Of Brahms' choral output, a few works seem to be studied, performed, recorded more or, in general, more popular than others. Brahms' cantata Rinaldo, composed between 1863 and 1868, is a relatively unknown and neglected work worthy of study and performance.For the cantata Rinaldo, Brahms chose a poem by Goethe that is derived from Torquato Tasso's epic poem Gerusalemme Liberata (Jerusalem Delivered), which recounts the mystical tale of the Crusader Knight Rinaldo (a solo tenor) who is persuaded by his crew (the men's chorus) to leave the enchantress Armida and return to war. In this study, I will demonstrate that Brahms' cantata Rinaldo, a work unfamiliar to many American choral conductors, includes two well-crafted choruses that can be extracted from the cantata as independent movements, and used as repertory for men's choirs. In order to accomplish this, I will focus on the origination and comparison of Torquato Tasso's tale and Goethe's own adaptation of the story. I will also examine Brahms' early life, his acquirement of Goethe's text, and provide an in-depth look at two of the choruses from the cantata: "Zuruck nur!" and "Auf dem Meere."Since these movements have not been published as independent choral octavos, an important and primary component of my project will be to create a new edition of these movements. The source material I used to create the editions is Brahms' original manuscript scores of Rinaldo. Additionally, a complete translation of Rinaldo, an IPA pronunciation guide for the edition, and a complete transcription of an interview with Maestro Helmuth Rilling concerning Rinaldo are included in the appendices of this document.

Thesis (M.M.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

It is the purpose of this study to aide in the understanding of the Horn Trio through a biographical sketch of Brahms, a discussion of his use and characterization of the instruments, and the thematic, harmonic, and structural organization of the trio.

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.

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.

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.

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