Johannes Brahms, a major addition to music history, is one of the most revered former musicians to ever have lived. He is known worldwide, and he was someone who viewed music as an essential part of life (Avins and Brahms). As an extraordinarily talented musician, Brahms, like others, had inspiration behind his compositions. While some say that Brahms’ inspiration came solely from his Christian background, others disagree. Many scholars today believe that Brahms’ music was not only based off of religious influences, but off of inspiration he got from other musicians he admired. They also believe that Brahms’ music was based, partially, off of his personal experiences (Spencer). Although a lot of music written by Johannes Brahms goes unanalyzed today, it is relevant to infer that much of it was written as a response to his own experiences and inspirations. Furthermore, it is important that the truth behind Brahms’ works is revealed so that recognition may be given where it is deserved.

Reigning from a modest family, Johannes Brahms was born in May of the year 1833. Although his family was not rich, they were not penniless either. Brahms’ mother and father, Johanna and Johann Jakob Brahms, both came from respectable families, received simple but good educations, and worked hard to give their family all that they could (Avins and Brahms 2). They wanted the best for their children, so they made a point to make sure Brahms was receiving a well-rounded education. Usually, this meant that music was included in Brahms’ every-day studies. Nevertheless, there were times when Brahms had to beg or even rebel to keep up his musical education (Avins and Brahms 1). Brahms was definitely passionate about his art form, starting at a young age. This meant that as Brahms grew, so did his love for music (Avins and Brahms 1).

The first part of Brahms’ life that may be relevant to the inspiration behind his music is the part in which he traveled as a young adult. As Brahms grew into a man, his thirst to learn more music continued to go unquenched. Because of his increasing curiosity, he traveled a great deal. He journeyed from place to place, considering himself a sort of nomad. With so many expeditions, Brahms grew to miss those he knew. In addition, although he missed his family and friends, he learned to find solace in writing letters. By reading these letters, scholars have found out more about Brahms’ personality and relationships with those he cherished. This may benefit those who are curious about a possible connection between Brahms’ experiences and his music. As a result, scholars may be able to better understand Brahms, both as a musician and a person. Michael Musgrave, author of Music and Letters, writes “Through many of these letters one gains a real sense of Brahms’ humanity: his humour, generosity, honesty, modesty and practicality, though his defensiveness also emerges when discussing himself or his work other than in purely practical terms” (Musgrave 309).

One group of letters that seems to stand out to certain scholars is that between Brahms and one of his dearest friends, Joseph Joachim. Brahms and Joachim confided in each other about both musical ideas and personal struggles. More often than not, Joachim and Brahms would discuss their admiration for one of their musical idols, Ludwig van Beethoven. Brahms would also discuss how much he admired Joachim’s music and how it acted as a kind of parallel to the music of their idol. As a result of his inspiration, Brahms wrote his Opera 21, Number 1. This composition of Brahms’, like that of Joachim, also displayed similarities to the work of the famous Beethoven (Horne 107). Perhaps Brahms was so exhilarated by the music of those he admired that he was compelled to write music of his own. This is just one example of how Johannes Brahms’ personal experiences and inspirations led to the publication of Brahms’ music.

Another example of Brahms’ inspiration behind his music is that of his relationship with a certain family, the Schumanns. As Brahms’ career progressed, he came to get to know a couple more musicians. One, in particular, was the distinguished Robert Schumann. 

Brahms had been introduced to Schumann through mutual friends, and he marveled at Schumann’s achievements as a musician (Swafford 77). As a result of Brahms’ traveling circumstances, he was eventually invited by the Schumanns to lodge with them. This invitation struck up a friendship between the two companions (Schumann and Brahms). Consequently, Brahms used this newfound inspiration to do more of what he did best: write music. One of the first composition’s that was written as a product of Schumann and Brahms’ relationship is known today as Frei aber einsam. In English, the title of this translates into “Free but Lonely.” 

What an interesting yet curious name for a composition written in honor of a friend (Joseph Joachim) who had been traveling apart from his allies for quite some time (Swafford 82). For all one knows, this piece was written as the aftermath to what Joachim told Brahms and Schumann about his travels. 

In a letter written to Robert Schumann, years after Brahms and Schumann’s relationship had developed so greatly, Brahms wrote “You have made me so immensely happy that I cannot attempt to thank you in words. God grant that my works may soon prove to you how much your affection and kindness have encouraged and stimulated me” (Swafford 88). It seems as though Brahms was thanking Robert Schumann for the influence he had had on him. This is, perhaps, yet another example of how Brahms’ personal experiences affected his music.

Although Schumann and Brahms were extremely close, their relationship sometimes proved to be complicated. Brahms had a deep admiration for many members of the Schumann family, including Robert Schumann’s wife: Clara. Like his relationship with Robert Schumann grew, Brahms’ relationship with Clara grew as well (Spencer 40). So much so, that there are several pieces that are believed to be based off of Brahms’ feelings for her. Ruth Albert Spencer, writer of “Brahms and the Women in His Life,” discloses “During this period, [the period in which Brahms and Clara were getting to know one another] Brahms wrote his third piano sonata. It was believed this was inspired by his feelings for Clara” (Spencer 40). Spencer goes on to explain that at the beginning of the composition, Op. 5 in F minor, Brahms placed an excerpt from a poem. The poem is about a passionate love between two people.

Furthermore, Spencer explains that some people say that they can hear the lovers “coming together” in this piece. Brahms must have felt immense love for Clara in order to be motivated enough to write about their love for one another. This is a third example of how Brahms’ personal experiences were developed into certain musical configurations. This music of Brahms leads this discussion to what may have been Brahms’ most famous masterpiece, his “German Requiem.”

Brahms’ “German Requiem” was written after the death of Robert Schumann, and incorporated phrases that had to do with death, mourning, and grief. Many believe that certain portions of this music were written as an outcome of the sadness Brahms felt for losing such a dear friend (Spencer 40). Conceivably, it could have also been written as a result of the guilt Brahms felt for having loved Schumann’s wife so intensely. This is further confirmation that Brahms’ music was based off of his personal experiences and off of what he learned from others. This is not the only portion of Brahms’ “German Requiem” that is believed to be written after Brahms lost someone special.

Brahms’ “German Requiem,” was originally composed of seven parts. Even though some argue that the general message of the music was to sing to those who had passed on from an Earthly existence, many people believe that it was written with the goal to comfort the living (Faux and Rayl 18). In other words, many believe that Brahms took pity on the living that missed the dead. Instead of trying to honor the dead, he was making an effort to comfort the living (Faux and Rayl 18). This information has been linked to the loss of loved ones that Brahms experienced during his life (Spencer 40).

An example of a link between Brahms’ losses and his music lies within the first movement of his “German Requiem.” Brahms wrote, “Blessed are they that mourn; for they shall be comforted. They that sow in tears shall reap in joy” (Brahms). Considering that Robert Schumann had died shortly before this was written is something that is contemplated among musical scholars. Was Brahms writing this for religious reasons or was he really trying to find solace in his own suffering?

Likewise, in movement two Brahms wrote, “They shall obtain gladness, and sorrow and sighing shall flee away” (Brahms). This is yet another example of how Brahms chose to comfort the living, perhaps with an end-goal of comforting himself. Similarly, in movement three, there is a circumstance of wanting that the vocalist finds himself/herself in. The lyrics do not suggest that the vocalist yearns to bring loved ones back from the living. They, instead, suggest that one desires to understand and appreciate life to his/her fullest capability (Brahms). This requiem, evaluated and analyzed, seems to progress the way a person’s thoughts would. It progresses, theme after theme. Even so, each topic relates to one another in a way that reveals one general motif: comfort (Brahms).

One movement that especially attracts the attention of musical scholars is movement five. Movement five, the only movement throughout the entire piece that was written for a female soloist, is said to have been written by Brahms to express his reaction to his mother’s death (Spencer 40). In truth, it was not an original section of Brahms’ “German Requiem.” It was only after his mother had died that Brahms added this part to this work. Brahms wrote “As one whom his own mother comforteth, so I will comfort you” (Brahms). “This is clearly a requiem for his [Brahms’] deeply-loved mother” (Spencer 41). 

In agreement with this common theme of comfort, movement six and seven complete the requiem with an acknowledgement to God for His creation. Following this is a surprisingly contrasting suggestion that maybe the dead should be blessed after all (Brahms). This ending can be linked, through lyrics and music, to the first movement. As mentioned above, this movement aims to appease the living. It is as if Brahms had been through this personal journey of revelation. He knew he was alive, he acknowledged that it was hard to miss those who passed on, yet he suddenly realized that he too would die someday. During this journey, it is as if he thanked the higher power that he believed in, and he comforted himself with a personal discovery. This being the discovery that death may not actually be such a frightening part of life.

Moving on from Brahms’ “German Requiem,” other compositions of his that reflect memorable experiences in his life include Opera 118, Alto Rhapsody, Opera 52, Opera 49, a song from Opera 97, parts of Opera 79, and possibly even parts of Opera 36 (Spencer 41). Each one of these compositions have something in common: they were all either written for a woman Brahms had fallen in love with, or they were written after an end had come to one of Brahms’ romantic relationships. For example, out of the musical pieces listed above, one piece in particular has caught the attention of musical scholars. 

This piece, Alto Rhapsody, was written for no other than Julie Schumann, daughter of Robert and Clara Schumann. Brahms was such a man of passion that he fell in love with many women during his life. Julie Schumann was just one of them. Alto Rhapsody was written after Brahms learned that Julie would soon be marrying someone other than himself. As an attempt to show Julie how much he cared for her, he gave this piece to her. He wanted her to use it during her wedding ceremony, and he even called it her “bridal song” (Spencer 41).

Another piece of music that can be linked directly to Brahms’ relationships with women is his Opera 118. Even though his relationship with Clara Schumann was complicated, Brahms admired and supported her for as long as she lived (Spencer 41). Shortly after Clara died, Brahms wrote this music for her. A part of this opera known as the intermezzo is a part of the music that is sweeter and more like a lullaby. Some believe that this part was an extension of Brahms’ dedication to Clara. Because Brahms and Clara had never had any children together, some scholars consider the idea that this lullaby was written for the child they never had. By way of explanation, some scholars believe that this lullaby was written as a result of the possible grief he felt for never having conceived a child with her (Spencer 41). These operas are individual examples of how Brahms used his emotional and personal experiences as his drive to create music.

An additional topic that acts as evidence for the truth behind Brahms’ music is science. Although Brahms is known today first and foremost as a musician, he had many other interests as well. These interests included, but were not limited to, innovations and science (Frisch and Karnes). In their work, Brahms and His World, authors Walter Frisch and Kevin Karnes discuss the effect that science had on music during Brahms’ lifetime. As Brahms began gaining fans, the musical world was scientifically changing. It was changing in a way where people could tune instruments more accurately, and therefore hear more of a distinct difference between musical notes. People were able to use the science behind their music to aurally improve the sounds that they were producing. Frisch and Karnes claim,

“The historicism of Brahms’s formal models and procedures –in sonata form and variation-was justified as an act of building on the truth, much as a scientist of Brahms’s generation might build on proven hypotheses and then modify, elaborate, and revise the truth” (Karnes and Frisch 16).

The authors are claiming that in many musicians’ work of the time, including that of Brahms, the quality of their music improved. This is another example of how Brahms’ experiences and inspirations (the inspiration of science) affected his music.

Granting all of this information, there are other theories to how and why Brahms wrote what he did. For example, many people believe that as a Christian man, Brahms used solely his religion as an inspiration to channel composing. When discussing Brahms’ “German Requiem,” writers Jeffrey Faux and David Rayl of “Giving Patient Hope to the Exile: Rethinking Brahms’s Requiem,” announce “That he viewed the biblical texts as his foundational starting point [for writing music] can be observed in his insistence on placing the full text at the beginning of the published scores” (Faux and Rayl 20). Though it may be true that Brahms’ music was influenced a great deal by his religion, it is also true that religion was not the only contributing factor to his inspirations. It has been proven that Brahms cared for many women romantically. It has also been pointed out that significant dates in Brahms’ lovers’ lives have been directly linked to the time Brahms wrote specific compositions. Furthermore, through Brahms’ letters to his friends and family, one can reveal that Brahms admits to writing pieces for people he knew (Spencer 41). 

Johannes Brahms, a musician whose work lives on today, is known for his expressive compositions such as his “German Requiem” (Alvins and Brahms) What many people do not think about, however, is why Brahms wrote these works. Although no one is completely sure that all of Brahms’ works have been preserved and found, it is appropriate to conclude that much of his music was based off of the wisdom he gained from daily participation in life and off of the influence of inspiration. Finally, it is important to recognize these inspirations so that history may be acknowledged, and so that Brahms is given the credit he earned.
