THE GREAT COMPOSERS
An Occasional Series
by
Dr David C F Wright
based on his article
What makes a great composer?
BRAHMS
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Copyright 1990 This article must not be copied in part
or the whole or stored in any retrieval system nor downloaded or used
in any way without first obtaining the written permission of the author.
This article was first given as an illustrated talk
in Scottish universities in 1992 where the text was printed and distributed.
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Next to Beethoven, Brahms is the greatest composer.
In some ways Brahms is preferable since his music has a greater polish
and a more fluid style than Beethoven. While the form and structure
of most of Beethoven's work is admirable Brahms added a new dimension.
He is classical but he is also romantic. And it must be remembered that
romantic has nothing to do with sexual interest between people but the
word means imaginative and much more!
But Brahms has been maligned. He was plagued with the
inane charge that his superlative Symphony no. 1 was really Beethoven's
Tenth.
Sadly, there is a lot of nonsense talked about classical
and serious music. The greater tragedy is that some of it is believed
and therefore is accepted as fact.
People complain about Brahms' orchestration whereas
it is very good but it is not spectacular. And, in one sense, Brahms
is to be congratulated on this. He was not a showman and although people
talk of his late works being mellow the same could be said of many of
his early works as well.
He was an interesting man. He was an atheist and yet
kept a Bible by his bedside and could quote passages and verse by heart.
He remained a bachelor all his life and yet was in love with another
man's wife, a man who was his friend, and so Brahms did not seduce this
woman or cause her to be unfaithful to his husband. Of course, I refer
to Robert Schumann and his wife Clara. Even when Clara was a widow Brahms
was still faithful to the memory of his friend.
It has been said that Brahms did not write any love
music or erotic music but that is another story perpetuated by those
who are out to discredit this fine composer.
.
But, curiously, his faithfulness applied to other matters.
He had a favourite tavern, The Red Hedgehog and he did not visit others
unless it was necessary. He was a valued regular.
He was a touchy individual at times. He liked his privacy
and his opinions were precise. He did not like the music of Wagner,
Bruckner or Mahler although he had some regard for Mahler as a conductor.
The other advantage Brahms may have over Beethoven
is that his music is warmer. There are moments in Brahms that are unparalleled
and unmissable and have a durability that will last as long as music
endures. The final section of the "Alto Rhapsody", the broad
theme in the finale of the "Symphony no. 1", as long as it
is played broadly, the sublime slow movement of the "Double Concerto"
(again it must have the right tempo being slow without being sentimental),
the second subject of the slow movement of the "Symphony no. 4"
which is as gorgeous a melody as you will ever hear, as are moments
of the "German Requiem" and so on.
Brahms became a wealthy man but never an arrogant one.
He helped the Schumanns financially as he did Dvořák
who would not have survived without him and therefore the musical world
would have been robbed of the Czech composer's splendid symphonies and
the greatest Cello Concerto ever written.
Johann Jakob Brahms was born in 1806. He was a musician
in the local band and a jolly fellow. He married Johanna Henrika Christiane
Nissen in 1830 who was older, being born in 1789, and had a higher social
standing than Johann. They had three children, Elisabeth known as Elise
born in 1831, Johannes born on 7 May 1833 and Friedrich Fritz born in
1835.
Johannes' schooling was somewhat inadequate but he
showed a tremendous gift for music. His father allowed him to learn
the piano for in so doing he could play it in taverns and earn some
music. And so his first piano lessons were in 1840 with Otto Cossel.
The boy taught himself the violin, cello and even the French horn so
that he could deputise for his father in the band.
As a youngster Brahms was offered a tour of the United
States but this was discouraged by his second teacher, Eduard Marxsen,
who saw that the show-biz style of America would damage the teenager's
career. In our day this happens. Marxsen took music seriously and this
seriousness is inherent in much of Brahms' music. His teacher having
trained for the ministry meant that he was a disciplinarian.
Johannes made his debut at the age of ten playing Thalberg's
Fantasia on themes from Bellini's Norma. His first solo concert was
in 1848 which included Beethoven's Waldstein Sonata. That same year
he attended a concert in which Joachim played the Beethoven Violin Concerto.
Brahms's first compositions were written under the
pseudonym of G W Marks.
Eduard Remenyi fled the Hungarian revolution and found
himself in Hamburg where he met up with Brahms. In April 1853 they toured
neighbouring towns to give concerts. On one of these trips Remenyi introduced
Brahms to Joachim who was Konzertmeister at the Court of Hanover. Brahms
and Joachim developed a friendship which was later to suffer before
being healed. Joachim presented Brahms to the King of Hanover, to Liszt
and to Robert and Clara Schumann.
Liszt was the greatest pianist of all time. He took
Brahms' "Scherzo in E flat minor ,Op. 4" and played it at
sight. On the other hand when Brahms heard Liszt play his own Sonata
in B minor Brahms was allegedly not impressed. One wonders why. It is
the finest piano sonata ever written. But Brahms was welcomed into Liszt
society and met fellow composers including Raff whose talent has yet
to be recognised. But Johannes was not comfortable. The Liszt society
was not exclusively German.
As there are lies in music which become accepted as
facts so there are disputes which cause tremendous divisions. Liszt
supported Wagner fervently and this was counterproductive as it caused
other composers and musicians to devalue Wagner. Today there are cult
figures in music. People worship at the shrine of a composer and are
so indoctrinated that they will not accept that their hero is not flawless
as a person or as a musician and they become enraged at evidence that
this might be the case. There are those who believe that their favourite
composer is the greatest composer whereas that may not be the case either.
But the Liszt/Wagner alliance, the New German Music of The Music of
the Future really annoyed many people.
But new music has always annoyed some people, who are
then scathing about it.
Remenyi who was something of a rogue latched on to
this new concept of music whereas Brahms and Joachim were more conservative.
The Schumanns felt the same and with a letter of introduction from Joachim
Brahms visited Robert Schumann.
It is my opinion that Schumann is not a great composer
yet some of his songs are magnificent . His mental health and the traumas
of his life precluded his being a great composer. Nonetheless there
are many works of his that are very fine and which I happily play such
as Kreisleriana, the Symphonic Studies and the Piano Concerto, but other
works such as Carnaval, which is not popular with many concert pianists,
are quite badly written. His Symphony no. 2 is his masterpiece.
Clara Schumann was fourteen years older than Brahms
and for the rest of her life she and Brahms had a wonderful friendship.
While staying with the Schumanns, Johannes searched
for his identity. He composed a dreadful piece entitled "Hymn to
the Veneration of the great Joachim", as nauseating a piece in
content and purpose as Elgar's Second Symphony, dedicated to the memory
King Edward VII. But on a more productive note Brahms studied with Schumann
as well as playing duets and trios.
But Robert Schumann could be adolescent in his exaggerated
comments such as his opinion of Chopin in those absurd words which he
made about him, "Hats off, gentlemen, a genius!" Clearly this was a
rebuff against Liszt who was a genius. Chopin, for all his qualities,
was not in the same league.
When it was known that Joachim was returning to the
Schumann household Robert, Johannes and another composer called Albert
Dietrich wrote a violin sonata for him which became known as the FAE
sonata, Frei aber einsam (free but alone, or solitary). Brahms wrote
the scherzo movement. Mottoes were all the rage in Germany and, therefore,
in Brahms' "Symphony no. 3 in F" he uses Frei aber Froh (free
but happy).
It was Schumann who was instrumental in getting Brahms'
work published. Among the first works published are the three piano
sonatas "Opus 1 in C", "Opus 2 in F sharp minor"
and "Opus 5 in F minor". They are all substantial works. Breitkopf
and Härtel took the first two sonatas, a set of six songs and the
’Scherzo, Op. 4 ", the first work written.
During part of 1853 Brahms was in Leipzig the home
of his publishers. Later that year he performed his "Sonata in
C, Op. 1." He met the virtuoso Ignaz Moscheles and Karl Franz Brendel.
He struck up a friendship with Julius Otto Grimm and they became friends
setting up The League of Asses. It is difficult to understand this humour
today.
In January 1854 Brahms journeyed to Hanover to see
Joachim and Grimm and to be present at the premiere of Robert's Symphony
no. 4 in D minor. Hanover saw the usual cheerful, fun-loving Brahms.
He met the conductor Hans von Bülow and they remained
friends for the rest of their lives. But the madness that was going
to engulf Schumann began to show. He was moody, unpredictable and had
'psychic revelations' from the spirits of Mendelssohn and Schubert who
dictated music to him. In February, dressed in his dressing gown, he
jumped into the Rhine from a bridge. He was rescued by some fishermen
and was eventually taken to an asylum in Endenich where he died two
years later.
It has been said that during the illness of Schumann
Brahms was Clara's great support. She was pregnant at the time of his
confinement and it was deemed unwise for her to see her husband. But
Brahms visited Robert regularly. They also corresponded and Brahms's
letters were always cheerful. Clara's child, Felix, was born on 11 June
1854 and Brahms took on the family's financial burdens. His concert
appearances were few. He was so concerned with keeping the Schumann
family emotionally as well as financially that musical activity was
precluded somewhat.
Nasty rumours began about Brahms and Clara. Lies can
be devastating and ruin lives. They can also be used to cover other
lies.
Brahms was affected and went back to public appearances.
In November 1855 he played two concertos for which he supplied his own
cadenzas, the superb Mozart D minor and Beethoven's scintillating Emperor
concert. As a further evidence of Brahms' commendable character he often
played Robert Schumann's works in public. Clara reciprocated by giving
the first performances of Brahms "Sonata no 3 in F minor, Op. 5"
in 1854.
These dysfunctional lives hindered Brahms, however.
In 1856 he began composing a Piano Quartet which caused him many problems
and was later to become his "Piano Quartet, Op. 60" which
is a conflict expressing his own feelings. Clara was also very troubled.
The seriousness of his music was a reflection of the Schumann situation.
Robert died on 29 July 1856. The relationship between
Clara and Johannes changed. She moved to Berlin. Evil talk persisted.
Was Robert's breakdown due to an intimate relationship between his wife
and Brahms? The rumours were emphasised by Brahms' honesty in his devotion
to Clara. It is also shown in a letter Brahms wrote to Joachim in 1854
Often I have to force myself to restraint from
putting my arm gently
around Clara. It seems so natural for me to
do this and I do not think
she would think badly of me if I did. I don't
think I could now love a
young girl. In fact I have forgotten about
them. They may promise heaven
but Clara reveals it to me."
I have often wondered how Brahms coped without Clara.
After some procrastination he took an appointment at the Court at Detmold
some fifty miles south of Hamburg. Here he wrote his two orchestral
serenades, "opus 11" and "opus 16" respectively.
About this time he met Agathe von Siebold in Göttingen, a soprano
who inspired his £Eight Songs and Romances, Op. 14" and the "Five
Poems, Op. 19". He was in a turmoil. He loved Agathe but he did
not want to be bound in a relationship or marriage.
Brahms was still in turmoil.
He began work on a sonata for two pianos. Then it became
a symphony and, eventually, the "Piano Concerto no. 1 in D minor,
Op. 15". The opening movement is one of tremendous power and anger.
The second movement has been called a Requiem for Schumann with its
hymn-like qualities and the finale is a frantic dance which must be
played at speed. One remembers with great pleasure a stunning performance
at the Proms with Alfred Brendel and Claudio Abbado.
Here is one of the finest piano concertos of all time,
ranking with the Emperor and Rachmaninov's Third.
Its premiere in Hamburg on 22 January 1859 with Brahms
as soloist and Joachim conducting was not a success. Two performances
in Leipzig encountered hissing. A second performance in Hamburg in March
under Julius Rietz was also badly received.
Brahms was confused. His first big work failed. But
why? Was it because he did not subscribe to the New German Music or
that he could have lapses of good manners? Was it because the concerto
is so strong that it was considered overwhelming? Was it because his
friend Joachim was not in favour of new musical developments in Germany?
It is almost certainly due to jealousy and bad behaviour
occasioned by rivalry. It has happened since and, no doubt, will happen
again. Brahms, Clara and Joachim were said to be opposed to the new
culture in Germany and were therefore its enemies. It is all too ridiculous
for words. Brahms had had enough. He published his manifesto in which
he said that the new culture was contrary to the German spirit. The
tragedy was that the supposed hatred between Brahms and Wagner concealed
their admiration for each other. That Brahms wrote no opera may have
its root in this rivalry problem. But he did write songs and very beautiful
songs at that as, incidentally, did Schumann and Liszt.
Brahms' desire to maintain traditional German culture
was shown in his dedication to earlier composers. He edited some works
of C P E Bach and W F Bach and some Ländler by Schubert. He also
ventured in the French repertoire by editing works of Couperin.
Brahms did not like to deal with business or financial
matters and handed some of these responsibilities over to his brother
Fritz.
And he wanted a change.
Vienna was the city of Haydn, Mozart, Beethoven and
Schubert and it attracted Brahms who settled there in 1862 and where
the first performances of his two piano quartets, "opus 25"
and "opus 26" respectively, were given. Here Brahms met Eduard
Hanslick, a music critic who had tremendous power and a consuming hatred
of Wagner. He was so wrong about Wagner. In Die Meistersinger Wagner,
having endured unfair criticism for so long, imitates Hanslick in the
character of Beckmesser.
Sadly, Vienna has always been the home of trivial music
as well later exemplified by the Strauss family. It is very tedious
to listen to music that is usually three in a bar and therefore the
endless bonbons of sickly waltz music. But when in Rome.... Brahms wrote
his "Waltzes for piano duet". In 1864 Brahms had met Johann
Strauss II, the so-called Waltz King and they became friends to the
extent that people believed that Brahms liked his music. That opinion
still holds today but I suspect it is that Brahms' good character preventing
his saying anything against this trite music.
In February 1865 Brahms' mother died. In a subsequent
letter to Clara Brahms was more concerned with an injury to her hand
which prevented her playing and the illness of his sister Elise. His
father later remarried.
Another change was necessary in Brahms' life. He took
to travelling to Holland, Denmark and Switzerland. He walked with friends
in these countries and enjoyed the countryside and it is my view that
his "Symphony no. 2 in D, Op. 73" is a pastoral symphony or
a symphony about the seasons. It is a work that I dismissed for years
to my shame. Now it gives me great pleasure.
Brahms was still devoted to Schumann and played his
Piano Concerto which, because of repetitious passages, can cause a pianist
to lose his place. Brahms did this at least once and I remember a dreadful
performance with Vlado Perlemuter when he did likewise and the orchestra's
leader had to put him right.
The failure of his own piano concerto had prompted
Brahms to compose chamber music. The "Piano Quintet in F minor,
Op. 34" is a masterpiece of the highest order. The "Horn Trio
, Op. 40" is a truly marvellous piece. There is no comparable work
in the whole output of music for this combination of instruments to
challenge this. He wrote his first two string quartets but they have
not really caught on. But the death of his mother lead him to compose
his "German Requiem, Op. 45", although a work of this type
had been in mind for some time. The use of the word 'German' in the
title was in accordance with his manifesto in opposition to new German
'art'. Although he used Luther's translation of the Old Testament Brahms
suppressed any Christian doctrine. The first three movements were premiered
in Vienna on 1 December 1867 and it was not a complete success. Hanslick
showed his true colours by referring to the third movement as the din
of a train. The cantata "Rinaldo, Op. 50", was not a success
either but the sublime "Alto Rhapsody, Op. 53" fared better
as did the "Song of Destiny, Op. 54".
In February 1863 Joachim became engaged to Amalie Schneeweis.
Brahms wrote a letter of congratulation but he was to regret it.
In February 1872 his father died. In Vienna he was
looking for a prestigious appointment and wrote to Joachim to put his
name forward as a possible director of the Choral Society of Vienna.
He got the job, succeeding Rubinstein, but only after he had written
a gruff letter himself.
It was Hanslick who referred to Brahms' "Symphony
no. 1 in C minor, Op. 68" as Beethoven's Tenth. It was a statement
of crass stupidity which calls into question everything that Hanslick
said or wrote and, indeed, his hatred of Wagner. Brahms wanted to write
a symphony but when he was ready. Beethoven had written nine and they
had received acclaim. How does one follow that?
People have said that Walton and his music was merely
an extension of Elgar and his music, that Walton inherited Elgar's mantle
and so on. It is so utterly stupid and incorrect.
But to return to Brahms. Perhaps the death of his father
encouraged the composition of the symphony.
The opening is in 6/8 time with the timpani sounding
like a throbbing heart beat. While the music is mournful and tragic
it packs a terrific punch. The Allegro is very sad with descending sevenths
and sixths prominent. But the music takes on a message of hope despite
some clever modulations and grand intensity. The second movement, Andante
sostenuto, is lyrical and an example of his 'love music' seen elsewhere
as, for example, the opening of the glorious "Violin Sonata in
G , Op.78" and the "Clarinet Sonata no. 2 in E flat".
The wonderful E major theme on the violins continued by the oboe is
a real delight. The introduction of a solo violin makes it even lovelier.
There is calm and grace here. The third movement, Un poco allegretto
e grazioso is light and charming whereas the fourth movement begins
with the tragic recall of the opening . The great C major theme has
to be played broadly. It must breathe. Conductors who take it too fast
ruin the theme but the presentation of this majestic theme does require
an accelerando later on to accommodate the power and noble excitement
that follows. The music is incisive, defiant and stupendous.
It was first performed in Karlsruhe under Dessoff on
4 November 1876 some eighteen months after he had resigned his post
in Vienna.
The success of this symphony led to the "Symphony
no. 2" which is a very different work. The opening movement has
a graceful beauty...perhaps a dreamy quality. Occasionally there is
a blaze of golden sunlight. The second movement Adagio non troppo is
a gentle, lovely movement deeply introspective. The third movement,
Allegretto grazioso is unsophisticated and happy in a calm way. Untroubled
music Bryden Thomson rightly called it. The finale, Allegro con spirito
is a real joy with a swinging theme first played sotto voce. There are
two passages of more tranquil music but the ending blazes in glorious
sunshine and triumphant D major. The premiere was entrusted to Hans
Richter in Vienna on 30 December 1877.
The following year Brahms visited Italy where he grew
his beard.
International recognition
was now secure and Brahms, like Mendelssohn and Dvořák, had a following
in England. Parry and Stanford were impressed with Brahms. Cambridge
offered him a honorary degree which both pleased and troubled Brahms.
Crossing the sea was not fun for him. The University of Breslau offered
him an honorary doctorate and he wrote the engaging "Academic Festival
Overture, Op. 80" in 1880 as an acknowledgement.
The year 1879 saw the premiere of the "Violin
Concerto, Op. 77", given by Joachim in Leipzig with Brahms conducting.
A leisurely opening movement teeming with melodic invention gives way
to a tender slow movement with an exquisite oboe solo which can create
problems of orchestral balance. The finale has been described as a gypsy
rondo. It is a pity that Brahms slows the tempo done at the end before
an unconvincing brief flourish. The momentum is lost. But it is a fine
work.
The 1880s saw problems. Firstly there was a quarrel
with Joachim. The great violinist's marriage to Amalie was always strained.
She had asked Brahms to mediate between her husband and herself from
time to time. Brahms had always thought this Joachim's behaviour was
the most unreasonable of the two and in a letter to Amalie he said so
and listed some of Joachim's faults. That was unwise for Amalie used
in court when suing for a divorce and, of course Joachim was there.
As a result Joachim wanted nothing more to do with Brahms. Six years
later Brahms began writing a new concerto ... his finest ... but for
two soloists, violinist and cellist. The violin part represents Joachim
and the cello Brahms himself. It was music to reconcile. The middle
movement is gorgeous. Listen to the Milstein, Piatigorsky, Reiner version
for its sheer beauty although it is too quick for me. I like it to be
lingered over. But this is also love music.
The concerto was first performed in Cologne on 15 October
1887 with Joachim and Hausmann as soloists and Brahms conducting. Reconciliation
was made.
The second dispute was with Hans von Bülow, who
had married Liszt's daughter, Cosima. Brahms never took to Liszt and
when Cosima entered into an affair with Wagner that was that. But, in
addition, Brahms had accepted an appointment at the Court of the Duke
of Saxe-Meiningen, with which he was to premiere his "Symphony
no. 4 in E minor, Op. 98". But Bülow believed that he was
to give the premiere. He felt maligned. Brahms apologised although it
would appear that he had no intention to slight Bülow.
He composed his "Piano Concerto no.2 in B flat,
Op. 83" in 1882. It is quite different from the stormy first concerto
and suffers from an unconvincing finale. The slow movement which also
includes a cello solo, reminiscent of the Schumann, is a delight. I
was fortunate to be at a Prom when the great British pianist Peter Katin
presented it.
The "Symphony no. 3 in F, Op. 90" which Richter
first presented in Vienna on 2 December 1883. It is played the least
of his four symphonies and one wonders why. As a boy I was told it was
because it has a quiet ending and everyone wants a symphony to end with
power! The symphony is terse and passionate, more love music lives here.
The F A F motto theme recurs throughout the work and unifies it. The
second movement, Andante, is leisurely, but has some extraordinary harmonies
for its time. The third movement, Poco allegretto, uses a small orchestra
and is suave and flowing. The finale is a wonderful kaleidoscope of
ideas put together as a convincing whole. In the hands of a great composer
episodic music can work. There is some terrific energy and noble statements
without any Elgarian nobilmentes but the work ends in a quiet radiance.
After the "Third Symphony" Brahms edited
the symphonies of Schubert. I do not believe it was because Brahms regarded
Schubert highly but his friend Robert Schumann did. There are some many
flaws in Schubert and that includes his symphonies. Take, as an example,
his Symphony no. 5 in B flat. The main theme of the first movement which
first appears in bar five reappears so often and without any development
or major variation that it becomes tedious. The same can be said for
the Minuet which is in G minor and too close to the Minuet of Mozart
Symphony no. 40 in G minor to be a coincidence. If you run out of ideas
copy someone else. The finale again overkills the main theme in boring
repetition. Similar failings can be examined in the Symphony no. 6 where
the main theme of the opening movement, and an inane theme it is at
that, is done to death. Schubert did not vary the orchestration. The
music is not only boring but tame. But, as far as Brahms was concerned
, it was a labour of love in memory of a friend.
Brahms's "Symphony no. 4 in E minor, Op. 98"
is another masterpiece. It is a serious piece but it is the seriousness
of someone who takes a pride in their work and does not want to compose
something that will just do. It is an intense work with an opening fine
theme, nineteen bars in length, announced by the violins. The dropping
third and the rising sixth gives its a cohesion. Unlike the dreary Schubert,
Brahms varies his themes and sometimes in a splendid filigree of sound.
The second movement is truly beautiful with a melody of unsurpassed
glory. The third movement is probably the only symphonic scherzo Brahms
ever wrote which is ebullient and full of life. The finale is a set
of variations on an eight-bar theme from Bach's cantata 150 (Nach dir,
Herr, verlanget mich). There are thirty variations in all but, again,
the episodic character is not noticed because Brahms is so adept and
makes the music flow effortlessly. Variation 14 has solemn pianissimo
chords on the trombones which is profoundly effective. Variation 21
is very exciting. The final variation is a magnificent example of amazing
modulations. A truly amazing symphony.
In his last years Brahms concentrated on collection
of mellow piano works and had a love affair with the clarinet. He was
impressed with the clarinetist Richard Mühlfeld who was the first
clarinet in Wagner's Bayreuth Festival Orchestra. This lead to four
clarinet works, the two sonatas that make up "Opus 120", the
"Clarinet Trio, Op. 114" and the unmistakable masterpiece
the "Clarinet Quintet in B minor, Op. 115".
Brahms had wanted to retire. Around him friends had
come to the end of their respective lives. Marxsen had died in 1887,
von Bülow in 1894 and his beloved Clara in 1896. He spent his sixtieth
birthday with Victor Widmann, a walking friend, who was confined to
bed with a foot injury. He continued his daily routine of endless strong
coffee and cigars and a beer in the local tavern in the evening. His
serious demeanour, which never really left him, returned for his last
work, the "Four Serious Songs, Op. 121". The texts are mainly
taken from Ecclesiastes. He would not set anything Christian.
It is strange that Richard Strauss's last work is his
sublime Four Last Songs.
Brahms had a interesting relationship with the song
writer Hugo Wolf who, at one time, showed Brahms his songs. Brahms had
advised Wolf but the highly strung young man did not take his advice.
In 1896 Brahms sat next to Dvořák
for the Vienna premiere of the New World Symphony. Brahms had wanted
the Czech composer to settle in Vienna and had financially helped Dvořák.
"You have a large family", he said, "And I have nobody." Brahms met
Mahler and admired him as a conductor but thought that his music
was too self-indulgent.
In 1896 Brahms sorted out his affairs and wrote his
will, a task made more urgent by the death of Clara after she had suffered
a stroke. He was too late in his last visit to her. In July he did not
feel well and went to a doctor. He was not told the gravity of his condition
which was cancer of the liver. His last concert where Muhlfeld asked
if he should play Brahms' "Clarinet Quintet" or that by Weber.
Brahms choose the Weber.
Brahms died on 3 April 1897. His funeral was a grand
affair and he was buried next to both Schubert and the great Beethoven.
Copyright David C F Wright
