The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.

Modern writers have pointed to this as a reason for Brahms's later inability to have a successful relationship for marriage, etc., his view of women being warped by his experiences.

Brahms's works in variation form include, among others, the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Haydn ( now sometimes called the Saint Anthony Variations ) in versions for two pianos and for orchestra.

Brahms's First Symphony bears strongly the influence of Beethoven's Fifth Symphony, as the two works are both in C minor, and end in the struggle towards a C major triumph.

* Johannes Brahms's Clarinet Sonata No. 1 and Clarinet Sonata No. 2 ( both 1894 ), which can also be played by a viola

Meikle also notes the similarities to certain aspects of Brahms's Symphony No. 3, in particular the cyclical return of thematic material and the subdued texture which concludes both works.

In his lifetime, Brahms's popularity and influence were considerable ; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the " Three Bs ".

Despite his reputation as a serious composer of large, complex musical structures, some of Brahms's most widely known and most commercially successful compositions during his life were small-scale works of popular intent aimed at the thriving contemporary market for domestic music-making ; indeed, during the 20th century, the influential American critic B. H. Haggin, rejecting more mainstream views, argued in his various guides to recorded music that Brahms was at his best in such works and much less successful in larger forms.

4, alludes to Chopin's Scherzo in B-flat minor ; the scherzo movement in Brahms's Piano Sonata in F minor, Op.

In 1933, Schoenberg wrote an essay " Brahms the Progressive " ( re-written 1947 ), which drew attention to Brahms's fondness for motivic saturation and irregularities of rhythm and phrase ; in his last book ( Structural Functions of Harmony, 1948 ), he analysed Brahms's " enriched harmony " and exploration of remote tonal regions.

* Charles Rosen discusses a number of Brahms's imitations of Beethoven in chapter 9 of his Critical Entertainments: Music Old and New ( 2000 ; Cambridge, MA: Harvard University Press, ISBN 0-674-17730-4 ).

( The recognition was not always positive ; Brahms's adherents, still smarting from Wolf's merciless reviews, returned the favor — when they would have anything to do with him at all.

Brahms's biographer Max Kalbeck ridiculed Wolf for his immature writing and odd tonalities ; another composer refused to share a program with him, while Amalie Materna, a Wagnerian singer, had to cancel her Wolf recital when allegedly faced with the threat of being on the critics ' blacklist if she went on.

Among the items are the printer's manuscript of Beethoven's Ninth Symphony, complete with Beethoven's hand-written amendments, that was used for the first performance in Vienna in 1824 ; Mozart's autograph of the wind parts of the final scene of The Marriage of Figaro ; Beethoven's arrangement of his monumental Große Fuge for piano four hands ; Schumann's working draft of his Symphony No. 2 ; and manuscripts of Brahms's Symphony No. 2 and Piano Concerto No. 2.

Later, in 1972, a live performance of Brahms's Piano Concerto No. 2 reunited Cliburn and Kondrashin with the Moscow Philharmonic in Moscow ; RCA Victor eventually released the performance, along with a studio recording of Rachmaninoff's Rhapsody on a Theme of Paganini, on CD.

In 2008, he was a soloist on the Grammy-winning recording of Brahms's Ein Deutsches Requiem ( Simon Rattle, conductor ; Simon Halsey, chorus master ) on EMI Classics.

1959 was a year in which Ferras rose to real prominence: he began his career in the United States by playing Brahms's concerto under Charles Munch ; recorded Bach's Double Concerto with Yehudi Menuhin ; played at the Prades Festival with Pablo Casals and Wilhelm Kempff ; and premiered Gyula Bando's Violin Concerto.

* in the Classical era and early Romantic, there were few works written with viola specifically in mind as solo instrument, and many of these, like those of the Stamitz family, may have been written for the viola d ' amore, like most of their viola works-though it is now customary to play them on the viola ; it was more typical to publish a work or set, like George Onslow's opus 16 cello sonatas, or Johannes Brahms's opus 120 clarinet sonatas in the late 19th century, that specified the viola as an alternate.

It is also one of the best examples of Brahms's bardic or Ossianic style ; its open fifths, octaves, and simple triadic harmonies are supposed to evoke the sense of a mythological past.

Other examples of this type of transcription include Bach's arrangement of Vivaldi's four-violin concerti for four keyboard instruments and orchestra ; Mozart's arrangement of some Bach fugues from The Well-Tempered Clavier for string trio ; Beethoven's arrangement of his Große Fuge, originally written for string quartet, for piano duet, and his arrangement of his Violin Concerto as a piano concerto ; Franz Liszt's piano arrangements of the works of many composers, including the symphonies of Beethoven ; Tchaikovsky's arrangement of four Mozart piano pieces into an orchestral suite called " Mozartiana "; Mahler's re-orchestration of Schumann symphonies ; and Schoenberg's arrangement for orchestra of Brahms's piano quintet and Bach's " St. Anne " Prelude and Fugue for organ.

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.

" This pronouncement was received with some scepticism outside of Schumann's immediate circle, and may have increased Brahms's naturally self-critical need to perfect his works and technique.

It was the premiere of A German Requiem, his largest choral work, in Bremen, in 1868, that confirmed Brahms's European reputation and led many to accept that he had conquered Beethoven and the symphony.

) Another factor that contributed to Brahms's perfectionism was that Schumann had announced early on that Brahms was to become the next great composer like Beethoven, a prediction that Brahms was determined to live up to.

However, Clara Schumann noted before that Brahms's First Symphony was a product that was not reflective of Brahms's real nature.

This last was written ( to a folk text ) to celebrate the birth of a son to Brahms's friend Bertha Faber and is universally known as Brahms's Lullaby.

Within his lifetime, his idiom left an imprint on several composers within his personal circle, who strongly admired his music, such as Heinrich von Herzogenberg, Robert Fuchs, and Julius Röntgen, as well as on Gustav Jenner, who was Brahms's only formal composition pupil.

Brahms's personal views tended to be humanistic and sceptical, though one of his musical influences was undoubtedly the Bible as rendered in German by Martin Luther.

Brahms's First Piano Concerto in D minor ( pub 1861 ) was the result of an immense amount of work on a mass of material originally intended for a symphony.

Another of the Symphony's recordings now out-of-print because it was recorded for the Pro Arte label is that of Brahms's Piano Concerto No. 1, with Peter Serkin as soloist and Robert Shaw conducting.

Johannes Brahms's piano music was influenced by the keyboard music of Couperin.

Being a close friend of Brahms from 1862, Hanslick possibly had some influence on Brahms's composing, often getting to hear new music before it was published.

The first performance of the orchestral version was given on 2 November 1873 by the Vienna Philharmonic Orchestra under Brahms's baton.

A detailed survey of the controversy can be found in Douglas Yeo's 2004 edition of the " Haydn " piece ( ISMN M-57015-175-1 ).</ ref > In 1870, Brahms's friend Carl Ferdinand Pohl, the librarian of the Vienna Philharmonic Society, who was working on a Haydn biography at the time, showed Brahms a transcription he had made of a piece attributed to Haydn titled Divertimento No. 1.

" Biographers and critics more often understand Brahms's appreciation of Lutheran tradition as cultural more than existential.

He pursued intensively, and to its limits, Brahms's continuous development and free modulation, often also invoking, like Brahms, the aid of Bach-influenced polyphony.

For this reason, Brahms is often mistakenly positioned as being anti-Wagnerian himself, a historical interpretation that disregards Brahms's and Wagner's mutual admiration for each other.

She was often in demand for choral works ; apart from Messiah, she was noted in Haydn's The Creation, Mendelssohn's Elijah, and Brahms's A German Requiem.

An analysis of Symphony No. 2 and meditation of its position in Brahms's career and in relation to 19th century ideas of melancholy.

* October 14 – the London Symphony Orchestra opens its winter season, conducted by Alfred Coates, in a programme including Bach's Passacaglia and Fugue in C minor orchestrated by Alexander Goedicke, Respighi's Roman Festivals, Tchaikovsky's First Piano Concerto ( with soloist Shura Cherkassky ), and Brahms's Fourth Symphony.

After a cadence on the dominant C, the cello introduces the first theme of the sonata-allegro, which owes its simplicity to Brahms's interest in Hungarian folk music.

The situation has led to Brahms's piece being referred to today in recordings and concert programs as the Saint Anthony Variations in addition to its original title.

Undeterred, Massine continued work on Choreartium, set to Brahms's Fourth Symphony, which had its premiere on 24 October 1933 at the Alhambra Theatre in London.

Brahms's first variation stays close to the melody and harmonies of Handel's theme while changing its character completely.