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MusicJohannes Brahms (1833–1897) had lived over two-thirds of his life when his Symphony No. 1 in C minor (op. 68) was first performed in November 1876. Although the work came late in his career, Brahms already had considerable experience with orchestral writing and symphonic form. The D-minor Piano Concerto (op. 15) had started life as a symphony while the orchestral Serenades (op. 11 and op. 16), at least in terms of form and length, are closely related to the symphony. Brahms had also completed Eine deutsches Requiem, the Schicksalslied, the Triumphlied, and Rinaldo. In contrast to Mozart and Bizet with their youthful symphonic experiments, Brahms could hardly be patronized for producing a “commendable effort for one so relatively inexperienced.” Instead, Brahms’s fate was to be cast as some sort of Greyfriars Bobby of the classical tradition, a feckless Papa Katzenjammer who never ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 16 December 1997, on page 50 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/kurtmasur-penrose-3237
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On the lasting power of the composer & his tumultuous life. A review of The Triumph of Music: The Rise of Composers, Musicians and Their Art by Tim Blanning.
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