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Essay / Research Paper Abstract
A 6 page research paper on the nineteenth century Romantic composer Johannes Brahms. The writer argues that although Brahms came chronologically after Beethoven in the Romantic era, he considered himself to be a traditionalist who preserved the traditions of the classical era. To illustrate this point, the writer compares and analyzes Brahms Fourth Symphony and his Piano Trio in B Major. Bibliography lists 4 sources.
Page Count:
6 pages (~225 words per page)
File: KE9_99brahms.rtf
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by the music of Beethoven, Brahms saw himself as a preserver of a grand musical tradition (Machlis 128). His overall goal with his music was to show that "new and
important things could still be said in the tradition of the classical masters" (Machlis 128). In this, he differed markedly from his contemporaries such as Berlioz, Liszt and Wagner. Nevertheless,
Brahms symphonies are acknowledged to be unsurpassed in the late romantic period for both their "breadth of conception and design" (Machlis 128). As well as Beethoven, Brahms would, occasionally, go
even further back and draw on Bach and the Baroque period for inspiration as he did in the Double Concerto for Violin and Cello in 1887 (Machlis 128).
More so then any of his contemporaries, Brahms captured the atmosphere of intimate communion that is so essential to the essence of chamber music. His duos, sonatas, trios, etc., with
or without piano, together make up a body of work that is noted for its lyricism and for a quality of introspection that is unique to Brahms (Machlis 129). To
illustrate these points concerning Brahms music, below is an analysis of his Fourth Symphony, op. 98 and his Piano Trio in B Major, op. 8.how they relate to each other
and how, also, they reflect the influence of both Beethoven and Bach, substantiating Brahms role as a traditionalist and a preserver of classical form. The Fourth Symphony, op. 98
Brahms composed his fourth and last symphony during the summers of 1884 and 1885 while staying in the resort town of Murzzuschlag. The Fourth, like the three symphonies that
proceeded it, has a special "color or quality," which derives from certain harmonic and thematic features that are felt as a presence in all four movements (Frisch 117). The most
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