Johannes Brahms

Youth (1833–1850) in 1943. Upbringing Brahms's father, Johann Jakob Brahms, was from the town of Heide in Holstein. Against his family's will, Johann Jakob pursued a career in music, arriving in Hamburg at age 19. He found work playing double bass; he also played in a sextet in the Alster-pavilion in Hamburg's Jungfernstieg. In 1830, Johann Jakob was appointed as a horn player in the Hamburg militia. He married Johanna Henrika Christiane Nissen the same year. A middle-class seamstress 17 years his senior, she enjoyed writing letters and reading despite an apparently limited education. Johannes Brahms was born in 1833. His sister Elisabeth (Elise) had been born in 1831 and a younger brother Fritz Friedrich was born in 1835. The family then lived in poor apartments in and struggled economically. (Johann Jakob even considered emigrating to the United States when an impresario, recognizing Johannes's talent, promised them fortune there.) Eventually Johann Jakob became a musician in the Philharmonisches Staatsorchester Hamburg playing double bass, horn, and flute. For enjoyment, he played first violin in string quartets. The family moved over the years to ever better accommodation in Hamburg. Training Johann Jakob gave his son his first musical training; Johannes also learnt to play the violin and the basics of playing the cello. From 1840 he studied piano with Otto Friedrich Willibald Cossel. Cossel complained in 1842 that Brahms "could be such a good player, but he will not stop his never-ending composing." At the age of 10, Brahms made his debut as a performer in a private concert including Beethoven's Quintet for Piano and Winds Op. 16 and a piano quartet by Mozart. He also played as a solo work an étude of Henri Herz. By 1845 he had written a piano sonata in G minor. His parents disapproved of his early efforts as a composer, feeling that he had better career prospects as a performer. From 1845 to 1848 Brahms studied with Cossel's teacher, the pianist and composer Eduard Marxsen. Marxsen had been a personal acquaintance of Beethoven and Schubert, admired the works of Mozart and Haydn, and was a devotee of the music of J. S. Bach. Marxsen conveyed to Brahms the tradition of these composers and ensured that Brahms's own compositions were grounded in that tradition. Recitals In 1847 Brahms made his first public appearance as a solo pianist in Hamburg, playing a fantasy by Sigismund Thalberg. His first full piano recital, in 1848, included a fugue by Bach as well as works by Marxsen and contemporary virtuosi such as Jacob Rosenhain. A second recital in April 1849 included Beethoven's Waldstein sonata and a waltz fantasia of his own composition and garnered favourable newspaper reviews. Persistent stories of the impoverished adolescent Brahms playing in bars and brothels have only anecdotal provenance, and many modern scholars dismiss them; the Brahms family was relatively prosperous, and Hamburg legislation very strictly forbade music in, or the admittance of minors to, brothels. Juvenilia Brahms's juvenilia comprised piano music, chamber music and works for male voice choir. Under the pseudonym 'G. W. Marks', some piano arrangements and fantasies were published by the Hamburg firm of Cranz in 1849. The earliest of Brahms's works which he acknowledged (his Scherzo Op. 4 and the song Heimkehr Op. 7 no. 6) date from 1851. However, Brahms was later assiduous in eliminating all his juvenilia. Even as late as 1880, he wrote to his friend Elise Giesemann to send him his manuscripts of choral music so that they could be destroyed. Early adulthood (1850–1862) in 1857, photograph by Franz Hanfstaengl Collaboration and travel In 1850 Brahms met the Hungarian violinist Ede Reményi and accompanied him in a number of recitals over the next few years. This was his introduction to "gypsy-style" music such as the csardas, which was later to prove the foundation of his most lucrative and popular compositions, the two sets of Hungarian Dances (1869 and 1880). 1850 also marked Brahms's first contact (albeit a failed one) with Robert Schumann; during Schumann's visit to Hamburg that year, friends persuaded Brahms to send the former some of his compositions, but the package was returned unopened. In 1853 Brahms went on a concert tour with Reményi, visiting the violinist and composer Joseph Joachim at Hanover in May. Brahms had earlier heard Joachim playing the solo part in Beethoven's Violin Concerto and been deeply impressed. Brahms played some of his own solo piano pieces for Joachim, who remembered fifty years later: "Never in the course of my artist's life have I been more completely overwhelmed". This was the beginning of a friendship which was lifelong, albeit temporarily derailed when Brahms took the side of Joachim's wife in their divorce proceedings of 1883. Brahms admired Joachim as a composer, and in 1856 they were to embark on a mutual training exercise to improve their skills in (in Brahms's words) "double counterpoint, canons, fugues, preludes or whatever". Bozarth notes that "products of Brahms's study of counterpoint and early music over the next few years included "dance pieces, preludes and fugues for organ, and neo-Renaissance and neo-Baroque choral works". This praise may have aggravated Brahms's self-critical standards of perfection and dented his confidence. He wrote to Schumann in November 1853 that his praise "will arouse such extraordinary expectations by the public that I don't know how I can begin to fulfil them". While in Düsseldorf, Brahms participated with Schumann and Schumann's pupil Albert Dietrich in writing a movement each of a violin sonata for Joachim, the F-A-E Sonata, the letters representing the initials of Joachim's personal motto Frei aber einsam ("Free but lonely"). Schumann's accolade led to the first publication of Brahms's works under his own name. Brahms went to Leipzig where Breitkopf & Härtel published his Opp. 1–4 (the Piano Sonatas nos. 1 and 2, the Six Songs Op. 3, and the Scherzo Op. 4), whilst Bartholf Senff published the Third Piano Sonata Op. 5 and the Six Songs Op. 6. In Leipzig, he gave recitals including his own first two piano sonatas, and met with Ferdinand David, Ignaz Moscheles, and Hector Berlioz, among others. After Schumann's attempted suicide and subsequent confinement in a mental sanatorium near Bonn in February 1854 (where he died of pneumonia in 1856), Brahms based himself in Düsseldorf, where he supported the household and dealt with business matters on Clara's behalf. Clara was not allowed to visit Robert until two days before his death, but Brahms was able to visit him and acted as a go-between. Brahms began to feel deeply for Clara, who to him represented an ideal of womanhood. But he was conflicted about their romantic association and resisted it, choosing the life of a bachelor in an apparent effort to focus on his craft. Nonetheless, their intensely emotional relationship lasted until Clara's death. In June 1854 Brahms dedicated to Clara his Op. 9, the Variations on a Theme of Schumann. Brahms had hoped to be given the conductorship of the Hamburg Philharmonic, but in 1862 this post was given to baritone Julius Stockhausen. Brahms continued to hope for the post. But he demurred when he was finally offered the directorship in 1893, as he had "got used to the idea of having to go along other paths". Maturity (1862–1876) Move to Vienna In autumn 1862 Brahms made his first visit to Vienna, staying there over the winter. Although Brahms entertained the idea of taking up conducting posts elsewhere, he based himself increasingly in Vienna and soon made it his home. In 1863, he was appointed conductor of the Wiener Singakademie. He surprised his audiences by programming many works by the early German masters such as Heinrich Schütz and J. S. Bach, and other early composers such as Giovanni Gabrieli; more recent music was represented by works of Beethoven and Felix Mendelssohn. Brahms also wrote works for the choir, including his Motet, Op. 29. Finding however that the post encroached too much of the time he needed for composing, he left the choir in June 1864. From 1864 to 1876 he spent many of his summers in Lichtental on the north side of Vienna, where Clara Schumann and her family also spent some time. His house in Lichtental, where he worked on many of his major compositions, including his middle-period chamber works, is preserved as a museum. Wagner and his circle In Vienna Brahms became an associate of two close members of Wagner's circle, his earlier friend Peter Cornelius and Karl Tausig, and of Joseph Hellmesberger Sr. and Julius Epstein, respectively the Director and head of violin studies, and the head of piano studies, at the Vienna Conservatoire. Brahms's circle grew to include the notable critic (and opponent of the 'New German School') Eduard Hanslick, the conductor Hermann Levi and the surgeon Theodor Billroth, who were to become among his greatest advocates. and being rewarded by Tausig with a manuscript of part of Wagner's Tannhäuser (which Wagner demanded back in 1875). The Handel Variations also featured, together with the first Piano Quartet, in his first Viennese recitals, in which his performances were better received by the public and critics than his music. Requiem and personal beliefs In February 1865 Brahms's mother died, and he began to compose his large choral work A German Requiem, Op. 45, of which six movements were completed by 1866. Premieres of the first three movements were given in Vienna, but the complete work was first given in Bremen in 1868 to great acclaim. A seventh movement (the soprano solo "Ihr habt nun Traurigkeit") was added for the equally successful Leipzig premiere (February 1869). The work went on to receive concert and critical acclaim throughout Germany and also in England, Switzerland and Russia, marking effectively Brahms's arrival on the world stage. Brahms has been described as an agnostic and a humanist. The devout Catholic Antonín Dvořák wrote in a letter: "Such a man, such a fine soul – and he believes in nothing! He believes in nothing!" When asked by conductor Karl Reinthaler to add additional explicitly religious text to his German Requiem, Brahms is reported to have responded, "As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human; also with my best knowledge and will I would dispense with passages like John 3:16. On the other hand, I have chosen one thing or another because I am a musician, because I needed it, and because with my venerable authors I can't delete or dispute anything. But I had better stop before I say too much." Mounting successes and failed romance Brahms also experienced at this period popular success with works such as his first set of Hungarian Dances (1869), the Liebeslieder Waltzes, Op. 52, (1868/69), and his collections of lieder (Opp. 43 and 46–49). During 1869, Brahms felt himself falling in love with the Schumanns' daughter Julie (then aged 24 to his 36). He did not declare himself. When later that year Julie's engagement to Count Marmorito was announced, he wrote and gave to Clara the manuscript of his Alto Rhapsody (Op. 53). Clara wrote in her diary that "he called it his wedding song" and noted "the profound pain in the text and the music". From 1872 to 1875, Brahms was director of the concerts of the Vienna Gesellschaft der Musikfreunde, where he ensured that the orchestra was staffed only by professionals. He conducted a repertoire noted and criticized for its emphasis on early and often "serious" music, running from Isaac, Bach, Handel, and Cherubini to the nineteenth century composers who were not of the New German School. Among these were Beethoven, Schubert, Mendelssohn, Schumann, Joachim, Ferdinand Hiller, Max Bruch and himself (notably his large scale choral works, the German Requiem, the Alto Rhapsody, and the patriotic Triumphlied, Op. 55, which celebrated Prussia's victory in the 1870/71 Franco-Prussian War). In that same year, Brahms was named an honorary citizen of Hamburg. Later Life (1889–1897) (left) and Brahms, photographed in Vienna Friendship with J. Strauss Brahms and Johann Strauss II were acquainted in the 1870s, but their close friendship belongs to the years 1889 and after. Brahms admired much of Strauss's music and encouraged the composer to sign with his publisher Simrock. In autographing a fan for Strauss's wife Adele, Brahms wrote the opening notes of The Blue Danube waltz, adding the words "unfortunately not by Johannes Brahms". He made the effort, three weeks before his death, to attend the premiere of Johann Strauss's operetta Die Göttin der Vernunft (The Goddess of Reason) in March 1897. The last of the Eleven Chorale Preludes for organ, Op. 122 (1896) is a setting of "O Welt ich muss dich lassen" ("O world I must leave thee") and the last notes that Brahms wrote. Many of these works were written in his house in Bad Ischl, where Brahms had first visited in 1882 and where he spent every summer from 1889 onwards. Terminal illness In the summer of 1896 Brahms was diagnosed with jaundice and pancreatic cancer, and later in the year his Viennese doctor diagnosed him with liver cancer, from which his father Jakob had died. His last public appearance was on 7 March 1897, when he saw Hans Richter conduct his Symphony No. 4; there was an ovation after each of the four movements. His condition gradually worsened and he died on 3 April 1897, in Vienna at the age of 63. Brahms is buried in the Vienna Central Cemetery in Vienna, under a monument designed by Victor Horta with sculpture by Ilse von Twardowski. ==Music==

Brahms's major works are for orchestra, including four symphonies, two piano concertos (No. 1 in D minor; No. 2 in B-flat major), a Violin Concerto, a Double Concerto for violin and cello, two Serenades and the Academic Festival and Tragic Overtures. The former includes student drinking songs. His large choral work A German Requiem—not a setting of the liturgical Missa pro defunctis, but a setting of texts which Brahms selected from the Luther Bible—was composed in three major periods of his life. An early version of the second movement was first composed in 1854 after Robert Schumann's attempted suicide (and later used in his first piano concerto). Most of the Requiem was composed after Brahms's mother's death in 1865. He added the fifth movement after the 1868 premiere, and in 1869 the final work was published. His works in variation form include the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Haydn (now sometimes called the Saint Anthony Variations) in versions for two pianos and for orchestra. The final movement of the Symphony No. 4 is a passacaglia. His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the A-major trio being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. His Eleven Chorale Preludes, Op. 122, written shortly before his death and published posthumously in 1902, have become an important part of the organ repertoire. Brahms was an extreme perfectionist, which Schumann's early enthusiasm only exacerbated. Over the course of several years, he changed an original project for a symphony in D minor into his first piano concerto. In another instance of devotion to detail, he laboured over the official First Symphony for almost fifteen years, from about 1861 to 1876. Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published. Schonberg writes "In his last years, Brahms wrote a very tender, personal kind of music. That does not mean the music lacks tension. But such works as the D minor Violin Sonata, the Clarinet Quintet, the Intermezzi for piano, and his very last work, a set of eleven choral preludes for organ, have a kind of serenity unique in the music of his time. It is the twilight of Romanticism, and the peculiar glow of this setting sun is hard to describe." Alex Ross writes "There is enormous sadness in his work, and yet it is a sadness that glows with understanding, that eases gloom by sharing its own. The music seems in a strange way to be listening to you." Style, influences, and historiography Brahms's music, rooted in Viennese Classical and earlier traditions, extended Beethovenian motivic–harmonic integration as a core structural principle. While cast conservatively as absolute music against the New German School's embrace of program music and virtuoso aesthetics, much of it was vocal, including hundreds of folk-song arrangements and (German art songs) often engaging with themes of nature and rural life. These melodies became sources for his instrumental music, as was common from Schubert through Mahler. He considered writing opera and admired Wagner, perhaps alluding to Tannhäuser (I, mm. 31–35) and Götterdämmerung (II, mm. 108–110) in the Symphony No. 3 while resisting ideas about the (total work of art) or (music drama). His first opus, the Piano Sonata No. 1, derives its Andante from a (courtly love song), and he sometimes embedded more subtle musical quotations in ostensibly non-programmatic works: the Symphony No. 4 may allude with autobiographical intent to the second movement of Beethoven's Fifth, the texted chaconne of Bach's Cantata No. 150, and to Schumann's music, including Clara's musical cryptograms and the Fantasie in C (with its own use of Beethoven's An die ferne Geliebte). Brahms often used developing variation instead of making an expository display of Lisztian–Wagnerian modulating sequences, sustaining tonal ambiguity through a continuous process of motivic–harmonic transformation. Structurally, he often paralleled perpetual delay of tonal closure through delayed or deflected arrival or stabilization of the tonic triad, creating gaps among realization, implication, and expectation. But he was wary of eroding tonal governance. Beethoven and the Viennese Classical tradition Brahms venerated Beethoven; in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. Brahms's First Symphony bears the influence of Beethoven's Fifth, for example, in struggling toward a C major triumph from C minor. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms he replied that any dunce could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth". Indeed, the similarity of Brahms's music to that of late Beethoven had first been noted as early as November 1853 in a letter from Albert Dietrich to Ernst Naumann. Brahms loved the classical composers Mozart and Haydn. He especially admired Mozart, so much so that in his final years he reportedly declared Mozart as the greatest composer. On 10 January 1896, Brahms conducted the Academic Festival Overture and both piano concertos in Berlin, and during the following celebration Brahms interrupted Joachim's toast with "Ganz recht; auf Mozart's Wohl" (Quite right; here's Mozart's health). Brahms also compared Mozart with Beethoven to the latter's disadvantage, in a letter to Richard Heuberger in 1896: "Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. You couldn't commission great music from Beethoven since he created only lesser works on commission—his more conventional pieces, his variations and the like." Brahms collected first editions and autographs of Mozart and Haydn's works and edited performing editions. Early Romantics Some early Romantic composers had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer. During his stay in Vienna in 1862–63, Brahms became particularly interested in the music of Schubert. The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op. 25 and Op. 26, and the Piano Quintet, which alludes to Schubert's String Quintet and Grand Duo for piano four hands. Any influence of Chopin and Mendelssohn on Brahms is less obvious. Brahms perhaps alludes to Chopin's Scherzo in B-flat minor in the Scherzo, Op. 4. In the Piano Sonata, Op. 5, scherzo, he may allude to the finale of Mendelssohn's Piano Trio in C minor. ======== Brahms looked to older music, with its counterpoint, for inspiration. He studied the music of pre-classical composers, including Giovanni Pierluigi da Palestrina, Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz, Domenico Scarlatti, George Frideric Handel, and Johann Sebastian Bach. His friends included leading musicologists. He co-edited an edition of the works of François Couperin with Friedrich Chrysander. He also edited works by C. P. E. Bach and W. F. Bach. Peter Phillips heard affinities between Brahms's rhythmically charged, contrapuntal textures and those of Renaissance masters such as Giovanni Gabrieli and William Byrd. Referring to Byrd's Though Amaryllis dance, Philips remarked that "the cross-rhythms in this piece so excited E. H. Fellowes that he likened them to Brahms's compositional style." Some of Brahms's music is modeled on Baroque sources, especially Bach (e.g., the fugal finale of Cello Sonata No. 1 on Bach's The Art of Fugue, the passacaglia theme of the Fourth Symphony's finale on Bach's Cantata No. 150). Textures Brahms was a master of counterpoint. "For Brahms, ... the most complicated forms of counterpoint were a natural means of expressing his emotions," writes Geiringer. "As Palestrina or Bach succeeded in giving spiritual significance to their technique, so Brahms could turn a canon in motu contrario or a canon per augmentationem into a pure piece of lyrical poetry." Writers on Brahms have commented on his use of counterpoint. For example, of Op. 9, Variations on a Theme by Robert Schumann, Geiringer writes that Brahms "displays all the resources of contrapuntal art". In the A major piano quartet Opus 26, Jan Swafford notes that the third movement is "demonic-canonic, echoing Haydn's famous minuet for string quartet called the 'Witch's Round. Swafford further opines that "thematic development, counterpoint, and form were the dominant technical terms in which Brahms ... thought about music". Allied to his skill in counterpoint was his subtle handling of rhythm and meter. Bozarth speculates that his contact with Hungarian and gypsy folk music as a teenager led to "his lifelong fascination with the irregular rhythms, triplet figures and use of rubato" in his compositions. The Hungarian Dances are among Brahms's most-appreciated pieces. Michael Musgrave considered that only Stravinsky approached the advancement of his rhythmic thinking. His use of counterpoint and rhythm is present in A German Requiem, a work that was partially inspired by his mother's death in 1865 (at a time in which he composed a funeral march that was to become the basis of Part Two, "Denn alles Fleisch"), but which also incorporates material from a symphony which he started in 1854 but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned symphony was re-worked as the first movement of the First Piano Concerto. Performance practice Brahms played principally on German and Viennese pianos. In his early years he used a piano made by the Hamburg company Baumgarten & Heins. Later, in 1864, he wrote to Clara about his attraction to instruments by Streicher. In 1873 he received a Streicher piano op. 6713 and kept it in his house until his death. He wrote to Clara: "There [on my Streicher] I always know exactly what I write and why I write one way or another." ==Reception and legacy==

Brahms is seen as looking both backward and forward. His output was often bold in its exploration of harmony and textural elements, especially rhythm. As a result, he influenced composers of both conservative and modernist tendencies; Anthony Tommasini writes that he "sometimes become entangled in an attempt to extend the Classical heritage while simultaneously taking progressive strides into new territory.". Brahms's symphonies are prominent in the standard repertoire of symphony orchestras; only Beethoven's are more frequently performed. Brahms's have often been measured against Beethoven's. Brahms often sent manuscripts to friends Billroth, Elisabeth von Herzogenberg, Joachim, and Clara Schumann for review. They noted its textures and frequent dissonances, which Brahms wrote (to Henschel) that he preferred on the strong beat, "resolve[d] ... lightly and gently!" In 1855, Clara felt Brahms's harshness most distinguished his music from Robert's. Billroth described Brahms's dissonances as "cutting", "toxic", or (in the case of "In stiller Nacht") "divine". In 1855, Joachim noted "steely harshness" in the Benedictus of the Missa canonica, with its "bold independence of the voices". But in 1856 he objected to "extensive harshness" in Geistliches Lied, telling Brahms: Some criticized Brahms's music as overly academic, dense, or muddy. Even Hanslick criticized the First Symphony as academic. (He later praised the "harmonic and contrapuntal art" of the Fourth Symphony's passacaglia.) Elisabeth von Herzogenberg initially considered the Fourth's first movement a "work of [the] brain ... designed too much" (her opinion improved within weeks). Arnold Schoenberg would later defend Brahms: "It is not the heart alone which creates all that is beautiful [or] emotional". Benjamin Britten lost his taste for Brahms's "thickness of texture" and studied expressivity. Schoenberg and others, among them Theodor W. Adorno and Carl Dahlhaus, sought to advance Brahms's reputation in the early and mid-20th century against the criticisms of Paul Bekker and Wagner. For Brahms's centenary in 1933, Schoenberg wrote and broadcast an essay "Brahms the Progressive" (rev. 1947, pub. 1950), establishing Brahms's historical continuity (perhaps self-servingly). Schoenberg portrayed him as a forward-looking innovator, somewhat polemically against the image of Brahms as an academic traditionalist. He highlighted Brahms's fondness for motivic saturation and irregularities of rhythm and phrase, terming Brahms's compositional principles "developing variation". In Structural Functions of Harmony (1948), Schoenberg analyzed Brahms's "enriched harmony" and exploration of remote tonal regions. Tommasini writes that "at his best (the symphonies, the piano concertos, the violin concerto, the chamber works with piano, the solo piano pieces, especially the late intermezzos and capriccios that point the way to Schoenberg) Brahms has the thrilling grandeur and strangeness of Beethoven." Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to Ernst von Dohnányi and to Alexander von Zemlinsky. Their early chamber works, those of Béla Bartók (who was friendly with Dohnányi), show a thoroughgoing absorption of the Brahmsian idiom. Second Viennese School Zemlinsky in turn taught Schoenberg, and Brahms was apparently impressed when in 1897 Zemlinsky showed him drafts of two movements of Schoenberg's early D-major quartet. Webern and later Walter Frisch identified Brahms's influence in the dense, cohesive textures and variation techniques of Schoenberg's first quartet. In 1937, Schoenberg orchestrated Brahms's Piano Quartet No. 1 as an exercise suggested by Otto Klemperer to break writer's block; Klemperer regarded it as better than the original. (George Balanchine later set it to dance in Brahms–Schoenberg Quartet.) In Anton Webern's 1933 lectures, posthumously published under the title The Path to the New Music, he claimed Brahms as one who had anticipated the developments of the Second Viennese School. Webern's 1908 Passacaglia, Op. 1, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony. Ann Scott argued Brahms anticipated the procedures of the serialists by redistributing melodic fragments between instruments, as in the first movement of the Clarinet Sonata, Op. 120, No. 2. Later composers Still later composers, like Milton Babbitt, Elliott Carter and György Ligeti paid respect to Brahms in their music, especially in terms of their treatment of meter, motives, rhythm, or texture. More recently, composers like Wolfgang Rihm (e.g., Klavierstück Nr. 6, Brahmsliebewalzer, Ernster Gesang, Das Lesen der Schrift, Symphonie Nähe Fern) and Thomas Adès (e.g., Brahms) also engaged with Brahms's music, often as seen through Schoenberg's "progressive" lens. Memorials On 14 September 2000, Brahms was honoured in the Walhalla, a German hall of fame. He was introduced there as the 126th "" [honorably distinguished German] and 13th composer among them, with a bust by sculptor . Archives Brahms left his archive — including manuscripts and early editions of his works, his correspondence, and his personal library — to the Gesellschaft der Musikfreunde. Over the next century, the Gesellschaft expanded the collection, adding documents from his friends as well as other sources about his life and work. The resulting Brahms Collection was added by UNESCO to its Memory of the World International Register in 2005, recognising it as globally important documentary heritage. == Notes ==