There was in the Brahms none of the mysterious and marvelous alchemy by which a great conductor can bring soloist, orchestra and music to ultimate fusion.

In the hands of a skilled composer or arranger, the natural harmonics can be used to haunting melancholy effect or, by contrast, to create a charming pastoral flavor, as in the lilting " Ranz des Vaches " and works by Brahms, Rossini, and Britten cited below.

La Folia was the most monumental set of orchestral variations before Brahms ' Variations on a Theme by Haydn.

Owing to the family's poverty, the adolescent Brahms had to contribute to the familiy's income by playing the piano in dance halls.

4, at sight ), Reményi was offended by Brahms's failure to praise Liszt's Sonata in B minor wholeheartedly ( Brahms supposedly fell asleep during a performance of the recently composed work ), and they parted company shortly afterwards.

Brahms later excused himself, saying that he could not help it, having been exhausted by his travels.

This took the form of a manifesto, written by Brahms and Joachim jointly.

Among the most cherished of these lighter works by Brahms are his sets of popular dances — the Hungarian Dances, the Waltzes, Op.

Brahms also edited works by C. P. E. and W. F. Bach.

The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op.

Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early Variations and Fugue on a Theme by Handel ; Brahms himself, according to many sources ( Swafford, 1999 ), deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory.

Antonín Dvořák, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works, such as the Symphony No. 7 in D minor and the F minor Piano Trio.

Features of the ' Brahms style ' were absorbed in a more complex synthesis with other contemporary ( chiefly Wagnerian ) trends by Hans Rott, Wilhelm Berger, Max Reger and Franz Schmidt, whereas the British composers Hubert Parry and Edward Elgar and the Swede Wilhelm Stenhammar all testified to learning much from Brahms's example.

Zemlinsky, moreover, was in turn the teacher of Arnold Schoenberg, and Brahms was apparently impressed by two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him.

Brahms was honoured by the German Hall of Fame, the Walhalla memorial.

Brahms ' domicile was hit during World War II, destroying his piano and other possessions that were still kept there for posterity by the Viennese.

An old anecdote recounts that when Strauss's wife Adele asked Brahms to autograph her fan, he wrote the first few notes of the " Blue Danube " waltz, and then wrote the words " Unfortunately not by Johannes Brahms!

When asked by conductor Karl Reinthaler to add additional sectarian text to his German Requiem, Brahms responded, " As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human ; also with my best knowledge and will I would dispense with passages like John 3: 16.

One example is the book Talks With Great Composers, released in the 1950s by Arthur Abell, which contains an unconfirmed interview with Brahms and Joseph Joachim, replete with biblical references.

The interview has been declared fraudulent by Brahms biographer Jan Swafford.

* Johannes Brahms: Life and Letters, ISBN 0-19-816234-0 by Brahms himself, edited by Styra Avins, translated by Josef Eisinger ( 1998 ).

Command's new Brahms Second is a major effort to make a record that sounds like a real orchestra rather than a copy of one.

Brahms is often considered both a traditionalist and an innovator.

Recently, Brahms scholars Styra Avins and Kurt Hoffman have suggested that this legend is false.

While he was in Düsseldorf, Brahms participated with Schumann and Albert Dietrich in writing a sonata for Joachim ; this is known as the " F – A – E Sonata " ().

The question of Brahms and Clara Schumann is perhaps the most mysterious in music history, alongside that of Beethoven's " Immortal Beloved ".

Analysts and scholars remain divided, however, as to whether the voice that introduces the piece is that of Wangemann or of Brahms.

Brahms is buried in the Zentralfriedhof in Vienna.

His large choral work A German Requiem is not a setting of the liturgical Missa pro defunctis but a setting of texts which Brahms selected from the Lutheran Bible.

The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms, he replied that any ass – jeder Esel – could see that.

The influence of Chopin and Mendelssohn on Brahms is less obvious, although occasionally one can find in his works what seems to be an allusion to one of theirs ( for example, Brahms's Scherzo, Op.

There is reason to believe that Brahms was a religious freethinker.

is: Johannes Brahms

Trained by the great classical music composers Brahms and Mahler, he was one of the first composers who primarily wrote music for motion pictures, and as such is often referred to as " the father of film music ".

The first is a typical classical orchestra ( i. e. Beethoven / Haydn ), the second is typical of an early / mid-romantic ( i. e. Brahms / Dvořák / Tchaikovsky ), late romantic / early 20th century ( i. e. Wagner / Mahler / Stravinsky ), to the common complement of a present day modern orchestras ( i. e. Adams / Barber / Copland / Glass ).

His musical influences are varied ; Sondheim has claimed that he " loves Bach " but his favorite period is Brahms to Stravinsky.

* November 4 – The long-awaited First Symphony of Johannes Brahms is premiered at Karlsruhe under the baton of Otto Dessoff.

Brahms 4th symphony is inspired by the play.

Music by late-Romantic composers such as Richard Wagner and Johannes Brahms is now played with a fairly continuous vibrato.

However, some musicians specialising in historically informed performances, such as the conductor Roger Norrington, argue that it is unlikely that Brahms, Wagner, and their contemporaries would have expected it to be played in this way.

Among the opera's early champions were Tchaikovsky, Brahms, and particularly Wagner, who commented: " Here, thank God, at last for a change is somebody with ideas in his head.