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* SpiritualSuccessor: Brahms' Symphony No. 1 in C minor has been compared to Beethoven's symphonies and was often considered "Beethoven's Tenth". Such comparisons annoyed Brahms, and he remarked "Any ass can see that".


* ShoutOut: The composer's ''Music/AcademicFestivalOverture'', written in response to an honorary doctorate the composer received from the University of Breslau, quotes four songs frequently associated with German student academic life at the time: "Fuchslied," "Wir hatten gebauet ein stattliches Haus," "Der Landesvater," and "Gaudeamus igitur." All were drinking or initiation songs at one point, though the last by then had been co-opted for use at college graduation ceremonies.

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* ShoutOut: The composer's ''Music/AcademicFestivalOverture'', written in response to an the honorary doctorate the composer he received from the University of Breslau, quotes four songs frequently associated with German student academic life at the time: "Fuchslied," "Wir hatten gebauet ein stattliches Haus," "Der Landesvater," and "Gaudeamus igitur." All were drinking or initiation songs at one point, though the last by then had been co-opted for use at college graduation ceremonies.


* SpiritualSuccessor: Brahms' Symphony No. 1 has been compared to Beethoven's symphonies and was often considered "Beethoven's Tenth". Such comparisons annoyed Brahms, and he remarked "Any ass can see that".

to:

* SpiritualSuccessor: Brahms' Symphony No. 1 in C minor has been compared to Beethoven's symphonies and was often considered "Beethoven's Tenth". Such comparisons annoyed Brahms, and he remarked "Any ass can see that".





** Symphony No. 3 starts and ends on an F-major chord.

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** Symphony No. 3 starts and ends on an F-major F major chord.


* SpiritualSuccessor: Brahms' Symphony No. 1 has been compared to Beethoven's symphonies and was often considered "Beethoven's Tenth". Such a comparison annoyed Brahms, and he remarked "Any ass can see that".

to:

* SpiritualSuccessor: Brahms' Symphony No. 1 has been compared to Beethoven's symphonies and was often considered "Beethoven's Tenth". Such a comparison comparisons annoyed Brahms, and he remarked "Any ass can see that".


* {{Bookends}}: ''Ein deutsches Requiem'' starts and ends with the same word, ''selig'' (blessed).

to:

* {{Bookends}}: {{Bookends}}:
**
''Ein deutsches Requiem'' starts and ends with the same word, ''selig'' (blessed).


* {{Bookends}}: ''Ein deutches Requiem'' starts and ends with the same word, ''selig'' (blessed).

to:

* {{Bookends}}: ''Ein deutches deutsches Requiem'' starts and ends with the same word, ''selig'' (blessed).

Added DiffLines:

* {{Bookends}}: ''Ein deutches Requiem'' starts and ends with the same word, ''selig'' (blessed).
** Symphony No. 3 starts and ends on an F-major chord.


* ShoutOut: The composer's ''Music/AcademicFestivalOverture'', written in response to an honorary doctorate the composer received from the University of Breslau, quotes four songs frequently associated with German student academic life at the time: "Fuchslied," "Wir hatten gebauet ein stattliches Haus," "Hört, ich sing das Lied der Lieder," and "Gaudeamus igitur." All were drinking songs at one point, though the last by then had been co-opted for use at college graduation ceremonies.

to:

* ShoutOut: The composer's ''Music/AcademicFestivalOverture'', written in response to an honorary doctorate the composer received from the University of Breslau, quotes four songs frequently associated with German student academic life at the time: "Fuchslied," "Wir hatten gebauet ein stattliches Haus," "Hört, ich sing das Lied der Lieder," "Der Landesvater," and "Gaudeamus igitur." All were drinking or initiation songs at one point, though the last by then had been co-opted for use at college graduation ceremonies.

Added DiffLines:

* ShoutOut: The composer's ''Music/AcademicFestivalOverture'', written in response to an honorary doctorate the composer received from the University of Breslau, quotes four songs frequently associated with German student academic life at the time: "Fuchslied," "Wir hatten gebauet ein stattliches Haus," "Hört, ich sing das Lied der Lieder," and "Gaudeamus igitur." All were drinking songs at one point, though the last by then had been co-opted for use at college graduation ceremonies.


* {{Romanticism}}: [[ZigZagged Yes, but with some qualifiers]]. Brahms' music belongs decidedly to the Romantic era, but he represented a more traditionalist strain of Romanticism that followed Baroque and Classical composers such as Haydn and Bach, disputing the ideology of more florid composers such as Wagner, Liszt, and Strauss as too undisciplined. In particular, Brahms refused to compose programmatic music that relied on external narratives, writing only "absolute music" such as sonatas, symphonies, and chamber music. The dispute has been called "The War of the Romantics".

to:

* {{Romanticism}}: [[ZigZagged Yes, but with some qualifiers]]. Brahms' music belongs decidedly to the Romantic era, but he represented a more traditionalist strain of Romanticism that followed Baroque and Classical composers such as Haydn and Bach, disputing the ideology of more florid composers such as Wagner, Liszt, and Strauss as too undisciplined. In particular, Brahms refused to compose programmatic music that relied on external narratives, writing only "absolute music" such as sonatas, symphonies, and chamber music. The dispute has been called "The War of the Romantics".


* {{Romanticism}}: [[ZigZagged Yes, but with some qualifiers]]. Brahms' music belongs decidedly to the Romantic era, but he represented a more traditionalist strain of Romanticism that followed Baroque and Classical composers such as Haydn and Bach, disputing the ideology of more florid composers such as Wagner, Liszt, and Strauss as too undisciplined. In particular, Brahms refused to compose programmatic music that relied on external narratives, writing only "absolute music" such as sonatas, symphonies, and chamber music. The dispute has been called "[[BrokenBase The War of the Romantics]]".

to:

* {{Romanticism}}: [[ZigZagged Yes, but with some qualifiers]]. Brahms' music belongs decidedly to the Romantic era, but he represented a more traditionalist strain of Romanticism that followed Baroque and Classical composers such as Haydn and Bach, disputing the ideology of more florid composers such as Wagner, Liszt, and Strauss as too undisciplined. In particular, Brahms refused to compose programmatic music that relied on external narratives, writing only "absolute music" such as sonatas, symphonies, and chamber music. The dispute has been called "[[BrokenBase The "The War of the Romantics]]".Romantics".


!!Tropes present in Brahms' life and work:

* BondJamesBond: There exists an Edison phonograph recording of his voice where he introduceds himself as "Doktor Brahms, Johannes Brahms" before playing a piece on the piano.
* CelibateHero: Brahms started out wanting to marry and have children, and he enjoyed the company of women and liked children, but as he told it himself, when he was the right age to marry his work wasn't very successful and he didn't want to have to burden a wife with being married to an unsuccessful composer. By the time he was successful, he felt too old and too set in his ways. He did have a very intense relationship with Clara Schumann, but she was 14 years older than him and it's doubtful whether it was anything other than platonic.
* DeadpanSnarker: He was famous for this. When he and a friend played his cello sonata, the friend complained that he couldn't hear himself play the cello part over the volume of Brahms' piano. Brahms replied "Lucky you." On another occasion, composer Max Bruch played him a new composition and showed him the manuscript afterwards. Brahms' only comment was "I like the paper."
* EccentricMentor: Brahms had one in the form of Music/RobertSchumann, although Schumann wasn't so much eccentric as mentally ill, eventually committing himself to a mental hospital after a series of suicide attempts and dying there at the age of 46.
* FlameWar: The conflict between Brahms' supporters and Wagner's was a 19th Century version, including over-the-top magazine articles insulting and condemning the other side.
* IWasQuiteALooker: He was [[https://upload.wikimedia.org/wikipedia/commons/1/11/Johannes_Brahms_1853.jpg quite handsome in his youth]] and far different from the general perception that most people would have of him, with the Santa Clausy beard.
* TheInsomniac: Took frequent naps throughout the day and was typically moody; A lot of historical psychologists believe that he suffered from insomnia, or at least sleep deprivation. The song [[https://www.youtube.com/watch?v=dXO-cp0hkqo Nächtens]] implies that he may have also had frequent nightmares.
* LovableRogue: Brahms' status as a CelibateHero enabled him to largely get away with being one of these, especially later in his life. He once greeted a male friend off the train by giving him a huge hug, then looked at him and said "[[DirtyOldMan Oh, sorry, I thought you were your wife.]]" This period was, however, around the beginning of the suffragette movement and Ethel Smyth (a young Englishwoman who was a keen suffragette and who went on to be a major composer herself) noted that Brahms was [[AllMenArePerverts only nice to women he thought attractive]].
* MentorArchetype: While on the jury of a composing competition, he saw great promise in a young man named Music/AntoninDvorak, and arranged a meeting between Dvorak and his own publisher.
* MustHaveCaffeine: Brahms was addicted to coffee. Possibly due to being TheInsomniac.

to:

!!Tropes present in Brahms' life and work:

* BondJamesBond: There exists an Edison phonograph recording of his voice where he introduceds himself as "Doktor Brahms, Johannes Brahms" before playing a piece on the piano.
* CelibateHero: Brahms started out wanting to marry and have children, and he enjoyed the company of women and liked children, but as he told it himself, when he was the right age to marry his work wasn't very successful and he didn't want to have to burden a wife with being married to an unsuccessful composer. By the time he was successful, he felt too old and too set in his ways. He did have a very intense relationship with Clara Schumann, but she was 14 years older than him and it's doubtful whether it was anything other than platonic.
* DeadpanSnarker: He was famous for this. When he and a friend played his cello sonata, the friend complained that he couldn't hear himself play the cello part over the volume of Brahms' piano. Brahms replied "Lucky you." On another occasion, composer Max Bruch played him a new composition and showed him the manuscript afterwards. Brahms' only comment was "I like the paper."
* EccentricMentor: Brahms had one in the form of Music/RobertSchumann, although Schumann wasn't so much eccentric as mentally ill, eventually committing himself to a mental hospital after a series of suicide attempts and dying there at the age of 46.
* FlameWar: The conflict between Brahms' supporters and Wagner's was a 19th Century version, including over-the-top magazine articles insulting and condemning the other side.
* IWasQuiteALooker: He was [[https://upload.wikimedia.org/wikipedia/commons/1/11/Johannes_Brahms_1853.jpg quite handsome in his youth]] and far different from the general perception that most people would have of him, with the Santa Clausy beard.
* TheInsomniac: Took frequent naps throughout the day and was typically moody; A lot of historical psychologists believe that he suffered from insomnia, or at least sleep deprivation. The song [[https://www.youtube.com/watch?v=dXO-cp0hkqo Nächtens]] implies that he may have also had frequent nightmares.
* LovableRogue: Brahms' status as a CelibateHero enabled him to largely get away with being one of these, especially later in his life. He once greeted a male friend off the train by giving him a huge hug, then looked at him and said "[[DirtyOldMan Oh, sorry, I thought you were your wife.]]" This period was, however, around the beginning of the suffragette movement and Ethel Smyth (a young Englishwoman who was a keen suffragette and who went on to be a major composer herself) noted that Brahms was [[AllMenArePerverts only nice to women he thought attractive]].
* MentorArchetype: While on the jury of a composing competition, he saw great promise in a young man named Music/AntoninDvorak, and arranged a meeting between Dvorak and his own publisher.
* MustHaveCaffeine: Brahms was addicted to coffee. Possibly due to being TheInsomniac.
work:



* SacrificedBasicSkillForAwesomeTraining: Brahms was a professional musician from early youth and it's fair to say that constant hours of playing the piano meant that he [[NoSocialSkills wasn't always the most charming and polite person in the room]].



* WizardBeard: In his later life he was well known for his iconic bushy whiskers.
* WorthyOpponent: For Brahms it was Music/RichardWagner, although it's more that their respective fanbases considered each to be the ArchEnemy of the other. Brahms actually liked and admired a lot of Wagner's music, even though he disliked Wagner's [[AwesomeEgo cult of personality;]] Wagner did not exactly return the compliment, but he did send Brahms a copy of ''Theatre/DasRheingold''.

Added DiffLines:

* MentorArchetype: While on the jury of a composing competition, he saw great promise in a young man named Music/AntoninDvorak, and arranged a meeting between Dvorak and his own publisher.

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