JOHANNES BRAHMS.
From an engraving by Weger, after a photograph from life.
The four symphonies in C minor, D, F and E minor are justly regarded as the most important orchestral works of our generation. Much is still written against them, and not everybody is willing or able to share the enthusiasm which their good performance arouses among the majority of cultivated audiences. Yet nothing can shake their high position among all symphonic works written since the great master of the immortal Ninth has left this earth. They have each a very individual character and, although in the main the old form is retained, new features are to be found in almost every movement. The first symphony opens with an impressive sostenuto introduction, the others begin at once with the principal subject of the allegro. Usually the first part of the latter is brought to a formal close and repeated; only in the fourth symphony, so rich in thematic material, no repetition occurs, but a very elaborate working out prepares for the climax reached in the concentrated recapitulation. Everywhere noble themes are finely contrasted, wonderfully developed, wholly or in fragments, in the working out, so as to hold the listener in breathless suspense. The allegros of the first and second symphonies have particularly fine codas. The slow movements are not very extensive and are easily enjoyed, their quieter and lofty mood being but little disturbed. However, the adagio in No. 2 is more complicated, has richer material, more frequent changes of key and rhythm, a more elaborate figure work and a peculiarly intimate spirit. A remarkable innovation is the consequent substitution for a minuet or scherzo of a sort of intermezzo, full of grace, sunshine and innocent playfulness, hardly disturbed by more serious episodes. Most extended is this in No. 4, a rondo with themes of an almost grotesque character, surprising details in their development and a spirit of true Beethoven-like humor. Yet those of the first three symphonies are of no less importance, having two distinct parts, of which the second one (contrary to the older trio) has a livelier character. Especially that of No. 2 is one of the most delightful orchestral pieces of modern literature. That Brahms is indeed a symphonist of the highest rank, is particularly evident in his finales. That of No. 1 is conceived in the grandest spirit, opened by a solemn introduction of overwhelming beauty and impressiveness, the allegro based on themes of rare inspiration, their wonderful development rising from climax to climax like a great triumphal procession. Still the finale of No. 2 is not less inspiring; even more brilliant, with its glorious themes, the splendid instrumentation and exciting coda. In No. 3 the closing movement has the unusual minor key, is less dithyrambic, yet not lacking in life, a choral-like episode forming a fine contrast, and the whole ending happily in a long, quiet coda in F major with a poetic reminiscence of the principal subject of the opening movement. One may justly regard the finale of No. 4 as a musical wonder, a new experiment gloriously carried out. It has the shape of a passacaglia, an old dance constructed upon a ground bass. The theme consists of eight bars, each represented by a chord, and is treated in about thirty variations of the most ingenious contrapuntal devices, greatly contrasted, yet so coherently that it sounds like an uninterrupted logical development, holding our interest keenly alive and increasing our enjoyment till the splendid end is reached.
We have thus seen how many strong features Brahms has introduced in the symphonic form, without departing from its classic foundation; but it is still more important that as a genius of a superior mind and noble soul he had the right material in himself to fill this greatest form of instrumental music with an adequate and original inner life, reflecting the highest spirit of modern German civilization.
The characteristic feature of the Academic Festival Overture is the successive introduction of several German student melodies, not in the form of a potpourri, as it has been unjustly regarded, but as themes developed with consummate art, expressing the inspiration of a solemn festival, of loyalty to the fatherland, of merrymaking and youthful exultation. Every page shows the hand of a superior master. Still greater is the tragic overture, its spirit reflecting a heroic struggle, gloom, solemnity, but also hope and comfort; its form being particularly interesting by an ingenious combination of the working out and recapitulation into a sort of free, yet coherent, wonderfully constructed and deeply impressive fantasia.
How much we should like to speak in detail of the two concertos for violin and for violin and ’cello! It would be a misnomer to call them symphonies with obligato solo parts, notwithstanding the very elaborate orchestral score, but more incorrect to compare them with any virtuoso concertos. Enormous technical difficulties are to be conquered in the service of high musical purposes. The arrangement is after the classic model, in three movements. Of these the slow movements with their melodic breadth are the more enjoyable, while the extensive outer movements, with their rich development of peculiarly fine and original themes, require repeated hearings to reveal all their innate beauty and greatness. And these works, too, belong to the future and can afford to await their time for a general appreciation.
Brahms’ earlier chorus works are an Ave Maria for female chorus and orchestra, a funeral chant with wind instruments, four female choruses with harp and two horns, seven Marianan songs, a setting of the 23d Psalm for female chorus and organ, several motets and part songs for four, five or six voices, sacred songs, and twelve romances for female chorus, partly with piano accompaniment. Now and then we are reminded of the style of Palestrina or old German folk-songs, then again of Bach’s polyphonic art with fugues, simple and double canons, yet throughout of a new, peculiar mode of expression, full of poetic sentiment. Among the works of later years we mention two motets, which are praised as Brahms’ highest achievements in polyphonic writing, seven songs for mixed voices, and many arrangements of old German folk-songs.
The German Requiem is of such great importance, that without a knowledge of it neither a full estimation of Brahms’ individual genius nor of the significance of the latest epoch of music in general can be obtained. Taking from the old Latin funeral mass only the name, Brahms selected certain verses from the Bible, expressing not only the sadness and terror of death and judgment, but also hope and consolation,—even thankfulness and praise. His work, independent of any church service and to be sung in a living language, contains in each note music which came from the depth of a noble soul and was written by a master of the highest and most complicated field of vocal composition. Entirely free from conventionalities or dry learning, each of the seven numbers gives completely what his genius was able to accomplish. It is indeed the great funeral chant of modern music, at least for Germans and Protestants. Choruses I., IV., V. and VII. have a quiet character, finely expressing the milder feelings above mentioned, yet with all their seeming simplicity showing a consummate art in the details of their construction, No. V. being mainly given to a difficult soprano solo. No. II. (“Behold all flesh is as the grass”) is a peculiar funeral march in three-four time, the chorus singing partly in unison to strange and impressive orchestral music; after a touching animato (“Be patient unto the coming of Christ”) the principal melody is repeated, followed by a long fugue (“The redeemed of the Lord shall return again”). No. III. opens with a baritone solo, lamenting the frailty of life, soon joined by the chorus, rising to a climax expressive of hope. Then follows that famous fugue, in an astonishingly rich polyphonic treatment, moving over an uninterrupted, much criticised pedal point on D to emphasize the words, that “the righteous souls are in the hand of God.” No. VI. is regarded as the culmination of the work. After the chorus’ lament that “Here on earth we have no continuing place,” comfort is brought by the baritone voice unfolding the mystery of the resurrection. The chorus repeat this and burst out in an ecstatic vivace, “The trumpet shall sound, the dead shall be raised!...” “... Grave, where is thy victory, death, where is thy sting?” In wonderful modulations climax after climax is reached; finally in glorious C major a double fugue is added, a hymn of praise to “the Lord of honor and might,” whose proportion, art and impressiveness alone suffice to make Brahms a compeer of the greatest masters of polyphonic music. Throughout, chorus, orchestra and soloists have to overcome the greatest difficulties, but seldom are their efforts directed to more ideal purposes.
JOHANNES BRAHMS.
From a photograph from life by Fr. Luckhardt, Vienna.