The stature of Johannes Brahms among classical composers is well illustrated by his inclusion among the "Three Bs" triumvirate of Bach, Beethoven, and Brahms. Of all the major composers of the late Romantic era, Brahms was the one most attached to the Classical ideal as manifested in the music of Haydn, Mozart, and especially Beethoven; indeed, Hans von Bülow once characterized Brahms' Symphony No. 1 (1855-1876) as "Beethoven's Tenth." As aRead more youth, Brahms was championed by Robert Schumann as music's greatest hope for the future; as a mature composer, Brahms became for conservative musical journalists the most potent symbol of musical tradition, a stalwart against the "degeneration" represented by the music of Wagner and his school. Brahms' symphonies, choral and vocal works, chamber music, and piano pieces are imbued with strong emotional feeling, yet take shape according to a thoroughly considered structural plan.
The son of a double bassist in the Hamburg Philharmonic Society, Brahms demonstrated great promise from the beginning. He began his musical career as a pianist, contributing to the family coffers as a teenager by playing in restaurants, taverns, and even brothels. Though by his early twenties he enjoyed associations with luminaries like violinists Eduard Reményi and Joseph Joachim, the friend and mentor who was most instrumental in advancing his career was Schumann, who all but adopted him and became his most ardent partisan, and their esteem was mutual. Following Schumann's death in 1856, Brahms became the closest confidant and lifelong friend of the composer's widow, pianist and composer Clara Wieck Schumann. After a life of spectacular musical triumphs and failed loves (the composer was involved in several romantic entanglements but never wed), Brahms died of liver cancer on April 3, 1897.
In every genre in which he composed, Brahms produced works that have become staples of the repertory. His most ambitious work, the German Requiem (1863-1867), is the composer's singular reinterpretation of an age-old form. The four symphonies -- lushly scored, grand in scope, and deeply expressive -- are cornerstones of the symphonic literature. Brahms' concertos are, similarly, in a monumental, quasi-symphonic vein: the two piano concertos (1856-1859 and 1881) and the Violin Concerto (1878) call for soloists with both considerable technical skill and stamina. His chamber music is among the most sophisticated and exquisitely crafted of the Romantic era; for but a single example, his works that incorporate the clarinet (e.g., the Trio in A minor, Op. 114 and the two Sonatas, Op. 120), an instrument largely overlooked by his contemporaries, remain unsurpassed. Though the piano sonata never held for Brahms the same appeal it had for Beethoven (Brahms wrote three to Beethoven's 32), he produced a voluminous body of music for the piano. He showed a particular affinity for variations -- notably, on themes of Schumann (1854), Handel (1861), and Paganini (1862-1863) -- and likewise produced a passel of national dances and character pieces such as ballades, intermezzi, and rhapsodies. Collectively, these constitute one of the essential bodies of work in the realm of nineteenth century keyboard music. Read less
Symphony No. 1 in C Minor, Op.68 (1999 - Remaster): I. Un poco sostenuto - Allegro
Symphony No. 1 in C Minor, Op.68 (1999 - Remaster): II. Andante sostenuto
Symphony No. 1 in C Minor, Op.68 (1999 - Remaster): III. Un poco allegretto e grazioso
Symphony No. 1 in C Minor, Op.68 (1999 - Remaster): IV. Adagio - Più andante - Allegro non troppo ma con brio
About This Work
Brahms composed this work between 1855 and 1876. Otto Dessoff led a "tryout" first performance in Karlsruhe, Germany, on November 4, 1876. At Düsseldorf in 1854-1856 -- where he helped Clara Schumann with her seven children whileRead more
terminally mad Robert, her husband, wasted away in an asylum -- the young Brahms undertook on two separate occasions to sketch a symphony. By the end of 1858, one set of sketches had been assimilated into the First Piano Concerto, that gargantuan "serious" piece with Baroque underpinnings, in the tradition of Beethoven's Grosse Fuge and "Hammerklavier" Sonata. Sketches for a C major Allegro movement, in sonata form and 6/8 time, were saved for subsequent expansion and development. When, in 1862, he showed the results to now-widowed Clara, she expressed admiration but also concern that it ended too abruptly. For the next 12 years, Brahms kept this music close at hand. Finally, in 1874, he willed himself to complete the First Symphony that friends and admirers (beginning with Schumann in 1853, shortly after their first meeting) had been urging him to compose.
He polished the Allegro of 1855-1862, now in C minor, then wrote a solemn introduction hinting at themes already 12-20 years old. These included a recurring motto of three ascending semitones, repeated in the slow movement. Having created a horse to pull the cart, Brahms addressed the middle movements: one slow (Andante moderato, in E major, then C sharp minor), the other quasi-scherzoid (Un poco allegretto e grazioso, pleasant and graceful, in A flat, F minor, and finally B major), respectively in triple and duple meters. Certain kinds of performance can make the central movements sound out-of-place, which is not meant, however, to impugn their intrinsic quality. Both exemplify a master of musical art in his time, who had reached a rarefied synthesis of conflicting creative forces. Their substance and style bespeak maturity no less than the monumental finale created to trump them. There an ominous preface in C minor leads to a C major Allegro non troppo ma con brio (not too quickly but spiritedly), which remains in 4/4 time until a climactic alla-breve acceleration into the coda.
Brahms' decade of residence in Vienna had smoothed as well as ripened him: the middle movements could be called Schubertian, by way of Schumann. The finale, however, pays homage to the Germany's Baroque masters: Scheidt, Froberger, Buxtehude, Bach, and expatriated Handel. Simultaneously it honors the symphonic architectonics of Beethoven without regressing. Although he belonged to the generation that succeeded Chopin and Schumann, Brahms liberated music as much as they from the traditional Germanic tyrannies of bar-lines, four- and eight-bar phrasing, downbeat accents, and rhythmic squareness. While none of the music by his colleagues sounded richer (not even Bruckner's with augmented winds and brass), Brahms achieved his ends with astonishingly simple means -- the basic Beethoven orchestra, sans bass drum, cymbals, or piccolo -- plain to the point of abstemiousness on paper, but inimitably sonorous in performance.
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