Brahms, Mahler and Wagner: Influences and Connections

Love-hate relationships, respectful disrespect and agreeing to disagree are all paradoxes that appropriately describe the relationships among Brahms, Mahler and Wagner—the three composers whose works the NJSO performs Feb 22–25. Their mutual interests and influences led to their different opinions and musical agendas.

 

INFLUENCE OF BEETHOVEN

The main source of influence for all of them was Beethoven. His symphonies, in particular, were a domineering model for all serious composers of the mid-19th century. Brahms and Mahler took this to a whole new level, incorporating not only direct quotes from Beethoven symphonies into their own, but also concepts and layouts.

Beethoven popularized mysterious openings. Have a listen to the first 30 seconds of his Fourth Symphony:

And, especially, his Ninth:

Now, listen to the opening of Brahms’ First Symphony, a featured work of our upcoming concert. The opening almost lacks a musical idea and instead focuses on building tension and mystery. It begins “in medias res” (Latin for “in the middle of things”):

It’s hard to listen to Mahler’s First Symphony and not hear the influence of Beethoven’s Fourth or Ninth Symphonies:

 

“RESPECTFUL” RELATIONSHIPS

Mahler’s feelings towards Brahms’ music were complicated—he admired it more than enjoyed it. The song cycle the NJSO is performing, Songs of a Wayfarer, is one of Mahler’s first works as a professional composer. Mahler would occasionally turn to Brahms as a model for his lieder, German songs of simple love and sorrow.

Listen to the opening of Songs of a Wayfarer:

Now an earlier composition of the same tradition. Brahms’ early song cycle, more than 30 years before:

Mahler adored Wagner’s music. The rich harmonies and orchestrations were practices to which Mahler would dedicate the rest of his life.

 

Brahms and Wagner are a lot more complicated, however. Although they did not support each other’s music, they did share a mutual, unspoken respect. They were contemporaries with opposing views on the “German Romantic School”—Brahms being more traditional and Wagner more radical. However, on the rare occasion Wagner chose to compose in a more traditional style—as in the Overture to Die Meistersinger von Nürnberg, the work that will open the NJSO concert—it is hard to deny the influence it may have had on his rival, Brahms. Have a listen to the beginning of the overture:

Now listen to the exciting opening of the third movement of Brahms’ Fourth Symphony, written almost 20 years later:

Hear Brahms’ First Symphony, Mahler’s Songs of a Wayfarer and Wagner’s Die Meistersinger von Nürnberg at NJSO concerts Feb 22–25 at bergenPAC in Englewood, State Theatre New Jersey in New Brunswick and NJPAC in Newark.

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