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The lecture recital was given October 15, 1971. The subject of the discussion was Brahms and the Character Piece: Emotion Guided by Intellect, and it included historical and biographical information, an analysis of Brahms' romantic-classic style, a general analysis of the six character pieces in Opus 118, and performance of Opus 118 by memory. In addition to the lecture recital, three other public recitals were performed. These three programs were comprised of solo literature for the piano. The first solo recital was on April 15, 1971, and included works of Brahms, Chopin, Mozart, and Ravel. The second program, presented on April 28, 1972, featured several works of Beethoven. Performed on Septemhber 25, 1972, the third recital programmed compositions by Chopin, Debussy, and Prokofieff. Magnetic tape recordings of all four programs and the written lecture material are filed together as the dissertation.

In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.

With the advent of the Ballades, Intermezzi, Cappriccios and Rhapsodies of Johannes Brahms the musical world was to witness the apex of a development of a particular style of pianoforte composition which began in the nineteenth century with the publication in 1803 of a group of seven pieces called Bagatelles, opus 33 by Ludwig van Beethoven. This style thus originated was the Caracterstücke.

Instead of putting the emphasis on color in his orchestration, Brahms felt that the music was more important; not the orchestration. However, it would be a mistake to feel that he was deaf to orchestral color. When discussing color in regard to Brahms' orchestration it is necessary to realize that his use of color is much different than that of his contemporaries. This thesis discusses the four symphonies of Brahms and his usage of brass instruments within these symphonies, specifically the french horn, trumpet, trombone and tuba. It is apparent that he used considerable care in writing for the brasses as well as the other instruments and had complete command of the use of their individual colors.

An unusual opportunity to hear and perform this work has been afforded at North Texas State Teachers College by the presentation of the German Requiem in the summer of 1941. Furthermore, a Brahms Festival, including another presentation of the Requiem along with outstanding compositions of Brahms in other media, is to be given during commencement week of June, 1942. Not only does this type of emphasis promote interest among students and faculty, but it also serves as a stimulus to detailed study of the German Requiem, thus intensifying the immediate importance and personal significance of the subject.

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In 1885, Austrian musician Richard Heuberger, recognizing the lasting importance of his friend and colleague, Johannes Brahms, began to record meticulously each of their meetings and conversations in the form of a journal. It was not until 1971, however, that the complete journal appeared in the original German language, with commentary by editor Kurt Hofmann (Erinnerunqen an Johannes Brahms, published in Tutzing, Germany, by Hans Schneider Verlag). All indiscreet and possibly harmful remarks by Brahms, which had been omitted from earlier versions, are found in this later edition with scarcely a variation from Heuberger's manuscript. This dissertation concerns information on Brahms as revealed through Heuberger's journal.The friendship between Brahms and Heuberger, which lasted until the death of the former, is a more important relationship than musicologists have previously thought. The two men spent long hours in discussing music, musicians and other contemporaries. As a man twenty-seven years Brahms's junior, Heuberger naturally sought advice in many matters, particularly regarding composition. Heuberger reveals many new insights into Brahms as a composer, performer and conductor.Brahms openly discussed many other artists, both past and present, and thanks to the care with which Heuberger recorded these comments, we have a clear picture of Brahms's inner feelings and opinions on the musical practice of his day. Brahms's regard for the genius of Richard Wagner and his ready praise of the composer's operas shed new light on the Wagner/Brahms controversy. Among the many other musicians discussed are Bach, Mozart, Haydn, Beethoven, von Bulow, d'Albert, Dvofdk and Johann Strauss. Heuberger reports, for example, that Brahms was so fond of Strauss's music that he attended every possible premiere. In addition, Brahms's enthusiasm for artists such as Anselm Feuerbach and Max Klinger was also a frequent topic of conversation between Brahms and Heuberger.This dissertation explores the many avenues of research provided by an enlightening and entertaining journal, and these include Brahms's musical philosophy, his dabbling in musical politics, his personal characteristics, and his philanthropic nature. In short, this is a study of the personal Johannes Brahms as viewed by his friend and colleague, Richard Heuberger.