Abstract
This paper creates a theoretical situation where Aaron Copland, Johannes Brahms, and Johann Sebastian Bach sit down and have lunch together. It discusses a bit about their lives, how they are similar and different, and talks about one or two different compositions of each composer as well. It is an academic paper in that it uses documented sources, but it is also creative.

From the Paper
"It is a bright day. The sun, barely clearing the horizon, sits at eye level, gleaming against buildings and tables. Three men enter the cafe separately, sitting together around a wooden table. "Good morning, everyone," the youngest of the group greets. "Good morning, Aaron," Bach replied. "Hmmph," grunted Brahms. "I'm glad that we had a chance to get together and talk for a while," continued Aaron. "I know that I have a deep appreciation of all of your works, and I am sure that you have heard some of mine as well. . ."

Tags:copland, brahms, bach

Abstract
This paper reviews a performance by the Toronto Symphony Orchestra of Johannes Brahms Symphony No.1 . Additionally, it also addresses two other works in the program by Spanish composers, Issac Albeniz and Joaquin Turina. According to the paper, the design of the program of performance represents a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage as well as his dual musical interests.

From the Paper
"While the focus of this review will be on the performance of Johannes Brahms Symphony No.1 by the Toronto Symphony Orchestra, this review will also address the two other works in the programme by Spanish composers, Issac Albeniz and Joaquin Turina. As will be seen, the design of the programme of performance represents a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage..."

Tags:brahms, classical, music

Abstract
This paper explains that on the same program as the Brahms "Symphony No.1" were two other works by Spanish composers, Issac Albeniz and Joaquin Turina, which presented a deliberate counterpoint between Spanish and German music that reflects the guest conductor's dual heritage. The author points out that Johannes Brahms' (1833-1897) "Symphony No.1" reflects to an extraordinary degree the composer's personal relationship with the legacy of earlier giants such as Beethoven and Schubert. The paper relates that the "Symphony No.1" is comprised of four movements, which reflects Brahms' allegiance to classical forms; however, the intense unity of the overall work seems to be more of an expression of Brahms' personal technique. The author underscores that scholars argue that the dynamic optimism that is so characteristic of Beethoven's symphonies is revisited by Brahms in a far more melancholic, late nineteenth century manner

From the Paper
"The significance of the Spanish works to the Brahms' symphony, which was highlighted in the course of the intermission, was an interview-like session conducted in the lobby with two members of the TSO who talked about the program and about Frunbeck de Burgos' conducting of the works. These two TSO members - a violinist and a flautist (I believe) - noted that the Spanish pieces were carefully chosen as a counterpoint to the Brahms. Frunbeck de Burgos' work with the TSO in rehearsal, they noted, was very different with both of these pieces; one noting jokingly that de Burgos stood straighter and was more serious with Brahms than with the passionate Spanish works."

Tags:counterpoint, spanish, beethoven, technique, melancholic

Abstract
This paper offers a historical overview of the life and work of Johannes Brahms, whose music has been described as difficult to categorize. The paper explains that Brahms' music exists on the cusp of classicism and modernity, leaning toward Romanticism and a throwback to classicism. Some believe, the paper continues, that Brahms combines Bach's austere adherence to form with Beethoven's half-controlled emotionalism. The paper describes Brahms as the last great Romantic composer in an era marked by an increasing shift to less emotional and atonal musical sounds and forms. The paper concludes that although Brahms' may be difficult to love, personally and musically, the fact that his acceptance may vary with conductor's intentions does not reduce his important contributions in musical variation, and his fusion of the Classical and Romantic genres of music.

From the Paper
"A contemporary of Liszt and Schumann, Brahms' personal life was not characterized by the storminess and scandal of his idol, Beethoven. In fact, he was famous for his rigid and austere temperament, taking walks and meals at the same places and times of day for most of his life. Despite earning a successful living as a composer for most of his life, Brahms lived in a small, rented apartment with a housekeeper even during the greatest years of his success. He never married, and used most of his royalties to help friends, family, and associates. The Hamburg-born composer's youthful poverty might be one reason for his frugality, although Brahms was known for his generosity to those who needed it ("Johannes Brahms biography," 8notes, 2008)."

Tags:lullaby, Beethoven, Bach, symphony, classical, Romanticism

Abstract
The paper relates that Copland based his music on a deep appreciation of the music of Brahms and Bach. The author points out that both Copland and Bach were enthralled by folk music as evidenced in Brahms' 'Hungarian Dances' and Copland's 'Billy the Kid'. The paper relates that, upon being asked by Brahms who influenced him, Bach remembers the deference that he held for the great organist Buxtehude; whereas, Beethoven and Robert Schumann strongly influenced Brahms. The author reveals that Brahms was a homosexual, Copland was a communist and Bach rebelled against the Calvinist Prince Leopold, his sponsor, by composing also such secular music as the 'Brandenburg Concertos'. The paper concludes that the music of all three men were revolutionary in their own way.

From the Paper
"Think of your Hungarian Dances. You were enthralled by the gypsy music that you heard, and it was evident in much of what you wrote. I also fell in love with folk music. I wrote 'Billy the Kid', which is indubitably folk, as well as 'Rodeo,' both of which are beloved. I'm not sure if you watch much television, but the hoedown from Rodeo is used in the 'Beef, it's What's for Dinner' commercial." "Speaking of beef, what is for lunch?" Johann interjected. "Do they have any mince pie?" "I'm not sure," Aaron replied, "but you might like a hamburger."
"As in Hamburg?" both Brahms and Bach asked.""

Tags:folk, piano, revolutionary, atonal, requiem

Abstract
This paper explains, by describing in detail each movement, that Brahms's "Violin Concerto" demonstrates how a composer can use aspects of music to move the listener emotionally. The author, for example, details that Brahms signals changes of mood by using dramatic retards followed by rhythmic passages, thereby, communicating an inevitable feeling of both despair and hope. The paper concludes that the overall feeling of the listener is that in the midst of despair there is always a glimmer of hope (first movement), that in the midst of turbulent emotions we can find peace (second movement), and that life should be full of enthusiasm and joy (third movement.)

From the Paper
"Gradually, the orchestra fades out and the solo violin comes in more rapid and intense, followed by forceful rhythms of the orchestra that builds to an intense climax, but then backs off so a sweet violin melody accompanied by a flute can break through. This ebb and flow of intensity, gradual crescendos and decrescendos continues throughout the first movement, shifting the listener back and forth between hope and despair. In some places, the violin is only accompanied by light pizzicato in the strings. Finally, Brahms brings the movement to a dramatic conclusion with a sometimes fiery and sometimes gentle passage by the violin and a triumphal orchestral denouement. The entire movement gives a feeling of strong, conflicting emotions."

Tags:emotion, violins, retards, chords, pizzicato

Abstract
This paper examines the birth and development of Brahms' first and second piano concertos. The paper describes the poor reception to the first concerto and Brahms' subsequent reluctance to compose another concerto. Thus the writer explains the twenty year break between the first and second concerto. The paper provides a detailed musical description of these two concertos.

From the Paper
"Various compositions that are now highly praised as masterpieces were not predominantly triumphant in their early years, but few were greeted by actual hisses from the audience. Those that were had typically committed the sin of being too progressive for their day. One such example, the most notorious one, the First Piano Concerto by Brahms a fact which must have been shocking to this composer, who so little identified with progressives. It was one of his first, and most tender, encounters with the determination of the musical establishment. "

Tags:music, musicians, composer, symphony, beethoven, chopin, Liszt, clara, schumann

Abstract
This paper discusses the Romantic era of music which refers, in its broadest sense, to the hundred years of music from 1820 to 1920. Romanticism was the direct outcome of the French Revolution and believed in ideas of freedom and equal rights for all. The paper shows that romantic music was a reflection of massive changes that were taking place in all spheres of life in that period and, consequently, the events of that era had profound impact on the Romantic music. The paper also discusses two musicians who influenced romantic era music - Ludwig van Beethoven whose independence in style made him a model for future generation of Romantic composers; and Johannes Brahms, the man responsible for bringing Romanticism in music to an end.

From the Paper
"Beethoven moved away from such restrictions and conventions of Classicism and some of his symphonies were large, sometimes as big as the size of an epic. But the emotional depth that they contained was truly matchless. Beethoven's Second Symphony has been described as "full of summer air and summer flowers." The third Symphony and probably his favorite were initially dedicated to Napoleon, the French ruler, as Beethoven left that he could free Europe from the monarchy marks the beginning of the middle-period work."

Tags:Industrial, Revolution, Weber, Schubert, Symphony

Abstract
This paper discusses the period of romanticism in music, claiming that it reflected the general characteristics of the Romantic Movement. The paper explains that the composers believed in depth of emotion and romantic music reflected this in abundance. The paper contends that it was primarily a reflection of massive changes that were taking place in all spheres of life during that time. The works of Mozart, Schubert Brahms and Beethoven are discussed in the paper.

From the Paper
"'ROMANTICISM' is a concept that can be easily recognized but is probably just as difficult to define. Like all other movements, Romanticism also emerged as a reaction to general idea, practices, social norms and political problems of the time. The general concept of romanticism sees music as an expression of intimate and sublime emotions. The period that can be categorized as romantic varies but generally covers the decades from early 18th century to early nineteenth centuries. Romantic influence on music was recognized as early as 1773 when Wyzewa and Saint-Foix thought they had seen 'grande crise romantique' in Mozart's symphonies. Abert felt he had also noticed 'ein romantischer Zug' in quartets K 136-8. Romantic influences were also evident in Haydn's minor-key symphonies of the 1770s and in Bach's compositions. Romanticism was present in almost all of Beethoven's compositions but it is generally believed that the period 1830-90 was the golden era of Romantic music."

Tags:classical, mozart, schubert, brahms

Abstract
This paper provides a discussion of Romanticism in classical music and compares it to the forms and ideas in music from twentieth century composers. The works of Brahms, Verdi, Stravinsky and Schoenberg are used in the analysis.

From the Paper
"The Romantic Period refers to the period of European classical music that stems roughly from ... to ... and largely represents a reaction to and an integration of Classical music and its forms and ideas which preceded it. The central theme underlying Romanticism in music is the same as it is in literature, that not all truths are derived from axioms, because there are inescapable realities in the world which can only be reached through emotion, feeling and intuition. Romantic compositions by Romantic composers like Brahms, Verdi..."

Tags:nationalism, emotion, intuitiveness, truth, nature