A story is told in biographies of both men that Strauss's wife Adele approached Brahms with a customary request that he autograph her fan.

On radio, Sessions guested in December 1997 on the regular BBC Radio 3 show Private Passions, presented by Michael Berkeley, not as himself but as a 112-year-old Viennese percussionist called Manfred Sturmer, who told anecdotes ( about Brahms, Clara Schumann, Richard Strauss, Arnold Schoenberg and others ) so realistically that some listeners did not realise that the whole thing was a hoax.

Brahms did not like the fact that Bruckner exerted great influence on the Conservatory students, and even told Rott that he had no talent whatsoever and that he should give up music.

In December 1997, one of his guests was a 112-year-old Viennese percussionist called Manfred Sturmer, who told anecdotes about Brahms, Clara Schumann, Richard Strauss, Arnold Schoenberg and others so realistically that some listeners did not realise that the whole thing was a hoax perpetrated by Berkeley and John Sessions.

After his early piano lessons with Otto Cossel, Brahms studied piano with Eduard Marxsen, who had studied in Vienna with Ignaz von Seyfried ( a pupil of Mozart ) and Carl Maria von Bocklet ( a close friend of Schubert ).

During the 1925-30 recordings, Hertz conducted music by Ludwig van Beethoven, Johannes Brahms, Léo Delibes, Alexander Glazunov, Charles Gounod, Fritz Kreisler, Franz Liszt, Alexandre Luigini, Felix Mendelssohn, Moritz Moszkowski, Nikolai Rimsky-Korsakov, Franz Schubert and Carl Maria von Weber.

Other notable recordings include Johannes Brahms ' Symphony No. 4 and Franz Schubert's third and eighth (" Unfinished ") symphonies, also with the Vienna Philharmonic, recordings of Dvořák's Concerto for piano and orchestra with Sviatoslav Richter, Carl Maria von Weber's Der Freischütz, Johann Strauss ' Die Fledermaus, Giuseppe Verdi's La Traviata and Richard Wagner's Tristan und Isolde.

Bach, Johann Friedrich Reichardt, and Johann Abraham Peter Schulz, and also later composers such as Felix Mendelssohn, Carl Maria von Weber, and Johannes Brahms.

Schenker's primary theoretic aims were to prove the superiority of music of the common practice period ( especially the music of Johann Sebastian Bach, Carl Philipp Emanuel Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Fryderyk Chopin, and Johannes Brahms ) over more modern music such as that of Richard Wagner, Igor Stravinsky, and Arnold Schoenberg, and to show that most of the established music theory teaching of the time, with an emphasis on the theories of his contemporary Hugo Riemann, was misleading and useless for an understanding of the " masterworks.

The first music director was Carl Heissler, who was followed by Anton Rubinstein ( appointed in 1871 ), and Johannes Brahms ( appointed in 1872 ).

Brahms transcribed the quintet into a sonata for two pianos ( in which form Brahms and Carl Tausig performed it ) before taking its final form.

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.

Composed in 1863 for the piano virtuoso Carl Tausig, the work is uncharacteristically showy, even Lisztean, for Brahms, who published it as a set of " studies " rather than explicitly as a concert piece, entitling it Studies for Pianoforte: Variations on a Theme of Paganini.

Composers who have written alternative cadenzas for the first movement include Harold Bauer, Amy Beach, Johannes Brahms, Carl Czerny, Gabriel Fauré, Adolf von Henselt, Mischa Levitzki, Franz Liszt, Freidrich Mockwitz ( Lost ), Ignaz Moscheles, Carl Reinecke, Ferdinand Ries ( Lost ), Clara Schumann, Gino Tagliapietra, Anton Rubinstein and Charles-Valentin Alkan.

In his correspondence with Carl Reinthaler, when Reinthaler expressed concern over this, Brahms refused to add references to " the redeeming death of the Lord ", as Reinthaler described it, such as John 3: 16.

* David Yonan ( Violin soloist, chamber musician and teacher, faculty North Park University, Chicago, Midwest Young Artists ), 1st Prizes at the International Violin Competition Kloster Schoental, Germany and the International Ruggero Ricci Concerto competition Berlin, 2nd prizes and silver medal at the International " Luis Sigall " Violin Competition, Vina del Mar, Chile and the International " Concours Ruggiero Ricci ", Iserlohn, Germany, 3rd prizes, International Queen Sophie Charlotte Violin Competition, Mirow, Germany and at the Guderyahn Strings Competition, University of South Dakota, USA, Brahms Prize of the Carl Flesch Academy Baden-Baden, Germany.

His first piano teacher was Carl Reinecke, the director of the Gewandhaus orchestra, while his early compositions were influenced by Reinecke, but also by Robert Schumann, Franz Liszt and Johannes Brahms.

37 No. 2 " Oriental " ( 12 Spanish Danses ); Johannes Brahms: Hungarian Dance No. 1-Hungarian Dance No. 3 in F Major ; Arthur Benjamin: Jamaican Rumba ; Modest Petrovich Mussorgsky-Hopak ; Christoph Willibald Gluck: Melody from Orfeo ; Richard Heuberger: Midnight Bells ; Fritz Kreisler: Liebesleid-Schön Rosmarin ; Carl Maria von Weber: Andante and Hungarian Rondo in C minor.

** Thomas Frost ( producer ), Richard King ( engineer ), Neville Marriner ( conductor ), Hilary Hahn & the Academy of St. Martin in the Fields for Brahms / Stravinsky: Violin Concertos

** Thomas Frost ( producer ), Richard King ( engineer ), Sir Neville Marriner ( conductor ), Hilary Hahn & the Academy of St. Martin in the Fields for Brahms: Violin Concerto / Stravinsky: Violin Concerto

Johanness Brahms: Two Sonatas for clarinet and piano ; Einar Johannesson, clarinet ; Martin Berkofsky, piano.

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.

** Georg Solti ( conductor ), Margaret Hillis ( choir director ), & the Chicago Symphony Orchestra & Chorus for Brahms: A German Requiem

** James Levine ( conductor ), Margaret Hillis ( choir director ) & the Chicago Symphony Orchestra & Chorus for Brahms: A German Requiem

** Herbert Blomstedt ( conductor ), Vance George ( choir director ) & the San Francisco Symphony Orchestra & Chorus for Brahms: Ein Deutsches Requiem

** Herbert Blomstedt ( conductor ), Vance George ( choir director ) & the San Francisco Symphony Orchestra & Chorus for Brahms: Ein deutsches Requiem

** James Levine ( conductor ), Margaret Hillis ( choir director ) & the Chicago Symphony Orchestra & Chorus for Brahms: A German Requiem

** Georg Solti ( conductor ), Margaret Hillis ( choir director ), & the Chicago Symphony Orchestra & Chorus for Brahms: A German Requiem

The Handel Variations were written in September 1861 after Brahms, aged 28, abandoned the work he had been doing as director of the Hamburg women's choir ( Frauenchor ) and moved out of his family's cramped and shabby apartments in Hamburg to his own apartment in the quiet suburb of Hamm, initiating a highly productive period that produced " a series of early masterworks ".

Certainly not in Orchestra Hall where he has played countless recitals, and where Thursday night he celebrated his 20th season with the Chicago Symphony Orchestra, playing the Brahms Concerto with his own slashing, demon-ridden cadenza melting into the high, pale, pure and lovely song with which a violinist unlocks the heart of the music, or forever finds it closed.

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.

Bartók's large-scale orchestral works were still in the style of Johannes Brahms and Richard Strauss, but he wrote a number of small piano pieces which showed his growing interest in folk music.

Nationalist composers emerged in Central Europe, Russia, Scandinavia, Spain and Britain: the music of Dvorak, Smetana, Grieg, Rimsky-Korsakov, Brahms, Liszt, de Falla, Wagner, Sibelius, Vaughan Williams, Bartók and many others drew upon folk melodies.

In his music, Schmidt continued to develop the Viennese classic-romantic traditions he inherited from Schubert, Brahms and his own master, Bruckner.

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

Brahms admired some of Wagner's music and admired Liszt as a great pianist, but the conflict between the two schools, known as the War of the Romantics, soon embroiled all of musical Europe.

In the Brahms camp were his close friends: Clara Schumann, the influential music critic Eduard Hanslick, and the leading Viennese surgeon Theodor Billroth.

In 1860, Brahms attempted to organise a public protest against some of the wilder excesses of the Wagnerians ' music.

Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem.

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.

Brahms maintained a Classical sense of form and order in his works – in contrast to the opulence of the music of many of his contemporaries.

Thus many admirers ( though not necessarily Brahms himself ) saw him as the champion of traditional forms and " pure music ", as opposed to the " New German " embrace of programme music.

During his stay in Vienna in 1862 – 63, Brahms became particularly interested in the music of Franz Schubert.

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.

Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms.

* Brahms by Malcolm MacDonald is a biography and discussion of virtually everything Brahms composed, along with chapters examining his position in Romantic music, his devotion to Early Music, and his influence on later composers.

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 ".