The Art of Listening

Johannes Brahms was born in this house in Hamburg on 7th May, 1833 and died in Vienna 63 years later (1897) on 3rd April.

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His father Jakob was also a musician and recognised his son’s talent early on. And, while Brahms’ career wasn’t without the occasional disappointment, his prodigious musical gifts ensured that, as both composer and virtuoso pianist, he was soon at the forefront of German music.

There was, however, some competition in the shape of a person named Richard Wagner. And, as the century wore on, the musical world became sharply divided into two opposed camps: Brahmsians versus Wagnerites i.e. traditionalists versus modernists.

But, like many seemingly clear cut, black and white dichotomies, closer examination reveals a whole grey area to be explored. So we’ll begin with Brahms the symphonist and explore in some detail how the composer put together large, abstract, purely musical works (as distinct from the music dramas and tone-poems of the ‘opposition)’.

Here’s the symphony:

Brahms: Symphony No. 2 in D, Op. 73

00:45 – I. Allegro non troppo
15:25 – II. Adagio non troppo
25:05 – III. Allegretto grazioso (Quasi Andantino)
30:35 – IV. Allegro con spirito

Score

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And this is one of the two trial runs, in the shape of serenades, the composer made at symphonic form:

Serenade No. 2 in A, Op. 16

00:11 Allegro moderato
09:28 Scherzo. Vivace – Trio
12:16 Adagio non troppo
20:45 Quasi Menuetto – Trio
25:50 Rondo. Allegro

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Pontarddulais!