Three prominent characteristics of Brahms’ works command our admiration. From the start he appeared as a strong individuality, and notwithstanding a leaning towards Bach’s polyphonic art and harmonic wealth, Beethoven’s virile pathos and ideality of purpose, and Schubert’s melodic charm, he has spoken his own distinct language. In every field of composition except the opera he has contributed masterpieces which show that in each he has to-day no superior, and in but few an equal. Throughout he impresses us by the fact that to him art has always been something sacred, worthy of highest effort and noblest purpose. In this respect one may well compare him to Bach or Beethoven or Schiller, of whom Goethe so beautifully said, that “far behind him lay that which conquers us all,—vulgarity.” Whoever honestly strives for the sympathy of his genius must be filled with a like earnest spirit, willing to be guided by his subtle art into ideal regions full of higher joys than common musical amusements afford.
The wealth of his melodic, rhythmic and harmonic invention is truly astonishing; his combinations are so new and often intricate, the thematic material so rich or peculiar, its development so elaborate, that it is a commonly expressed opinion that his music has to do more with the intellect than with imagination and feeling. The truth is, that no modern composer has expressed deeper and more fervent feelings, either jubilant or sad, than Brahms. His great intellect only guides the wealth of emotion in order to find a well balanced, wholly original and artistic construction for the creatures of his rich imagination. And he is an eminently modern composer; with all his so-called conservative tendencies there is hardly a page in his works which could have been written at an earlier stage of musical art. Familiar with all the subtleties of modern expression and innovations of harmony, rhythm, and instrumentation, he has himself introduced many new and bold features.
To speak in detail of the one hundred and fifteen published works of Brahms would require a space far beyond the limits of this sketch. Thus only a summary classification is possible. Looking first at the instrumental compositions, one cannot praise Brahms too highly, that in opposition to prevailing tendencies towards a neglect of cyclic forms in favor of free, rhapsodic or programmatic fantasias, he has cultivated the former with supreme devotion, enriching and modifying them in many ways, but so that they still appear as worthy representatives of their types.
The three pianoforte sonatas and the Scherzo Op. 4 reveal the cardinal features of his later chamber and orchestral works: a most excellent thematic material, consisting often of but a few notes, awakening highest expectations; a rich, ingenious development, always coherent and logical; a Beethovenish virility; distinct contrasts and wonderful climaxes in the lively opening and closing movements, usually beginning directly with the principal subject, the working-out section being especially interesting and elaborate, the coda often of rare charm; the slow movements of delicate or intense, always noble feeling, in the form of variations or a long cantilena; the scherzos on a large plan, in three-four or six-eight time, very spirited, with a quieter trio preceding the finale, except in No. 3, where a short intermezzo is interpolated. Everywhere we note an ample and effective use of syncopations, a peculiar style of accompaniments, bold modulations and rhythmic devices, occasionally even some programmatic suggestions. Few masters have shown such originality and maturity in their first works.
Of independent pianoforte variations there are sixteen on a touching theme of Schumann, eleven on a beautiful original theme, thirteen on a Hungarian theme (with a combination of three-four and four-four time), twenty-five splendid variations on a short theme of Handel ending with a great fugue, some very difficult variations on a theme of Paganini, and—in a more romantic spirit—nine for four hands on that peculiar theme which Schumann had received “from the spirits of Schubert and Mendelssohn.” Some of these important works have a suggestive and refined sentimental character, others are virtuoso pieces of the highest order. As regards free conception of the variation form and variety of construction and mood, Brahms goes decidedly farther than Beethoven or Schumann. He seems inexhaustible in this form, which he used later most ingeniously also in chamber and orchestra works. The four poetic ballads Op. 10, the capriccios and intermezzos Op. 76 and two Rhapsodies Op. 79 are fine concert pieces of a freer but always coherent style, often very difficult. More popular are the famous Hungarian dances (fascinating settings of melodies, the authorship of which Brahms has never claimed), which he has orchestrated and arranged for four hands. His waltzes Op. 39, also for four hands, are short character-pieces of a bright, graceful or passionate spirit, in certain features recalling Schubert and Schumann, yet so original that they have been much imitated by younger composers. Several piano works for technical study (after Weber, Chopin and Bach), and fine arrangements of most of his chamber works and orchestra serenades and of a gavotte of Gluck may at least be mentioned. The difficulties of his pianoforte style, so rich in polyphonic figuration, harmonic and rhythmic combinations, syncopations, and wide stretches, especially abound in the two seldom-played concertos. Yet, without the highest appreciation and sympathetic devotion, the greatest virtuosity would never be able to make their inner life clear.
Like a giant appears the early written D minor concerto. Quick modulations, syncopations, chains of trills and a Beethovenish importance of themes and development impress us mightily in the passionate first movement, divine sweetness in the long adagio, while the finale, with its fantasia-like cadenza, rises from a simple mood to the acme of enthusiasm. The B flat concerto Op. 83 has even four movements, the long and romantic opening allegro being followed by an allegro appassionato of a superior scherzo character, the delightful andante by a highly effective allegro grazioso as finale. In spite of the elaborate development and the variety of contrasting moods, the whole work retains a bright and inspiring character. In both concertos the important and richly scored symphonic accompaniment only raises the solo part to greater prominence.
A fugue and a choral prelude with fugue are Brahms’ only but significant compositions for the organ.
The chamber works secure our master a place of honor beside the greatest representatives of this high branch of composition; they comprise three sonatas for violin and two for violoncello and pianoforte, five pianoforte trios (one with horn and one with clarinet), three string quartets, three pianoforte quartets, three string quintets (one with clarinet), one pianoforte quintet and two string sextets. In the older works one feels often the struggle of a great soul with strong passions, longings, hopes and anxieties, joys and pains, yet not lacking in sunshine and humor, while in the more recent compositions a quieter, more contemplative spirit prevails. The classic arrangement of four movements forms the rule, most of them being very elaborate and extensive, rich in themes of importance and beauty, the working out and coda showing Brahms’ genius in the finest light, the treatment of the different instruments being throughout masterly. The complicated development often prevents an immediate enjoyment, but increases our desire for a closer acquaintance; for this counterpoint goes always hand in hand with true feeling. In the opening movements the first part is not always repeated, and other novel features are introduced; the slow movements in the form of variations or of a long developed cantilena often lift us into high and unwonted regions; the scherzos are so full of genius that one wonders why Brahms has not used this form in his symphonies. The finales are of the highest order, seldom reached by other modern composers. In the works with horn and clarinets these much neglected instruments have received a wonderful treatment in music of great beauty. Unusual and complicated rhythms appear frequently, but treated in a surprisingly easy way. The details are throughout deeply interesting, yet often strange, even the most peaceful movements requiring closest attention. If one of all these great works must be distinguished as the greatest, we would name the pianoforte quintet in F minor, Op. 34. Yet the very latest work, the clarinet quintet, shows the same freshness and originality of invention, wonderful thematic net-work, variety of distinctly expressed moods, and the finale displaying an unsurpassed skill in variations.
The two orchestra serenades are real gems of spirited, delightful, well constructed music, one being for complete orchestra, the other for violas, ’celli, basses, reed instruments and horns. Besides the lively first and last movements and adagios they contain each a scherzo and one of them two minuets.
The theme for the nine orchestra variations Op. 56 is taken from one of Haydn’s divertimenti for wind instruments. They crown Brahms’ glorious achievements in the writing of variations; for, far from being “mere algebraic experiments,” they are delightful and ingenious tone pictures of distinct character and mood, with a nearer or more remote relation to the principal theme. The composer has thus initiated a new field of independent orchestral music, already successfully followed by others. The instrumentation is prominently interesting. It is generally admitted that Brahms is very conservative compared with Wagner and Berlioz in the matter of instrumentation. At least he never allows orchestral colors to divert our attention from the higher, inner meaning of a work. Yet in this score and in all his other works for or with orchestra, there are many features either of wonderful brilliancy or peculiar colors, which as novelties are worth studying. The finale, built upon a much repeated bass figure, successively joined by the different groups of the orchestra with other themes, reaches a beautiful climax in the pompous return of the original melody.