Yesterday’s Music History Monday post marked the premiere of Johannes Brahms’ Piano Concerto No. 1 in D minor. Nearly five years in the writing, the concerto received its premiere on January 22, 1859, in the German city of Hanover. Brahms himself was the soloist, supported by the Hanover Court Orchestra and conducted by Brahms’ great friend, the violinist Joseph Joachim. As we observed in yesterday’s post, Brahms’ Piano Concerto No. 1 is bound up entirely with his reaction to his friend and mentor Robert Schumann’s suicide attempt; his feelings towards Robert and his wife, the pianist Clara Wieck Schumann; the years he spent with Clara and her children as both a surrogate husband and father during Robert’s institutionalization; Robert’s death; and Brahms’ decision that he could not marry Clara after Robert’s death. No wonder Brahms was consumed by the piece: it was a virtual diary of his feelings, experiences, and musical growth from the time he met the Schumanns in 1853 to the time he left Clara and returned to his hometown of Hamburg in 1856. As such, the concerto took on a terribly outsized degree of importance to Brahms. The consequences of this emotional investment in the concerto were, […]
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Robert Greenberg
Historian, Composer, Pianist, Speaker, Author
Archive for Brahms
We mark the premiere on January 22, 1859 – 165 years ago today – of Johannes Brahms’ Piano Concerto No. 1, in the German city of Hanover. No other work by Brahms caused him such effort; never before or after did he so agonize over a piece, working and reworking it over and over again. Background On October 1, 1853, the 20-year-old Johannes Brahms showed up at the door of Robert and Clara Schumann’s house in Düsseldorf, in the Rhineland. At the time, Brahms was pretty much a complete unknown outside of his hometown of Hamburg. He was visiting the Schumann’s at the behest of the violinist and conductor Joseph Joachim (1831-1907) who, although only two years older than Brahms, was already world famous. Physically, the young Brahms looked virtually nothing like the bearded, portly, cigar-smoking, bear-like dude of his later years; at twenty he was described as being: “a shy, awkward, nearsighted young man, blonde, delicate, almost wispy, boyish in appearance as well as in manner (the beard was still 22 years away) and with a voice whose high pitch was a constant embarrassment to him.” This 20-year-old kid might not have looked like our familiar image of […]
Continue ReadingA Brahms trivia question: what was the only regular, paying job Brahms ever held? Answer: that of a choral conductor. When we think of Brahms and his music, we typically think of a “serious” German composer of primarily instrumental music: his four magnificent symphonies; his violin concerto and two piano concerti; his many works for solo piano; and his superb chamber music, the most varied set of chamber works by a single composer since Mozart. Unless we are, ourselves, choral conductors or hard-core choristers, we do not think of Brahms as a composer of choral music. But in fact, he spent a significant portion of his career not just composing for chorus but conducting choruses as well. Three rather event-packed years passed between the time Brahms met Robert and Clara Schumann in Düsseldorf in October of 1853 to the time he moved back home to Hamburg in October 1856 at the age of 23. Robert Schumann, driven to madness by syphilis, attempted suicide in February 1854, some 4½ months after Brahms first met him. Brahms rushed to Clara’s side, and during Robert’s subsequent institutionalization, became not just her rock of support but a surrogate father to her seven children. Despite […]
Continue ReadingWe mark the death on July 29, 1856 – 163 years ago today – of the German composer, pianist, and music critic Robert Schumann at the age of 46. The actress Valerie Harper was back in the news this week. Now nearly 80 years old (her birthday is on August 22nd), she is best remembered for her role as Rhoda Morgenstern on The Mary Tyler Moore Show and then its spin-off, Rhoda, in the 1970s. Ms. Harper was diagnosed with lung cancer back in 2009, and she has fought like the proverbial tiger since. Her time is almost up; this week’s news was about her husband’s refusal to ship her off to a hospice. During the course of her illness, she has pointed out – correctly, if painfully for us all – that we are all “terminal.” I know, I know, I know: it’s not something anyone wants to think about, especially not on a Monday, which by itself is depressing enough. Yes, our time will come when it comes, but I, for one, want to spend as little energy as possible thinking about it. But having buried three beloved family members long before their time should have been up, […]
Continue ReadingWith our heads bowed and our hands on our hearts, we mark the death – 123 years ago today – of the pianist and composer Clara Wieck Schumann, who died of a stroke at the age of 76 on May 20, 1896. She was among the most outstanding pianists of her time, a child prodigy whose performances were described with awe by her contemporaries. She was a composer of outstanding promise, who – for reasons having to do with the world in which she lived and her own self-doubts – never had the opportunity to fulfill that promise. She was the compositional muse for her fiancé and husband, the great Robert Schumann, and the spiritual muse of her best friend, the even greater Johannes Brahms. And she was a survivor: someone whose life reads like some endlessly tragic Victorian novel, only without the “happy ending” tacked on at the end. Honestly: whenever any of us get into one of those self-pitying funks (of which I am an especial virtuoso), during which we stand convinced that our personal lives represent the very nadir of human existence, I would recommend that we think of Ms. Wieck-Schumann and her life as an example […]
Continue ReadingWhen the Hamburg born-and-raised Johannes (“Hannes”) Brahms was around four years old, his father Johann Jakob Brahms decided it was high time the kid learned to play the three instruments that he himself played. Papa Brahms wanted his eldest son to follow him into the family trade and be, bless him, employable. Those three instruments were violin, cello, and the valveless, “natural” horn. The young Brahms gained a degree of competence in all three instruments, in particular the cello. However, to his father’s apparently endless annoyance, what the little fella really wanted – what he demanded! – was to learn how to play the piano. We can well imagine the conversations between father and son, played out over several years: “Daaaaad! I wanna play the piano.” “Hannes, dude, how many pianos are there in the Hamburg Philharmonic?” “Uh . . . zero?” “How many pianos in a dance band?” “Maybe . . . um . . . one?” “You got it. Violinists? There’s always work. Cellists? Ditto. Horn players? There are never enough decent horn players: horn players gig. Piano players? A dime-a-dozen and there’s no work. Besides, we don’t even own a piano and we don’t have the ducats […]
Continue ReadingLast week I wrote about the Apollo Academy, a wonderful four-day retreat at a facility called “Ratna Ling” located in the coastal mountains of Northern California’s Sonoma County. The Academy – the brainchild of a surgeon and cellist named Bill Moores – focuses on “mind/body synchronization that enhances mental and physical health. Optional sessions include immersion in the natural environment, poetry-writing, yoga, and the role of seasonal foods.” Yes, lovely and all very well-and-good, though the heart and soul of the Academy is chamber music. Open to performers and non-musician auditors alike, this year’s program was entitled “String Quartet Masterpieces of Mendelssohn, Schumann and Brahms.” These quartet masterworks were performed by the Alexander String Quartet with yours truly acting as host and lecturer. Here’s how our concert-presentations worked: Each of our three sessions was delivered in two parts: for an hour before dinner (4:30pm-5:30pm) and hour-and-a-half after dinner (6:30pm-8:00pm). On day one (September 6), we presented a program entitled “The Mendelssohn Conundrum”, during which I discussed and the ASQ performed Mendelssohn’s String Quartets in A Minor, Op. 13 (of 1827); F Minor, Op. 80 (of 1847) and excerpts from his String Quartet in E Minor, Op. 44 (of 1837). […]
Continue ReadingWelcome to my new series, “Dr. Bob Prescribes”, in which I will “prescribe” recordings, books, events, videos, websites, etc. on a weekly basis, with the intention of improving our musical health and thus raising our spirits and making happier our souls. In conversation with my Patreon patrons Jane Varkonyi and Frank Schmidt, I recommended Brahms’ Piano Quintet in F Minor as one of those works that, should we find ourselves stranded on that proverbial desert island, we would have to have for company. I would take the conversation a step further and recommend my numero uno favorite recording of not just the Brahms but Robert Schumann’s Piano Quintet in E-flat, which qualifies as another of my desert island works. (FYI, my desert island will require a large library, an air-conditioned listening room, a great hi-fi rig, and a well-stocked fridge and bar, because I have a lot of desert island works!) My absolutely favorite recording of both the Schumann and Brahms Piano Quintets is: 🤐🤐🤐🤐. Dang, but I hate being a tease! But for the remainder of this post – which names and describes my favorite recording and offers up as well both pertinent and anecdotal information about these extraordinary […]
Continue Reading156 years ago today – on March 13, 1861 – Richard Wagner’s opera Tannhäuser was first performed in Paris at the Théâtre Imperial de l’Opéra. The Paris production of Tannhäuser remains one of the greatest operatic flops of all time: a scheduled ten-performance run that was reduced to three disastrous performances before the opera was withdrawn. Aside from its fabulous gossip value, it’s a story that must be told because it is this Paris version of Tannhäuser that continues to be the version performed today. Richard Wagner had a checkered history with Paris and the Parisians. He lived there in terrible poverty between 1839 and 1842. He returned there in 1859 under very different circumstances: he was no longer an unknown and had, for the time being, some real money in his pocket. While in Paris this second time around, Wagner made friends in very high places, including Princess Pauline Metternich, the daughter-in-law of the former Austrian Chancellor Prince Clemens Wenzel von Metternich. It was thanks to the intervention of the Princess that in March of 1860 the French Emperor, Louis-Napoleon, commanded a performance of Tannhäuser at the Paris Opera. Tannhäuser was not a new work. It had been premiered […]
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