BogenundPfeilsindgutfrden
Feind

Incipit:
SindesSchmerzen,sindesFreuden

Incipit:
LiebekamausfernenLanden

Hfis,trans.
Daumer

Hfis,trans.
Daumer

Hfis,trans.
Daumer

1865
xxiii, vii/2
(nos.1 107
6),1869
(nos.7
15)

[15]Romanzen
(MageloneLieder)

fromL.Tieck:

Wundersame
Liebesgeschichte
derschnen
Mageloneund
desGrafenPeter
ausder
Provence

1861

1861

1861

1861

Incipit:
Wiebistdu,meineKnigin

Incipit:
Sostehnwir,ichundmeineWeide

Incipit:
Bittereszusagendenkstdu

Platen

Incipit:
SowillstdudesArmen

Incipit:
WiesollichdieFreude

Incipit:
Waresdir

Incipit:
Wirmssenunstrennen

Incipit:
Ruhe,Sssliebchen

Incipit:
Sotnetdenn

Incipit:
Wieschnellverschwindet

Incipit:
MusseseineTrennunggeben

Incipit:
Geliebter,wozaudert

Incipit:
Wiefrohundfrisch

1862

1862

by1864

by1865?

by1868

by1866

by1869

1862

1862

May1869

10Verzweiflung

11

12

13Sulima

14

15

Incipit:
TreueLiebedauertlange

May1869

1868

xxiv, vii/2
1

43

VierGesnge

1VonewigerLiebe trad.Wendish., bB 1864

trans.Hoffmann
vonFallersleben

Incipit:
Dunkel,wiedunkel

Incipit:
WanndersilberneMond

46

OldGer.,inC.F. B
Becker:Lieder
undWeisen
vergangener
Jahrhunderte

by1860

trad.
c
Westphalian
(15thcentury),
versesfrom
Herder,Uhland
(Alte
Volkslieder)and
others

1857

VierLieder

by1868

1DieKrnze

ancientGk.,
D
trans.inDaumer:
Polydora

xxiv, vii/3
18

trad.Hung.,
trans.Daumer

by1868

L.Hlty

4DasLiedvom
Hernvon
Falkenstein

Incipit:
HierobdemEingang

1866

2DieMainacht

Incipit:
EsreitderHerrvonFalkenstein

Incipit:
IchschellmeinHorninsJammertal

2Magyarisch


Incipit:
SahdemedlenBildnis

Incipit:
EineSchaledesStroms

Incipit:
Geussnichtsolaut

47

3DieSchaleder
Vergessenheit

4AndieNachtigall Hlty

Incipit:
OlieblicheWangen

Incipit:
EinBlickvondeinenAugen

48

by1868

xxiv, vii/3
32

FnfLieder

1868

1Botschaft

Hfis,trans.
Daumer

1868

Hfis,trans.
Daumer

fF

by1868

inUhland:Alte
Volkslieder

P.Flemming

by
1859/60

by1868

Goethe

1858

(no.3arr.for3
femalevv)
SiebenLieder

185962

1968

1868

1DerGangzum
Liebchen

trad.Bohemian, e
trans.J.Wenzig

185962

xxiv, vii/3
48

2Liebesglut

3Sonntag

Incipit:
SohabichdochdieganzeWoche

Incipit:
DieFlammehier

Incipit:
Wehe,Lftchen

L.Hlty

5DieLiebende
schreibt


Incipit:
EsglnztderMondnieder

2Derberlufer

Incipit:
IndenGartenwollenwirgehen

Incipit:
SternchenmitdemtrbenSchein

Incipit:
Wiekommtsdassdusotraurigbist

1853

fromDes
Knaben
Wunderhorn

by
1859/60

trad.Bohemian, e
trans.Wenzig

by1868

3Liebesklagedes
Mdchens

Incipit:
Wersehenwill

fromDes
Knaben
Wunderhorn

4Goldberwiegt
dieLiebe

5TrostinTrnen

Goethe

Ee 1858

OldGer.,inF.L. d
Mittler:Deutsche
Volkslieder

by
1859/60

A.F.vonSchack f

1867

185962

1968

49

(no.1arr.for3
femalevv)
FnfLieder

1868

It.,trans.P.
Heyse

by1868

xxiv, vii/3
64

G.B.F.Zappi,
trans.Hlty

by1868

Incipit:
VergangenistmirGlckundHeil

Incipit:
WiewennimfrostgenWindhauch

7Herbstgefhl

Incipit:
AmSonntagMorgenzierlichangetan

2AneinVeilchen


Incipit:
Birg,oVeilchen

3Sehnsucht

Incipit:
HinterjenendichtenWldern

trad.Bohemian, A
trans.Wenzig

by1868

fromDes
E
Knaben
Wunderhorn,and
inScherer

1868

1867

by1871

1871

Daumer

xxiv, vii/3
80

Hfis,trans.
Daumer

anon.Sp.,trans. B
Daumer

Daumer

Daumer

4Wiegenlied

Incipit:
GutenAbend,gutNacht

Incipit:
Seiwillkommen,Zwielichtstunde!

57

Incipit:
VonwaldbekrnzterHhe

5Abenddmmerung Schack

[8]Liederund
Gesnge
1

Incipit:
Ach,wendediesenBlick

Incipit:
InmeinerNchteSehnen

Incipit:
Estrumtemir,ichseidirteuer

Incipit:
Wenndunurzuweilenlchelst

Incipit:
StrahltzuweilenaucheinmildesLicht

anon.Ind.,trans. B
Daumer

Daumer

1871

Sicilian,trans.A. g
Kopisch

by1871

xxiv, vii/3
109

Kopisch

by1871

Calabrian,trans. A
Kopisch,rev.
Heyseforlater
edns

M.Grohe

Incipit:
DieSchnur,diePerlanPerle

Daumer

Incipit:
UnbewegtelaueLuft

58

[8]Liederund
Gesnge
1BlindeKuh

Incipit:
ImFinsterngehichsuchen

Incipit:
Voller,dichtertropftumsDachda

Incipit:
Okomme,holdeSommernacht

Incipit:
MiristsowehumsHerz

Incipit:

by1871

by1871

C.Candidus

by1871

F.Hebbel

by1871

2Whrenddes
Regens

3DieSprde

Incipit:
IchsaheeineTigrin

5Schwermut

6InderGasse

IchblickehinabindieGasse

Incipit:
IchlegtemichunterdenLindenbaum

7Vorber

Hebbel

by1871

Schack

1867,rev.
by1871

1873

Goethe

1870/71

xxiv, vii/3
134

K.Simrock

1873

K.Groth

Groth

8Serenade

Incipit:
Leise,umdichnichtzuwecken

59

Incipit:
Dmrungsenktesichvonoben

Incipit:
BlauerHimmel,blaueWogen

Incipit:
Walle,Regen,wallenieder

Incipit:
RegentropfenausdenBumen

[8]Liederund
Gesnge
1

1873

1873

Mrike

?1858,
rev.by
1873

Russ.,trans.
Daumer

1873

Groth

eE 1873

2AufdemSee

3Regenlied

4Nachklang

5Agnes

Incipit:
Rosenzeit,wieschnellvorbei

Incipit:
Einegute,guteNacht

Incipit:

MeinwundesHerzverlangt

Incipit:
DeinblauesAugehltsostill

63

Incipit:
IhrwunderschnenAugenblicke

Incipit:
Wasschaustdumich

Incipit:
Fliegtnuraus

Incipit:
MeineLiebeistgrn

Incipit:
WennumdenHolunder

Incipit:
WietraulichwardasFleckchen

Incipit:
OwsstichdochdenWegzurck

1873

1874

M.von
Schenkendorf

1874

xxiv, vii/4
164

Schenkendorf

1874

Schenkendorf

Schenkendorf

[9]Liederund
Gesnge
1Frhlingstrost

Incipit:
EswehtummichNarzissenduft

Groth

1874

1874

F.Schumann

1873

F.Schumann

1874

Groth

by1874

Groth

1874

2Erinnerung

3AneinBild

4AndieTauben

5JungeLieder,i

6JungeLieder,ii

7Heimweh,i

8Heimweh,ii

Incipit:
IchsahalsKnabeBlumenblhn

69

Groth

by1874

NeunGesnge

1877

1877

1Klage,i

trad.Bohemian, D
trans.Wenzig

xxv, vii/4
1

trad.Slovak,
trans.Wenzig

trad.Bohemian, E
trans.Wenzig

trad.Bohemian, F
trans.Wenzig

9Heimweh,iii

Incipit:
Achmirfehlt

2Klage,ii

Incipit:
Ei,schmolltemeinVater

Incipit:
DenWirbelschlagich

3Abschied

Incipit:
berdieSee,fernberdieSee

Incipit:
SingtmeinSchatz

anon.Sp.,trans. a
Eichendorff

C.Lemcke

G.Keller

4DesLiebsten
Schwur

5Tambourliedchen Candidus

6VomStrande

Incipit:
IchrufevomUfer

Incipit:
Ach,michhltderGram

Incipit:
OFelsen,lieberFelsen

7berdieSee

8Salome

trad.Serb.,trans. aA
S.Kapper

VierGesnge

1877

Lemcke

1877

xxv, vii/4
35

Candidus

1877

Goethe

9Mdchenfluch

Incipit:
RuftdieMutter

70

Incipit:
ImGartenamSeegestade

Incipit:
therischeferneStimmen

Incipit:
LieblichesKind

1876

Keller

a/A 1875
C

FnfGesnge

1877

1877

1Esliebtsichso
lieblichimLenze!

H.Heine

xxv, vii/4
46

Simrock

Candidus

2Lerchengesang

3Serenade

4Abendregen

Incipit:
Langsamundschimmernd

71

Incipit:
DieWellenblinkenundfliessendahin

Incipit:
Silbermond,mitbleichenStrahlen

Incipit:
OFrhlingsabenddmmerung!

Incipit:
AufderHeidewehtderWind

2AndenMond

3Geheimnis

4Willstdu,dassich Lemcke
geh?

Incipit:
HolderklingtderVogelsang

72

Incipit:
EskehrtdiedunkleSchwalbe

Incipit:
Sommerfdenhinundwieder

Incipit:
OkhlerWald

Incipit:
IchsitzamStrande

Incipit:
Habichtausendmalgeschworen

84

Incipit:
Gehschlafen,Tochter

Incipit:
Mutter,hilfmirarmenTochter

Hlty

FnfGesnge

1877

1AlteLiebe

Candidus

1876

xxv, vii/4
63

Candidus

1876

C.Brentano

Lemcke

Goethe

5Minnelied

1877

1877

1876

1882

xxv, vii/5
81

dD ?1881

Schmidt

gG ?1881

Schmidt

?1881

2Sommerfden

4Verzagen

5Unberwindlich

[5]Romanzenund
Lieder,1/2vv,pf
(nos.13femalevv,
nos.45femaleand
malevv)
1Sommerabend
H.Schmidt

2DerKranz

3IndenBeeren


Incipit:
Singe,Mdchen,hellundklar

4Vergebliches
Stndchen

Incipit:
GutenAbend,meinSchatz

trad.Lower
aA by1882
Rhenish,in
Kretzschmerand
Zuccalmaglio

xxv, vii/5
100

5Spannung

Incipit:
GutnAbend,gutnAbend

by1882

trad.Lower
A
Rhenish,in
Kretzschmerand
Zuccalmaglio

85

SechsLieder

1882

1Sommerabend

Heine

1878

Heine

1878

trad.Serb.,trans. a
Kapper

Incipit:
DmmerndliegtderSommerabend

Incipit:
NachtliegtaufdenfremdenWegen

2Mondenschein

Incipit:
MitgeheimnisvollenDften

1878

trad.Bohemian, b
trans.Kapper

by1882

E.Geibel

1878

Lemcke

1878

3Mdchenlied

4Ade!

Incipit:
WieschienendieSternleinsohell

Incipit:
Ach,unddumeinkhlesWasser!

5Frhlingslied

6In
Waldeseinsamkeit

Incipit:
IchsasszudeinenFssen

86

Incipit:
DumilchjungerKnabe

Incipit:
Ichruhestill

Incipit:
StrenichtdenleisenSchlummer

Incipit:
berdieHeidehallet

Incipit:
EsbrausenderLiebeWogen

SechsLieder,lowv,
pf
1Therese
Keller

1882

1878

H.Allmers

by1882

M.Kalbeck

T.Storm

xxv, vii/5
116

1877

by1882

F.Schumann

1878

Schenkendorf

f F 1878

1884

F.Rckert

1884

xxv, vii/5
132

LopedeVega,
trans.Geibel

18634

2Feldeinsamkeit

3Nachtwandler

4berdieHeide

5Versunken

6Todessehnen

Incipit:
Ach,wernimmtvonmeinerSeele

91

Incipit:
IngoldnenAbendschein

Incipit:
DieihrschwebetumdiesePalmen

94

ZweiGesnge,A,
va,pf
1Gestillte
Sehnsucht

1884

xxv, vii/5

2Geistliches
Wiegenlied

FnfLieder,lowv,pf

Incipit:
MitvierzigJahrenistderBergersteigen

Incipit:
Steigauf,geliebterSchatten

Incipit:
MeinHerzistschwer

Incipit:
RosenbrachichNachts

Incipit:
KeinHaus,keineHeimat

95

Incipit:
BeidirsindmeineGedanken

Incipit:
Ichmhmichab

Incipit:
MeinLiebisteinJger

1883

F.Halm

1883

Geibel

by1884

Schmidt

by1884

Halm

by1884

SiebenLieder

1884

1DasMdchen

trad.Serb.,trans. bB 1883
Kapper

xxv, vii/5
161

Halm

by1884

3BeimAbschied(2 Halm
versions)

4SapphischeOde

Incipit:
StanddasMdchen

Rckert

149

by1884

by1884

trad.Serb.,trans. dD by1884

4DerJger

Halm

5Vorschneller


Incipit:
SchworeinjungesMdchen

Incipit:
AmjngstenTag

Schwur

It.,trans.Heyse F

by1884

Turkish,trans.in f
Daumer:
Polydora

by1884

VierLieder

by1885

1886

Heine

xxv, vii/5
180

Hung.,trans.in
Daumer:
Polydora

Heine

Heine

SechsLieder
1Nachtigall

6Mdchenlied

Incipit:
Schnwar,dasichdirweihte

96

Incipit:
DerTod,dasistdiekhleNacht

Incipit:
EsschauendieBlumen

Incipit:
MeinLiebchen,wirsassenbeisammen

97

Incipit:
ONachtigall,deinssserSchall

Incipit:
EinVgeleinfliegt

by1885

1886

C.Reinhold

xxv, vii/5
192

Reinhold

Incipit:
Wirwandelten,wirzweizusammen

Kapper

4Meerfahrt

2AufdemSchiffe

Incipit:
OLadyJudith

3Entfhrung

Incipit:
Warumdennwarten

trad.Lower
D
Rhenish,in
Kretzschmerand
Zuccalmaglio

Groth

trad.Swabian,in F
Kretzschmerand
Zuccalmaglio

xxvi, vii/6
1

5KommBald

6Trennung

Incipit:
DauntenimTale

Incipit:
DortindenWeiden

W.Alexis

105

FnfLieder,lowv,pf

1888

Groth

1886

H.Lingg

c D 1886

Incipit:
WieMelodienziehtesmir

by1888

4AufdemKirchhofe D.vonLiliencron cC by1888

Incipit:
ImmerleiserwirdmeinSchlummer

3Klage

Incipit:
FeinsLiebchen,traudunicht

Incipit:
DerTaggingregenschwer

trad.Lower
F
Rhenish,in
Kretzschmerand
Zuccalmaglio

Incipit:
IchstandineinerlauenNacht

106

Incipit:
DerMondstehtberdemBerge

Incipit:
AndiesSchiffleinschmiege

Incipit:
EshingderReif

Incipit:
WennmeinHerzbeginntzuklingen

Incipit:
HierwosichdieStrassenscheiden

107

Incipit:
Undgleichwohlkannich

Incipit:
EssasseinSalamander

Incipit:
Schwalbe,sagmiran

Lemcke

1886

FnfLieder

1888

1Stndchen

F.Kugler

by1888

xxvi, vii/6
15

Reinhold

1885

Groth

A.Frey

5Verrat

by1888

by1888

Reinhold

1885

FnfLieder

1888

1AndieStolze

Flemming

1886

xxvi, vii/6
31

Lemcke

aA 1888

O.F.Gruppe

2AufdemSee

4MeineLieder

5EinWanderer

2Salamander

3DasMdchen
spricht

1886

Incipit:
Maienktzchen,ersterGruss

Incipit:
AufdieNachtindenSpinnstubn

121

Incipit:
DennesgehetdemMenschen

4Maienktzchen

by1887

Heyse

by1888

1896

1896

xxvi, vii/6
44

gG

afterApocrypha: eE
Ecclesiasticus
xli.12

Bible:1
Corinthians
xiii.14,1213

Eichendorff

by1853

1854

xxvi, vii/6
62

fromW.
Shakespeare:
Hamlet,trans.
A.W.von
Schlegel

1873

1935

vii/6

5Mdchenlied

VierernsteGesnge
[FourSerious
Songs],B,pf
1
Bible:
Ecclesiastes
iii.1922

Incipit:
Ichwandtemich,undsaheanalle

Liliencron

Bible:
Ecclesiastes
iv.13

Incipit:
OTod,oTod,wiebitterbistdu

Incipit:
WennichmitMenschenundmit
Engelzungenredete

woo21

Mondnacht

Incipit:
Eswar,alshttderHimmel

woo22posth.

[5]OpheliaLieder,
S,pfadlib


Incipit:
WieerkennichdeinTreulieb

Incipit:
SeinLeichenhemdweiss

Incipit:
AufmorgenistSanktValentinsTag

Incipit:
SietrugenihnaufderBahrebloss

Incipit:
Undkommternichtmehrzurck?

woo23posth.

Db

Groth

by1872

1908

xxvi, vii/6
64

Goethe

1891

early
1850s

1983

vii/6

Regenlied

Incipit:
RegentropfenausdenBumen

Anh.III/7

[Aphorismus],1v

Incipit:
Dochwashrich?

Anh.III/13

DieMllerin[frag.]

Incipit:
DieMhle,diedrehtihreFlgel

Seealsootherarrangements

A.vonChamisso e

Brahms,Johannes:Works
indextothesolosongs
Abenddmmerung,49/5Abendregen,70/40Abschied,69/3Achknntich,knnte
vergessensie,14/4AchmichhltderGram,69/3Ach,mirfehlt,69/1Ach,unddu

meinkhlesWasser!,85/3Ach,wendediesenBlick,57/4Ach,wernimmtvon
meinerSeele,86/6Ade!,85/4Agnes,59/5AlteLiebe,72/1AmjngstenTag,
95/6AmSonntagMorgen,49/1AndenMond,71/2AndieNachtigall,46/4
AndiesSchiffleinschmiege,106/2AndieStolze,107/1AndieTauben,63/4An
einBild,63/3Aneineolsharfe,19/5AneinVeilchen,49/2Angelehntandie
Epheuwand,19/5Anklnge,7/3therischeferneStimmen,70/2Aufdem
Kirchhofe,105/4AufdemSchiffe,97/2AufdemSee,59/2,106/2AufderHeide
wehtderWind,71/4AufdieNachtindenSpinnstubn,107/5AufmorgenistSankt
ValentinsTag,woo22/3AusderHeimat,3/5
BeidirsindmeineGedanken,95/2BeimAbschied,95/3Birg,oVeilchen,49/2
Bittereszusagendenkstdu,32/7BlauerHimmel,blaueWogen,59/2BlindeKuh,
58/1Botschaft,47/1DmmerndliegtderSommerabend,85/1Dmmrungsenkte
sichvonoben,59/1DasLiedvomHerrnvonFalkenstein,43/4DasMdchen,
95/1DasMdchenspricht,107/3DauntenimTale,97/6
DeinblauesAugehltsostill,59/8DennesgehetdemMenschen,121/1Den
Wirbelschlagich,69/5DerFrhling,6/2DerGangzumLiebchen,48/1DerJger,
95/4DerKranz,84/2DerKuss,19/1DerMondstehtberdemBerge,106/1Der
Schmied,19/4DerStrom,dernebenmirverrauschte,32/4DerTagging
regenschwer,105/4DerTod,dasistdiekhleNacht,96/1Derberlufer,48/2
DesAbendskannichnichtschlafengehn,14/6DesLiebstenSchwur,69/4
DieFlammehier,47/2DieihrschwebetumdiesePalmen,91/2DieKrnze,46/1
DieLiebendeschreibt,47/5DieMainacht,43/2DieMhle,diedrehtihreFlgel,
Anh.III/13DieMllerin,Anh.III/13DieSchalederVergessenheit,46/3DieSchnur,
diePerlanPerle,57/7DieSchwlbleziehetfort,7/4DieSprde,58/3Die
Trauernde,7/5DieWellenblinken,71/1DortindenWeiden,97/4Dumilchjunger
Knabe,86/1Dunkel,wiedunkel,43/1Dusprichst,dassichmichtuschte,32/6
EinBlickvondeinenAugen,47/5Einegute,guteNacht,59/6EineSchaledes
Stroms,46/3EinMgdleinsassamMeeresstrand,7/1EinSonett,14/4Ein
Vgeleinfliegt,97/2EinWanderer,106/5Ei,schmolltemeinVater,69/4
Entfhrung,97/3Erinnerung,63/2EsbrausenderLiebeWogen,86/5Esglnzt
derMondnieder,48/1EshingderReif,106/3EskehrtdiedunkleSchwalbe,72/1
EsliebtsichsolieblichimLenze!,71/1EslocktundsuseltumdenBaum,6/2Es
reitderHerrvonFalkenstein,43/4EssasseinSalamander,107/2Esschauendie
Blumen,96/3Estrumtemir,ichseidirteuer,57/3Eswar,alshttderHimmel,
woo21Eswehtummich,63/1EswollteinMdchenfrhaufstehn,14/2Feins
Liebchen,traudunicht,105/3Feldeinsamkeit,86/2Fliegtnuraus,63/4
Frhlingslied,85/5Frhlingstrost,63/1
GangzurLiebsten,14/6Geheimnis,71/3Gehschlafen,Tochter,84/1Geistliches
Wiegenlied,91/2Geliebter,wozaudert,33/13GestillteSehnsucht,91/1Geuss
nichtsolaut,46/4GoldberwiegtdieLiebe,48/4GutenAbend,gutNacht,49/4
GutenAbend,meinSchatz,84/4GutnAbend,gutnAbend,84/5GutNacht,gut
Nacht,14/7Habichtausendmalgeschworen,72/5Heimkehr,7/6Heimweh,63/7,
8,9Herbstgefhl,48/7Hier,obdemEingang,46/1Hier,wosichdieStrassen,
106/5HinterjenendichtenWldern,49/3HochberstillenHhen,7/3Holder
klingtderVogelsang,71/5
IchblickehinabindieGasse,58/6IchhrmeinenSchatz,19/4Ichlegtemich
unterdenLindenbaum,58/7Ichmhmichab,95/3Ichmusshinaus,3/3Ichrufe
vomUfer,69/6Ichruhestill,86/2IchsahalsKnabe,63/9IchsaheeineTigrin,
58/3IchsasszudeinenFssen,85/6IchschellmeinHorninsJammertal,43/3
Ichschleichumher,32/3IchsitzamStrande,72/4IchstandineinerlauenNacht,

105/5Ichwandtemich,undsaheanalle,121/2IhrwunderschnenAugenblicke,
63/2
ImFinsterngehichsuchen,58/1ImGartenamSeegestade,70/1Immerleiser
wirdmeinSchlummer,105/2IndemSchattenmeinerLocken,6/1IndenBeeren,
84/3IndenGartenwollenwirgehen,48/2InderFerne,19/3InderFremde,3/5
InderGasse,58/6IngoldnenAbendschein,91/1:InmeinerNchteSehnen,57/5
InWaldeseinsamkeit,85/6Juchhe!,6/4JungeLieder,63/5,6Keinenhatesnoch
gereut,33/1KeinHaus,keineHeimat,94/5Klage,69/1,2,105/3Kommbald,97/5
Langsamundschimmerend,70/4Leise,umdichnichtzuwecken,58/8
Lerchengesang,70/2LiebekamausfernenLanden,33/4Liebesglut,47/2
LiebesklagedesMdchens,48/3Liebestreu,3/1LiebeundFrhling,3/2,3
LieblichesKind,70/3Lied,3/6LiedausdemGedichtIvan,3/4LindesRauschen
indenWipfeln,3/6Mdchenfluch,69/9Mdchenlied,85/3,95/6,107/5
Magyarisch,46/2Maienktzchen,ersterGruss,107/4
Meerfahrt,96/4MeiMuetermagminet,7/5MeineLiebeistgrn,63/5Meine
Lieder,106/4MeinHerzistschwer,94/3MeinLiebchen,wirsassen,96/4Mein
LiebisteinJger,95/4MeinSchatzistnichtda,14/8MeinwundesHerzverlangt,
59/7Minnelied,71/5MiristsowehumsHerz,58/5MitgeheimnisvollenDften,
85/5MitvierzigJahren,94/1
Mondenschein,85/2Mondnacht,woo21MurraysErmordung,14/3Musseseine
Trennunggeben,33/12Mutter,hilfmir,84/2Nachklang,59/4Nachtigall,97/1
Nachtigallenschwingenlustig,6/6NachtliegtaufdenfremdenWegen,85/2
Nachtwandler,86/3Nachwirkung,6/3Nichtmehrzudirzugehen,32/2
Obrichnicht,Steg,7/6OFelsen,lieberFelsen,69/2O
Frhlingsabenddmmerung!,71/3OHochlandundoSdland!,14/3Okomme,
holdeSommernacht,58/4OkhlerWald,72/3OLadyJudith,97/3Oliebliche
Wangen,47/4ONachtigall,deinssserSchall,97/1OTod,oTod,wiebitterbist
du,121/3Oversenk,oversenkdeinLeid,3/1OwsstichdochdenWegzurck,
63/8Parole,7/2
Regenlied,59/3,woo23RegentropfenausdenBumen,59/4,woo23Rosenbrach
ichNachts,94/4Rosenzeit,wieschnellvorbei,59/5RuftdieMutter,69/9Ruhe,
Sssliebchen,33/9SahdemedlenBildnis,46/2Salamander,107/2Salome,69/8
SapphischeOde,94/4ScheidenundMeiden,19/2Schnwar,dasichdirweihte,
95/7Schwalbe,sagmiran,107/3Schwermut,58/5
SchworeinjungesMdchen,95/5Sehnsucht,14/8,49/3SeinLeichenhemdweiss,
woo22/2Seiwillkommen,Zwielichtstunde!,49/5Serenade,58/8,70/3Sieist
gegangen,6/3SiestandwohlamFensterbogen,7/2SietrugenihnaufderBahre
bloss,woo22/4Silbermond,mitbleichenStrahlen,71/2SindesSchmerzen,sind
esFreuden,33/3Singe,Mdchen,hellundklar,84/3SingtmeinSchatz,69/8So
habichdochdieganzeWoche,47/3SollsichderMondnichthellerscheinen,14/1
Sommerabend,84/1,85/1Sommerfdenhinundwieder,72/2Sonntag,47/3So
sollichdichnunmeiden,19/2Sostehnwir,ichundmeineWeide,32/8Sotnet
denn,33/10SowillstdudesArmen,33/5SpanischesLied,6/1Spannung,84/5
Stndchen,14/7,106/1StanddasMdchen,95/1Steigauf,geliebterSchatten,
94/2SternchenmitdemtrbenSchein,48/4StrenichtdenleisenSchlummer,
86/3StrahltzuweilenaucheinmildesLicht,57/6Sulima,33/13
Tambourliedchen,69/5Therese,86/1Todessehnen,86/6Traun!BogenundPfeil
sindgut,33/2Trennung,14/5,97/6TreueLiebe,7/1TreueLiebedauertlange,
33/15TrostinTrnen,48/5berdieHeidehallet,86/4berdieSee,fernberdie

See,69/7UnbewegtelaueLuft,57/8Undgleichwohlkannich,107/1Undkommt
ernichtmehrzurck?,woo22/5UnterBltendesMais,19/1Unberwindlich,72/5
VergangenistmirGlckundHeil,48/6VergeblichesStndchen,84/4Verrat,
105/5Versunken,86/5Verzagen,72/4Verzweiflung,33/10Volkslied,7/4Voller,
dichtertropftumsDachda,58/2VomStrande,69/6VomverwundetenKnaben,
14/2VonewigerLiebe,43/1VonwaldbekrnzterHhe,57/1VordemFenster,
14/1VorschnellerSchwur,95/5Vorber,58/7
Wachauf,wachauf,14/5WhrenddesRegens,58/2Walle,Regen,wallenieder,
59/3WanndersilberneMond,43/2Waresdir,33/7Warumdennwarten,97/5
Wasschaustdumich,63/3Wehe,Lftchen,47/1Wehe,sowillstdumichwieder,
32/5WeitberdasFeld,3/4Wenndunurzuweilenlchelst,57/2Wennichmit
MenschenundmitEngelzungen,121/4WennmeinHerzbeginnt,106/4Wennum
denHolunder,63/6Wersehenwill,48/3Wiebistdu,meineKnigin,32/9Wiedie
WolkenachderSonne,6/5WieerkennichdeinTreulieb,woo22/1Wiefrohund
frisch,33/14
Wiegenlied,49/4WieistdochdieErdesoschn!,6/4Wiekommtsdassduso
traurigbist,48/5WieMelodienziehtesmir,105/1Wierafftichmichaufinder
Nacht,32/1WieschienendieSternlein,85/4Wieschnellverschwindet,33/11Wie
sichRebenrankenschwingen,3/2WiesollichdieFreude,33/6Wietraulichwar
dasFleckchen,63/7WiewennimfrostgenWindhauch,48/7Willruhenunterden
Bumen,19/3Willstdu,dassichgeh?,71/4Wirmssenunstrennen,33/8Wir
wandelten,96/2
Brahms,Johannes:Works
folksongarrangements
woo31:[15]VolksKinderlieder,arr.for1v,pf,1857(1858),BWxxvi,176NAviii/1
1Dornrschen
2DieNachtigall
3DieHenne
4Sandmnnchen
5DerMann
6Heidenrslein
7DasSchlaraffenland
8aBeimRittaufdemKnie(UllMannwullriden)
8bBeimRittaufdemKnie(AltMannwolltreiten)
9DerJgerindemWalde
10DasMdchenunddieHasel
11Wiegenlied
12Weihnachten
13Marienwrmchen
14DemSchutzengel
15Sommerlied(unpubd)
woo32posth.:28deutscheVolkslieder,arr.for1v,pf,1858(1926),BWxxvi,191
NAviii/2
1DieSchnrbrust
2DerJger
3DreiVgelein
4Auf,gebetunsdasPfingstei
5DesMarkgrafenTchterlein
6DerReiter

7DieheiligeElisabethanihremHochzeitsfeste
8DerenglischeGruss
9IchstundaneinemMorgen
10Gunhilde
11DertoteGast
12TageweisvoneinerschnenFrauen
13Schifferlied
14Nachtgesang
15DiebeidenKnigskinder
16Scheiden
17AltesMinnelied
18aDergetreueEckart
18bDergetreueEckart
19DieVersuchung
20DerTochterWunsch
21SchnitterTod
22MariasWallfahrt
23DasMdchenundderTod
24EsritteinRitterwohldurchdasRied
25Liebeslied
26GutenAbend,meintausigerSchatz
27DieWollustindenMaien
28EsreiteinHerrundauchseinKnecht
woo33:49deutscheVolkslieder,arr.for1v,pf,by18934(1894),BWxxvi,81NA
viii/2
Book1
1Sagtmir,oschnsteSchfrinmein
2Erlaubemir,feinsMdchen
3Garlieblichhatsichgesellet
4GutenAbend,meintausigerSchatz
5DieSonnescheintnichtmehr
6DauntenimTale
7Gunhildelebtgarstilleundfromm
Book2
8Ach,englischeSchferin
9EswareineschneJdin
10EsritteinRitter
11Jungfrulein,sollichmiteuchgehn
12Feinsliebchen,dusollstmirnichtbarfussgehn
13Wachauf,meinHort
14Mariagingauswandern
Book3
15Schwesterlein,Schwesterlein
16WachaufmeinHerzensschne
17AchGott,wiewehtutScheiden
18SownschichihreinguteNacht
19NureinGesichtaufErdenlebt
20SchnsterSchatz,meinEngel
21EsgingeinMaidleinzarte
Book4

22Wogehstduhin,duStolze?
23DerReiterspreitetseinenMantelaus
24MiristeinschnsbraunsMaidelein
25MeinMdelhateinenRosenmund
26AchknntichdiesenAbend
27IchstandaufhohemBerge
28EsreiteinHerrundauchseinKnecht
Book5
29EswareinMarkgrafbermRhein
30AllmeinGedanken
31DortindenWeidenstehteinHaus
32Sowillichfrischundfrhlichsein
33OchModer,ichwellenDinghan!
34WiekommichdennzurTrherein?
35SollsichderMondnichthellerscheinen
Book6
36EswohneteinFiedler
37DumeineinzigLicht
38DesAbendskannichnichtschlafengehn
39SchnerAugenschneStrahlen
40IchweissmirnMaidleinhbschundfein
41EsstehteinLind
42InstillerNacht,zurerstenWacht
Book7(1v,smallchoirSATB)
43EsstundendreiRosen
44DemHimmelwillichklagen
45EssasseinschneeweissVgelein
46EswareinmaleinZimmergesell
47EsgingsichunsreFraue
48Nachtigall,sagwasfrGrss
49VerstohlengehtderMondauf
woo36posth.:[8]deutscheVolkslieder,arr.for3and4femalevv,185962(1938)
1Totenklage/InstillerNacht
2Minnelied/Sowillichfrischundfrhlichsein
3DertoteKnabe/EspocheteinKnabe
4IchhabdieNachtgetrumet
5AltdeutschesMinnelied/MeinHerzleintutmirgarzuweh!
6EswarenzweiKnigskinder
7Spannung/GutenAbend
8DreiVgelein/MitLustttichausreiten
woo37posth.:[16]deutscheVolkslieder,arr.for3and4femalevv,185962(1964)
NAviii/2
1Schwesterlein,Schwesterlein
2IchhrteeinSichleinrauschen
3DerRitterunddieFeine/EsstundendreiRosen
4IchstandaufhohemBerge
5Gunhilde
6DerbucklichteFiedler/EswohneteinFiedler
7DieVersuchung/Feinsliebchen,dusollstmirnichtbarfussgehn

8AltesMinnelied/Ichfahrdahin
9DieWollustindenMaien
10Trennung/DauntenimTale
11DerJger/BeinchtlicherWeil
12Scheiden/AchGott,wiewehtutScheiden
13ZuStrassburgaufderSchanz
14WachaufmeinHort
15DerRitter/EsritteinReiter
16Stndchen/Wachauf,meinsHerzensSchne
woo38posth.:[20]deutscheVolkslieder,arr.for3and4femalevv,185962(1968)
NAviii/2
1DieEntfhrung/Auf,auf,auf!
2GangzurLiebsten/DesAbendskannichnichtschlafengehn
3Schifferlied/DortindenWeidenstehteinHaus
4Erlaubemir,feinsMdchen
5SchnitterTod/EsisteinSchnitter
6DieBernauerin/EsreitendreiReiter
7DasLiedvomeiferschtigenKnabe/EsstehendreiSterneamHimmel
8DerBauminOdenwald/EsstehteinBauminOdenwald
9DesMarkgrafenTchterlein/EswareinMarkgrafbernRhein
10DiestolzeJdin/EswareinestolzeJdin
11DerZimmergesell/EswareinmaleinZimmergesell
12Liebeslied/Garlieblichhatsichgesellet
13HeimlicheLiebe/KeinFeuer,keineKohle
14AltesLiebeslied/MeinHerzleintutmirgarzuweh!
15DauerndeLiebe/MeinSchatz,ichhabeserfahren
16WhrendderTrennung/MeinSchatzistaufdieWanderschafthin
17Morgenmussichfortvonhier
18Scheiden/Sindwirgeschieden
19VordemFenster/SollsichderMondnichthellerscheinen
20Stndchen/VerstohlengehtderMondauf
Brahms,Johannes:Works
otherarrangements
vocalworksbyothercomposers
op.
Anh.Ia/9

J.S.Bach:AchGott,wiemanchesHerzeleidbwv3(chorale),S,pf
(realizedfiguredbass),by1877(1877),NAix/4
Anh.Ia/10 SevenDuetsandTwoTriosbyHandel,2/3vv,pf(realizedfiguredbass),
by1870(1870,2/1880),NAix/4:1Caroautorhwv183,2S2Quandoin
calmarideilmarehwv191,S,B3Tacete,ohim,tacetehwv196,S,B4
Conservate,raddoppiatehwv185,S,A5Tantistralialsemiscocchi
hwv197,S,A6Langue,gemehwv188,S,A7Setunonlasciamore
hwv193,S,A8Setunonlasciamorehwv201,S,S,B9Quelfiorche
allalbaridehwv200,S,S,B
Anh.Ia/11 SixDuetsbyHandel,2vv,pf(realizedfiguredbass),by1880(1880),NA
ix/4:1Quelfiorcheallalbaridehwv192,2S2N,divoinonvofidarmi
hwv189,2S3N,divoinonvofidarmihwv190,S,A4Beatoinverchi
puhwv181,S,A5Frondaleggieraemobilehwv186,S,A6Ah,nelle

Anh.Ia/12

sortiumanehwv179,2S
Schubert:AnSchwagerKronos(SputedichKronos!)d369,B,orch,1862
(1933),NAix/5
Schubert:Memnon(DenTaghindurchnureinmal)d541,1v,orch,1862
(1933),NAix/5
Schubert:Geheimes(bermeinesLiebchensuglein)d719,1v,hn,str,
1862(1933),NAix/5
Schubert:Greisengesang(DerFrosthatmirbereifet)d778,B,orch,
1862,NAix/5
Schubert:EllensGesangII(Jger,ruhevonderJagd!)d838,S,4hn,3
bn,?1862,NAix/5(seealsoaccompaniedchoralworks)
Sobellonon(Neapolitancanzonetta),D,1v,pf,1882,NAvii/2

Anh.Ia/13
Anh.Ia/15
Anh.Ia/16
Anh.Ia/17
Anh.III/8

Brahmssowninstrumentalandchoralworks
forpf,vn,vc:DoubleConcertoop.102
forpf,vn:ClarinetSonatasop.120VnConc.op.77
for2pf:PfConcs.opp.15,83Syms.opp.90,98
forpfduet:PfConc.op.15PfQtsopp.25,26Ovs.opp.80,81Requiemop.45
Serenadesopp.11,16StrSextetsopp.18,36StrQtsopp.51/12,67StrQnts
opp.88,111Syms.opp.68,73,90(arr.R.Keller,ed.andcorrectedBrahms),
98Triumphliedop.55
forpf:StrSextetop.18(2ndmovt)
forchorus,pf:opp.12,13,17,29/12,42,45,50,53,54(arr.H.Levi,corrected
Brahms),55,82,89
Brahms,Johannes
BIBLIOGRAPHY
ACataloguesandbibliographies.BIconographiesandexhibitioncatalogues.C
Lettersandotherdocuments.DFacsimilesandmusicalsources.EMemoirs.F
Collectionsofstudies.GLifeandworks,otherbiographicalstudies.HReception.I
Styleandanalysis.JKeyboardmusic.KChambermusic.LOrchestralmusic,
concertos.MChoralmusic.NLieder,solovocalensemble.OBrahmsslibrary,
historicalinterestsandeditorialactivities.PCulturalworldandpoliticallife.QFolk
music.RPerformingpractice.SEditorialissues.
a:cataloguesandbibliographies
b:iconographiesandexhibitioncatalogues
c:lettersandotherdocuments
d:facsimilesandmusicalsources
e:memoirs
f:collectionsofstudies

g:lifeandworks,otherbiographicalstudies
h:reception
i:styleandanalysis
j:keyboardmusic
k:chambermusic
l:orchestralmusic,concertos
m:choralmusic
n:lieder,solovocalensemble
o:brahmsslibrary,historicalinterestsandeditorialactivities
p:culturalworldandpoliticallife
q:folkmusic
r:performingpractice
s:editorialissues
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a:cataloguesandbibliographies
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4/1907Eng.trans.,ed.J.Braunstein,1956)
A.Orel:EineigenhndigesWerkverzeichnisvonJohannesBrahms,DieMusik,xxix
(19367),52941
K.Hofmann:DieErstdruckederWerkevonJohannesBrahms(Tutzing,1975)
S.Kross:BrahmsBibliographie(Tutzing,1983)
M.L.andD.McCorkle,eds.:JohannesBrahms:thematischbibliographisches
Werkverzeichnis(Munich,1984)
T.Quigley:JohannesBrahms:anAnnotatedBibliographyoftheLiteraturethrough
1982(Metuchen,NJ,1990)
T.QuigleyandM.I.Ingraham:JohannesBrahms:anAnnotatedBibliographyofthe
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b:iconographiesandexhibitioncatalogues
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Bilder)
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1905)
A.Comini:TheVisualBrahms:IdolsandImages,ArtsMagazine,lii(1979),1239
O.Biba:JohannesBrahmsinWien,ArchivderGesellschaftderMusikfreundein
Wien,19April30June1983(Vienna,1983)[exhibitioncatalogue]
J.Draheimandothers:JohannesBrahmsinBadenBadenundKarlsruhe,Badische
Landesbibliothek,Karlsruhe(Karlsruhe,1983)[exhibitioncatalogue]
C.Jacobsen,ed.:JohannesBrahms:LebenundWerke(Wiesbaden,1983)
O.Biba:EshatmichnochWenigessoentzckt:JohannesBrahmsundFranz
Schubert,ArchivderGesellschaftderMusikfreundeinWien,27Jan15April
1997(Vienna,1997)[exhibitioncatalogue]
O.Biba:inmeinenTnensprecheich.:FrJohannesBrahms18331897,
MuseumfrKunstundGewerbeHamburg,5Sept2Nov1997(Hamburg,
1997)[exhibitioncatalogue]
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Gesellschaftedn]newser.,xviixix(Tutzing,19915)
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B.Litzmann:ClaraSchumann:einKnstlerlebennachTagebchernundBriefen,i
(Leipzig,8/1925/R)ii(7/1925/R)iii(6/1923/R)
B.Litzmann:ClaraSchumann,JohannesBrahms:BriefeausdenJahren1853
1896(Leipzig,1927Eng.trans.,abridged,1927/R)
K.Geiringer:JohannesBrahmsimBriefwechselmitEusebiusMandyczewski,
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K.Stephenson,ed.:JohannesBrahmsHeimatbekenntnisinBriefenanseine
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O.G.Billroth,ed.:BillrothundBrahmsimBriefwechsel(Berlin,1935/R)
K.Geiringer:BrahmsandWagner,withUnpublishedLetters,MQ,xxii(1936),178
89
K.Geiringer:BrahmsandChrysander,MMR,lxvii(1937),979,1312,17880
lxviii(1938),769
E.H.MllervonAsow,ed.:JohannesBrahmsundMathildeWesendonck:ein
Briefwechsel(Vienna,1943)
V.Pauls,ed.:BriefederFreundschaft:JohannesBrahms,KlausGroth(Heide,1956,
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A.Spengel,ed.:JohannesBrahmsanJuliusSpengel:unverffentlichteBriefeaus

denJahren18821897(Hamburg,1959)
K.Stephenson,ed.:JohannesBrahmsundFritzSimrock:WegeinerFreundschaft:
BriefedesVerlegersandenKomponisten(Hamburg,1961)
A.Orel:JohannesBrahmsundJuliusAllgeyer:eineKnstlerfreundschaftinBriefen
(Tutzing,1964)
K.Stephenson,ed.:JohannesBrahmsinseinerFamilie:derBriefwechsel
(Hamburg,1973)
G.S.Bozarth:BrahmssLiederInventoryof185960andotherDocumentsofhis
LifeandWork,FAM,xxx(1983),98117
M.Martin,ed.:JohannesBrahms:BriefwechselmitdemMannheimer
BankprokuristenWilhelmLindeck18721882(Heidelberg,1983)
M.Struck:Revisionsbedrftig:zurgedrucktenKorrespondenzvonJohannes
BrahmsundClaraSchumann,Mf,xli(1988),23541
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BriefenachUngarn(Mrzzuschlag,1993)
G.S.Bozarth:JohannesBrahmssCollectionofDeutscheSprichworte(German
Proverbs),BrahmsStudies,i,ed.D.Brodbeck(Lincoln,NE,1994),129
H.J.Hinrichsen,ed.:HansvonBlow:dieBriefeanJohannesBrahms(Tutzing,
1994)
G.S.BozarthandW.Martin,eds.:TheBrahmsKellerCorrespondence(Lincoln,
NE,1996)
S.Avins,ed.:JohannesBrahms:LifeandLetters(Oxford,1997)
Brahms,Johannes:Bibliography
d:facsimilesandmusicalsources
facsimiles
JohannesBrahmsAutographs:FacsimilesofEightManuscriptsintheLibraryof
Congress[opp.18,34,39,40,87,118/1,119/1]:introduction,J.Webster,
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P.Mies:AusBrahmsWerkstatt:vomEntstehenundWerdenderWerkebei
Brahms,SimrockJb,i(1928),4263
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Brahms,SimrockJb,ii(1929),6583
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51
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