broad human emotion, should remember that he has done more
than any other modern composer to idealize the Waltz; and,
if the atmosphere of his symphonic style be too rarified, they
may well begin their effort in appreciation with those charm-
ing Waltzes op. 39 (both for solo pianoforte and for a four-
hand arrangement); theHungarian Dances, and—most beau-
tiful of all—theLiebeslieder Walzerfor chorus and pianoforte
(four-hands). Anyone who knows these works cannot fail to be-
come a genuine lover of Brahms. To be of the earth and yet to
strike the note of sublimity is a paradox. For, in Brahms at his
best, we surely find more of the sublime, of true exalted aspi-
ration, than in any other modern composer save César Franck.
To strike this note of sublimity is the highest achievement of
music—its proper function; a return, as it were, to the abode
whence it came. Such music is far beyond that which is merely
sensuous, brilliantly descriptive, or even dramatically charac-
teristic. Much of present day music excites and thrills but does
not exalt. Brahms, in his great moments, lifts us high above the
earth. His universal acceptance is alike hindered by a deficiency
which, though as natural as his reserve, may yet justly be cited
against him—the occasional monotony of his color scheme. In
the symphonies, notwithstanding the dignity and sincerity of
thought, we find pages in the style of an engraving which would
be more effective as a glowing canvas,e.g., in the slow move-
ment of the Second Symphony and in the last two movements of
the Fourth. Many consider, however, that Brahms’s orchestral
treatment is exactly suited to the seriousness of his ideas; so
it comes down to a question of individual taste. That he had
his own delicate feeling for color and sensuous effect is shown in
many pages of the chamber music, especially in those works for
unusual combinations,e.g., the Clarinet Quintet, and the Trio
for Violin, Horn and Pianoforte. No one in modern times has
used more eloquently that romantic instrument, the horn. See,
for example, the Coda to the first movement of the D major
Symphony and the slow movement of the Third Symphony. We
must gratefully acknowledge the lasting quality of his music—
without question it wears well. In fact, difficult though it be to
comprehend at a first hearing, the more it is heard, the more
it is enjoyed. Brahms’s[257] music is steadily growing in popu-
larity. His orchestral works and chamber music are applauded
to-day, although twenty-five years ago they were received with
apathy and scornful indifference.
ann
(Ann)
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