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D ATA AN ALYS I S F R O M S C R ATC H WI TH
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 Preface

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 To my wife Melania
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 Author Biography
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the core developers of some data science libraries in Python. Currently, Peter
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Exploring the Variety of Random
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Miller's carriage before the house door, waited near the entrance,
hoping to see Brahms pass out. He came down in about half an hour
leaning on his friend's arm, and, noticing Frau Door, gave her his
hand. 'I am very ill' (Mir geht es sehr schlecht), he answered faintly
to her inquiry. He did not go out again. The next day Conrat was
admitted, and was sitting talking quietly with him, when Brahms,
who was on the sofa smoking, suddenly dropped his head. 'There
must be something in it,' he muttered. Conrat gently left the room
without disturbing him. On the 26th the physician wrote word to
Frau Fellinger that all chance of moving him was over. Brahms did
not leave his bed again. His two or three closest friends were
constantly at his side, whilst his landlady, Frau Truxa, was his faithful
and devoted nurse. He spoke little during the last days, and was too
weak to notice much of what was passing in his room, but he
managed on the 29th to write a few pencil lines from his bed to Frau
Caroline:
'D. M. For the sake of change I am lying down a little and
cannot, therefore, write comfortably. Otherwise there is no
alteration and as usual, I only need patience.

'Affectionately your Joh.'[91]

A few more weary days and nights, during which the beloved
master's life ebbed rapidly away, bring us to the early morning of
April 3. He had lost consciousness several times in the night and
been restored, and had recognised Faber, who, calling at about six
o'clock and performing some slight service for him, caught the
whispered words, 'Du bist ein guter Mensch' (You are a kind man). It
is now nearly nine o'clock, and Brahms has fallen asleep. Early
messages of inquiry have been answered, and the doctor, who has
been at hand during the night, has departed, promising soon to
return. The day has begun with the bright spring promise that the
master was wont to greet year after year with joyful welcome; the
sun shines, a soft breeze enters through the open window; outside
there is a twittering of birds. Near the bed sits the untiring nurse,
noticing the signs of the fast-approaching end. A movement from
the bed claims her assistance. Brahms has opened his eyes, and
tries to raise himself. With Frau Truxa's help he attains a sitting
posture, and, looking at her, tries to speak. The lips move, but the
tongue has lost its power, and he can only utter an inarticulate
sound. Great tears roll down his cheeks; a last sigh, a last breath,
and he sinks back, supported by gentle hands, on to his pillow, rid of
his sufferings, passed quietly to his rest.[92]
Dr. von Miller, whose house was in the vicinity, was the first of the
friends to receive intelligence of the master's decease. He hurried at
once to Carlsgasse, and was immediately joined by Dr. Fellinger and
Herr Faber. Many others called during the morning, some of whom
were admitted to look at the still features, smoothed by the caress
of death into an expression of noble serenity. A sketch was taken by
the painter Michalek, a mask by Professor Kundemann, a photograph
by a private friend. The cause of death was certified, after a medical
examination of the remains, as degeneration of the liver. The body,
in evening dress, was placed the same afternoon in the coffin, and
the room arranged with candelabra containing lighted candles; on a
crimson cushion were displayed the various orders of the deceased
composer. The next day the arrival began of the flowers, wreaths,
crosses, and other floral tributes that transformed the room into a
temple of beauty.
On the afternoon of the 4th General-Secretary Koch, Dr. Fellinger,
and Herr Faber met in the dwelling, and searched for a will in the
presence of a notary, but only found one written in May, 1891, on
two sheets of paper, the last of them signed and dated, in the form
of a letter to Simrock. This, a legally competent document in its
original form, except for the slight omission of the signature on the
first sheet of paper—which, under the indisputable circumstances
establishing the authenticity of the will, would not have rendered it
invalid—had been returned to the master at his own request by
Simrock some time subsequent to the death of his sister, Elise
Grund, in 1892. It was found, however, to have been marked by
Brahms in pencil, some of the clauses lined out, whilst notes in the
margin indicated designed alterations. These were in exact
correspondence with the wishes expressed by Brahms in February to
Dr. and Frau Fellinger, and embodied by Dr. Fellinger in the paper he
had delivered into the hands of the composer to be copied by
himself and signed. Another search was made the next day,
therefore, but it proved fruitless. Only Dr. Fellinger's manuscript was
found, and it must be presumed that Brahms had put off the
dreaded task from day to day in the hope of feeling more capable of
it, until his strength was no longer equal to its fulfilment. Nothing
remained, therefore, but to apply to the proper authorities for the
nomination of a curator in order that the necessary arrangements
might be proceeded with. This was done; Dr. Fellinger was
appointed, and on the afternoon of the 5th the sitting-room which,
with the small inner room leading from it, contained Brahms library,
manuscripts, and other possessions, was formally sealed. The coffin
was closed the same day.
As soon as the master's death became known, the offer of an
honorary grave was made by the city of Vienna. There was no
hesitation in accepting it, but a deliberation was held as to whether
the remains should be taken direct to the Central Friedhof or should
be cremated at Gotha, according to directions contained in the letter
to Simrock, and the ashes only deposited in Vienna. The
remembrance of a few words dropped by Brahms himself when
speaking of the 'sacred spot' which contains the graves of Beethoven
and Schubert decided the point. It was felt that he would have
chosen to rest in the place selected for him: the particular garden of
the Friedhof in which the remains of Beethoven and Schubert lie,
and which is sacred also to the memory of Mozart.
'All musical Vienna accompanied the great dead to the
grave on the afternoon of April 6 and a stranger not
knowing the man's greatness might have measured it by
the number of prominent artists mingling in the great
assemblage of the funeral procession, by the celebrated
 men and women who came from afar to show the last
honour to Brahms.'
Till the hour appointed for the commencement of the ceremony
deputations continued to arrive, from various parts of Europe, from
the numerous societies of which the composer had been an
honorary member, and telegrams and messages to pour in. At one
o'clock a deputation from the Hamburg Senate was admitted to the
house to lay a magnificent wreath on the coffin side by side with
that from the Corporation of Vienna. Wreaths had been sent by the
Queen of Hanover, the Duke of Cumberland, the Princess Marie of
Hanover, Duke George of Saxe-Meiningen, the Princess Marie of
Saxe-Meiningen, Helene, Baroness von Heldburg, and innumerable
private friends known and unknown to Brahms; by the Society of
Plastic Arts, Committee of the Opera, Gesellschaft, and other
societies of Vienna; by the Philharmonic Society, Society of Music-
lovers, Cecilia Society of Hamburg; by the Royal Academy of Arts,
Berlin; by the various musical societies of Berlin, Leipzig, Budapest,
Cologne, Salzburg, Mannheim, Frankfurt, Jena, Laubach, Lemberg,
Graz, St. Petersburg, Brussels, Amsterdam, Cambridge, Basle,
Zürich, and many other towns. Six cars scarcely sufficed to hold
them.
The arrangements of the public funeral with which the city of Vienna
honoured the remains of the great composer formed a singular
contrast to the simplicity which had marked the daily habits of his
life. Details may be read in the journals of the time. We shall confine
ourselves to the record of a few of those appropriate to our
narrative. The cortège, followed by the long train of mourners,
started from Carlsgasse about half-past two, and, proceeding to the
building of the Gesellschaft der Musikfreunde, halted before the
principal entrance, where arrangements had been made for a short
ceremony, consisting of an address by Herr Direktor J. R. Fuchs, of
the conservatoire, and the singing of Brahms' part-song 'Fahr'wohl,'
for unaccompanied chorus, under the direction of Richard von
Perger, conductor of the Singverein. The procession then passed on
to the Evangelical Church in Dorotheenstrasse, where the clergy and
choir and several of the city dignitaries were assembled. After the
coffin had been carried into the church, the choir sang
Mendelssohn's 'Es ist bestimmt in Gottes' Rath.' The funeral address
was delivered by Dr. von Zimmermann, who especially dwelt on the
inspiration derived by the deceased composer's art from the pages
of the Bible, on his love for children and the childlike spirit, and on
his sympathy with distress.
'Wherever he could bring support to the unknown sufferer,
the laborious striver, the helpless, the dying, there, in the
man who, in his own habits, was frugal to the verge of
parsimony, was found the most eager benefactor. The
master Johannes Brahms is not dead. His spirit has
conquered death and has entered into the light and
blessed world of the pure harmonies of peace.'
At the entrance to the Friedhof the coffin was surrounded by
personal friends of the deceased composer, carrying lighted wind-
torches, and was accompanied by them to the grave. They were
Ignaz Brüll, Anton Dvořák, Arthur Faber, Dr. Fellinger, Robert Fuchs,
Richard Heuberger, Max Kalbeck, Ludwig Koch, Eusebius
Mandyczewski, Dr. von Miller-Aichholz, Richard von Perger. At the
grave-side Dr. von Perger spoke a few words of last farewell:
'This sacred place is now to receive the mortal remains of
our great contemporary. He who has so enriched and
blessed the whole world, what has he been to us
musicians! In the light which streamed from his creative
genius, his penetrating art-comprehension, we were able
to look up confidently to his incomparable mastership, to
his lofty, unbending artistic intelligence. Amid the
countless paths and by-paths which to-day intersect the
domain of musical art, we were guided by the torch held
high and secure by the hand of her first priest. He has
met his worthy spiritual brothers, indeed, for the first time
to-day in this resting-place, but he was always a simple,
 sympathetic friend to his living colleagues in art, in spite
of the great distance which raised him above them;
always a helper of uprising talent, a sure and faithful
friend in adversity and suffering.... Here thou restest now,
thou blessed of heaven, in this vast, awful world-solitude;
clouds of light float above thee and that of thee which is
immortal floats with them through eternal spaces. Ade
Meister Johannes, fahr'wohl, fahr'wohl.'
Joachim was in England at the time of Brahms' death, fulfilling long-
contracted engagements. Stockhausen, now a man of seventy-three,
and not in strong health, was at this period unequal to a hurried and
distressing journey from Frankfurt to Vienna.
Memorial performances were given by the Cecilia Verein, Hamburg,
on April 5, the day preceding the funeral; by the Vienna Gesellschaft
on the 11th; by the Beethoven-Haus Verein, Bonn, in May; by the
Royal High School for Music, Berlin, in the summer; and by
innumerable musical societies of Europe and America during the
season 1897-98. In nearly all instances the German Requiem formed
part of such concerts as were orchestral.
A clause in Brahms' will provided that any of his unpublished works
found in his rooms after death should be the property of Simrock.
There was one opus only—the eleven Organ Preludes. With them
were the arrangements, as pianoforte duets, of Joachim's two
overtures referred to in an earlier chapter. All three works were
published in 1902, a delay of five years having been caused by
difficulties that arose in connection with the will. Apart from detail,
these may be generally stated as follows:
Brahms is said to have left, besides his library, which included
valuable autograph musical manuscripts, and a very few personal
possessions, about £20,000 in investments. In the original will three
societies—the Liszt Pensions-Verein of Hamburg, the Czerny Verein
and the Gesellschaft der Musikfreunde of Vienna—were named as
the inheritors, subject to the payment of a legacy to the composer's
landlady, Frau Truxa, and of two life-annuities—one to his
stepmother, Frau Caroline Brahms, to be continued after her death
to her son, Fritz Schnack, for his life; the other to Brahms' sister,
Elise Grund. These would practically account for the time being for
the income arising from the investments.
In the absence of any legally valid document, about twenty cousins
of various degrees of kinship came forward, in answer to
advertisements in the newspapers, as claimants to the property.
Litigation ensued, and was protracted through several years. The
original process and the first appeal were determined in favour of
the societies; the second appeal reversed these decisions, and
declared the blood relations to be the heirs. To prevent the further
expense and delay of another appeal, a compromise was now
arrived at by the contending parties, and the general results of the
will, the law-processes, and the compromise have been that the
blood relations have been recognised as the heirs to all but the
library, which is now in the possession of the Gesellschaft der
Musikfreunde; that Frau Truxa's legacy has been paid; and that
certain sums accepted by the societies, by which they will ultimately
benefit, have been invested, and the income arising from them
secured for the payment of the life-annuity to Herr Schnack. (Frau
Caroline Brahms died in the spring of 1902.)
Projects for the erection of memorials to the master in Hamburg,
Vienna, and Meiningen, were set on foot soon after his death. The
first to be completed has been that now standing in the 'English
Garden' at Meiningen, the unveiling of which was made the occasion
of a Memorial Festival in October, 1899. The bust of the master
which it displays is the work of Professor Hildebrandt.
The memorial erected at the grave by the heirs, after the final
settlement of the property, designed and executed by Fräulein Ilse
Conrat, was unveiled on May 7, 1903, the seventieth anniversary of
Brahms' birth. It consists of a marble bust and pedestal in front of a
marble headstone, on which are allegorical figures in bas-relief.
Memorial tablets have been placed by the respective municipalities
on the houses in which Brahms lived in Vienna, Ischl, and Thun, and
the garden of the house at Mürz Zuschlag has been bought by the
town and made into a music-garden. A bronze bust of the master by
Frau Dr. Fellinger stands in the musicians' pavilion.
A Brahms-Haus has been erected by Dr. von Miller-Aichholz in his
private grounds at Gmünden, the rooms of which are constructed to
the exact dimensions of those occupied by Brahms in Ischl, and
furnished with the Ischl furniture as it used to stand. They contain
an interesting collection of musical and other autographs of the
master, photographs, programmes, and other mementos.
A Brahms Society has been formed in Vienna for the purpose of
collecting and preserving all available mementos in a special
museum.
Our task is now completed. If it should prove to have been so far
successfully accomplished as to suggest to our readers at all a true
conception of the character and individuality of Brahms, to throw
some additional light upon the spirit which dictated the composition
of his works, our aim will have been achieved. It is as yet far too
soon to attempt any surmise as to the exact ultimate place that he
will occupy amongst the great ones of his art. Schumann's words,
however, spoken rather more than half a century ago, which
proclaimed Johannes as the prophet destined to give ideal
presentment to the highest spirit of his time, have, even now, been
surely proved true. Brahms stands immovable in his position as the
representative of the musical thought of the ages as it has gradually
developed through three hundred and fifty years from Palestrina's
day to his own; and in his works dwells the high and beautiful spirit
—the essential spirit of life—which, whilst it knows no compromise
with truth, works out its appointed course in 'faith and hope and
love, these three; and the greatest of them is love.'
CHRONOLOGICAL CATALOGUE OF
THE PUBLISHED
WORKS OF JOHANNES BRAHMS
The references are to the pages of this work.
Op. Title of Work. Published[93] Pages.
1 Sonata in C major for 1853 I. 98, 109, 116,
Pianoforte 118, 129, 131,
132, 139, 140,
141, 144, 154,
170, 281;
II. 180.
2 Sonata in F sharp 1853 I. 93, 116, 132,
minor for Pianoforte 141, 144, 176,
177, 281;
II. 180.
3 Six Songs for Tenor or 1854 I. 141, 145.
Soprano[94]
4 Scherzo in E flat minor 1854 I. 90, 108, 116,
for Pianoforte 131, 132, 138,
140, 141, 144,
281;
II. 71.
5 Sonata in F minor for 1854 I. 117, 133,
Pianoforte 135, 144, 172,
193;
II. 150.
6 Six Songs for Soprano 1853 I. 141, 144,
or Tenor 145.
 7 Six Songs for one voice 1854 I. 145, 167.
8 Trio in B major for 1854 I. 154, 161-
Pianoforte, Violin and 163, 167, 193,
Violoncello 215, 217, 273,
281.
The same; revised 1891 I. 162;
edition II. 242.
9 Variations on a theme 1854 I. 160, 161,
by Schumann for 167, 171, 193,
Pianoforte 281.
10 Ballades for Pianoforte 1856 I. 166, 173,
174, 191;
II. 103.
11 Serenade in D major 1860 I. 220, 223,
for large Orchestra 233, 236, 237,
249, 257, 272,
281;
II. 11-13, 21,
39, 88.
12 Ave Maria for women's 1861 I. 239, 241,
Chorus with 246, 256, 257,
accompaniment for 281.
Orchestra or Organ
13 Funeral Song for 1861 I. 245, 246,
Chorus and Wind 256, 263, 281.
instruments
14 Songs and Romances 1861 I. 257;
for one voice II. 82.
15 Concerto in D minor for 1861 I. 30, 167, 207,
Pianoforte with 220, 222, 223,
accompaniment for 225-235, 256,
Orchestra 257, 281;
II. 38, 42, 101,
102-104, 136,
145, 146, 198.
 16 Serenade in A major for 1860 I. 247, 257,
small Orchestra 260, 273, 281;
II. 14-16, 103,
112, 135.
The same; revised 1875
edition
17 Songs for women's 1862 I. 242, 262.
Chorus with
accompaniment for two
Horns and a Harp
18 Sextet in B flat major 1862 I. 19, 259, 260,
for two Violins, two 270, 274, 278,
Violas and two 281;
Violoncellos II. 14, 22, 23,
53, 86, 102,
113, 175.
19 Five Songs for one 1862 I. 281.
voice
20 Three Duets for 1861 I. 260, 281.
Soprano and Contralto
with Pianoforte
accompaniment
21
No. 1 } Variations on an
original theme for 1861
I. 260, 281;
II. 71.
Pianoforte
21
No. 2 } Variations on a
Hungarian air for 1861
I. 211, 260,
281;
Pianoforte II. 103.
22 Marienlieder for mixed 1862 I. 278, 279,
Chorus a capella 280, 281;
II. 15, 163.
23 Variations on a theme 1863 I. 278, 279;
by Schumann for II. 15, 40, 93,
Pianoforte Duet 103.
24 Variations and Fugue 1862 I. 238, 269,
on a theme by Handel 270, 272, 280,
for Pianoforte 281;
II. 7, 8, 54,
103, 180.
25 Quartet in G minor for 1863 I. 245, 259,
Pianoforte, Violin, Viola 270, 271, 274,
and Violoncello 281;
II. 6, 7, 40,
103, 135, 144,
175.
26 Quartet in A major for 1863 I. 259, 267,
Pianoforte, Violin, Viola 271, 274, 281;
and Violoncello II. 6-10, 79,
102, 144.
27 The 13th Psalm for 1864 I. 241, 281;
three-part women's II. 26.
Chorus with Pianoforte
accompaniment
28 Duets for Alto and 1864 I. 281;
Baritone with II. 26, 79, 102.
accompaniment for
Pianoforte
29 Two Motets for five- 1864 I. 281;
part mixed Chorus a II. 26.
capella
30 Sacred Song (by Paul 1864 I. 281;
Fleming) for four-part II. 26.
mixed Chorus with
accompaniment for
Organ or Pianoforte
31 Three Quartets for Solo 1864 I. 281;
voices with Pianoforte II. 24, 26, 38,
113, 267.
32 Songs for one voice 1864 II. 26.
33 Romances from Tieck's 1865 I. 264, 265,
'Magelone' for one 275, 276, 278,
voice. 281;
Nos. 1-6 II. 35, 70.
" 7-15 1868 II. 38, 83.
34 Quintet for Pianoforte, 1865 I. 259, 277;
two Violins, Viola and II. 32, 35, 36,
Violoncello 51, 76, 103.
34
bis } Sonata for two
Pianofortes (after the 1872
I. 277;
II. 23, 24, 32,
Quintet) 35.
35 Variations on a theme 1866 II. 24, 43, 54,
by Paganini for 112, 180.
Pianoforte. (Two sets)
36 Sextet in G major for 1866 I. 259;
two Violins, two Violas II. 43, 47, 52,
and two Violoncellos 102, 113.
37 Three Sacred Choruses 1866 I. 239, 242;
for women's voices II. 43.
without
accompaniment
38 Sonata in E minor for 1866 II. 31, 43, 113.
Pianoforte and
Violoncello
39 Waltzes for Pianoforte 1867 II. 25, 68, 79.
Duet
40 Trio for Pianoforte, 1866 I. 259;
Violin and French Horn II. 31, 38, 39,
43, 51, 68,
113.
41 Five Songs for four-part 1867 II. 68.
men's Chorus
42 Three Songs for six- 1868 II. 83.
part Chorus a capella
43 Four Songs for one 1868 II. 81.
voice
44 Twelve Songs and 1868 I. 242, 256,
Romances for women's 262;
Chorus. Pianoforte II. 83.
accompaniment ad
libitum
45 A German Requiem for 1868 I. 6, 167, 238;
Soli, Chorus and II. 44, 48, 50,
Orchestra (Organ ad 54, 55, 59-68,
libitum) 72-78, 81, 86-
88, 90, 93, 98,
102, 111, 114,
140, 141, 156,
167, 169, 180,
195, 201.
46 Four Songs for one 1868 II. 81
voice
47 Five Songs for one 1868 II. 81, 82.
voice
48 Seven Songs for one 1868 II. 81, 82.
voice
49 Five Songs for one 1868 II. 81, 82.
voice
50 Rinaldo (Cantata by 1869 II. 84, 85, 90,
Goethe) for Tenor solo, 94, 135.
men's Chorus and
Orchestra
51 Two Quartets for two 1873 II. 48, 113,
Violins, Viola and 122, 124, 128,
Violoncello (C minor 130, 140, 147.
and A minor)
52 Love Songs. Waltzes for 1869 II. 93, 94, 103,
Pianoforte Duet with 113.
voices ad libitum
53 Rhapsody (Fragment 1870 II. 93-97, 135,
from Goethe's 141, 183.
'Harzreise') for
Contralto solo, men's
Chorus and Orchestra
54 Song of Destiny for 1871 I. 238;
Chorus and Orchestra II. 77, 104-106,
108, 114, 136,
155, 205.
55 Song of Triumph for 1872 I. 238;
eight-part Chorus and II. 98-101,
Orchestra (Organ ad 111, 112, 114-
libitum) 119, 132, 136,
137, 146, 180,
183, 267, 269.
56a Variations on a theme Jan. 1874 II. 121, 128,
by Joseph Haydn for 129, 135, 136,
Orchestra 145, 195.
56b Variations on a theme Nov. 1873 II. 121, 130.
by Joseph Haydn for
two Pianofortes
57 Songs for one voice 1871 II. 106.
58 Songs for one voice 1871 II. 106.
59 Songs for one voice 1873 II. 130.
60 Quartet in C minor for 1875 I. 207, 220;
Pianoforte, Violin, Viola II. 138, 143,
and Violoncello 144.
61 Four Duets for Soprano 1874 II. 138.
and Contralto with
Pianoforte
62 Seven Songs for mixed 1874 II. 138, 139.
Chorus a capella
63 Songs for one voice 1874 II. 138.
64 Quartets for Solo voices 1874 II. 138.
with Pianoforte
65 New Love Songs. 1875 II. 103, 138.
Waltzes for four Solo
voices and Pianoforte
Duet
66 Five Duets for Soprano 1875
and Contralto with
Pianoforte
accompaniment
67 Quartet in B flat major 1876 II. 146, 147.
for two Violins, Viola
and Violoncello
68 Symphony in C minor 1877 I. 133, 220,
for large Orchestra. 280;
(No. 1) II. 114, 142,
147-156, 162,
163, 166, 168,
184, 195, 198-
220.
69 Nine Songs for one 1877 II. 162.
voice
70 Four Songs for one 1877 II. 162.
voice
71 Five Songs for one 1877 II. 162.
voice
72 Five Songs for one 1877 II. 162.
voice
73 Symphony in D major 1878 II. 142, 163-
for large Orchestra. 166, 170, 171,
(No. 2) 174, 176, 183,
220.
74 Two Motets for mixed 1879 II. 177.
Chorus a capella
75 Ballads and Romances 1878 I. 166;
for two voices with II. 176.
Pianoforte
accompaniment
76 Pianoforte Pieces. (Two 1879 II. 170, 179,
books) 181, 257.
77 Concerto in D major for 1879 II. 170, 177-
Violin with 179, 181, 188.
accompaniment for
Orchestra
78 Sonata in G major for 1880 II. 122, 179,
Pianoforte and Violin 181-183, 184.
79 Two Rhapsodies for 1880 II. 183, 184,
Pianoforte 189, 256.
80 Academic Festival 1881 II. 104, 189,
Overture for large 190, 192, 195,
Orchestra 201, 270.
81 Tragic Overture for 1881 II. 189, 190,
Orchestra 192, 195, 201.
82 Nänie (by Friedrich 1881 II. 29, 192,
Schiller) for Chorus and 193, 196-198,
Orchestra (Harp ad 205, 206.
libitum)
83 Concerto for Pianoforte 1882 I. 27, 33;
in B flat major with II. 193, 194,
accompaniment for 195, 198-201,
Orchestra 231, 267, 270.
84 Romances and Songs 1882 II. 201.
for one or for two
voices with Pianoforte
accompaniment
85 Six Songs for one voice 1882 II. 201.
86 Six Songs for a deep 1882 II. 201.
voice
87 Trio in C major for 1883 II. 203, 204.
Pianoforte, Violin and
Violoncello
88 Quintet in F major for 1883 II. 203, 204.
two Violins, two Violas
Violoncello
89 Song of the Fates (by 1883 II. 202, 203,
Goethe) for six-part 204-207.
Chorus and Orchestra
90 Symphony in F major 1884 II. 207-210,
for large Orchestra. 220.
(No. 3)
91 Two Songs for 1884 II. 33, 210.
Contralto with Viola
and Pianoforte
92 Quartets for Soprano, 1884 II. 210.
Contralto, Tenor and
Bass with Pianoforte
93a Songs and Romances 1884 II. 210, 288.
for four-part mixed
Chorus a capella
93b Tafellied for six-part 1885 II. 213.
mixed Chorus with
Pianoforte
94 Five Songs for a deep 1884 II. 210, 211.
voice
95 Seven Songs for one 1884 II. 210.
voice
96 Four Songs for one 1886 II. 229.
voice
97 Six Songs for one voice 1886 II. 229.
98 Symphony in E minor 1886 II. 211, 215,
for large Orchestra (No. 216-220, 229,
4) 255, 267, 282.
 99 Sonata in F major for 1887 II. 222, 223,
Pianoforte and 229.
Violoncello
100 Sonata in A major for 1887 II. 222, 223-
Pianoforte and Violin 225, 229.
101 Trio in C minor for 1887 II. 222, 229.
Pianoforte, Violin and
Violoncello
102 Concerto in A minor for 1888 II. 230, 231,
Violin and Violoncello 232, 233.
with accompaniment
for Orchestra
103 Gipsy Songs for four 1888 II. 233, 234.
Solo voices with
Pianoforte
accompaniment
104 Five Songs for mixed 1889 II. 238.
Chorus a capella
105 Five Songs for a deep 1889 II. 238.
voice
106 Five Songs for one 1889 II. 238.
voice
107 Five Songs for one 1889 II. 238.
voice
108 Sonata in D minor for 1889 II. 238.
Pianoforte and Violin
109 Fest and 1890 II. 240, 241.
Gedenksprüche for
double Chorus a capella
110 Three Motets for four- 1890 II. 242, 246.
and eight-part Chorus a
capella
111 Quintet in G major for 1891 II. 246-248,
two Violins, two Violas 251, 280, 281.
 and Violoncello
112 Six Quartets for 1891 II. 251.
Soprano, Contralto,
Tenor and Bass with
Pianoforte
113 Thirteen Canons for 1891 II. 251.
women's voices
114 Trio in A minor for 1892 I. 40;
Pianoforte, Clarinet (or II. 249-251,
Viola) and Violoncello 261.
115 Quintet in B minor for 1892 I. 39;
Clarinet (or Viola), two II. 249-251,
Violins, Viola and 261.
Violoncello
116 Fantasias for Pianoforte 1892 II. 251, 258.
(two books)
117 Three Intermezzi for 1892 I. 166;
Pianoforte II. 251, 257,
258.
118 Pianoforte Pieces 1893 II. 256, 261.
119 Pianoforte Pieces 1893 II. 256, 261.
120 Two Sonatas for 1895 II. 265, 266,
Clarinet (or Viola) and 267.
Pianoforte (F minor and
E flat major)
121 Four Serious Songs for 1896 II. 273, 274,
a Bass voice 276, 277.
122 Eleven Chorale- 1902 II. 276-278,
Preludes for Organ 289.
(the only posthumous
work)

WORKS WITHOUT OPUS NUMBER

 Title of Work. Published Pages.
Song, 'Mondnacht,' for one voice 1854
republished 1872
Children's Folk-songs with added 1858 I. 220.
Pianoforte accompaniment
German Folk-songs arranged for four-part 1864 II. 26.
Chorus
Fugue in A flat minor for Organ 1864 II. 26.
Studies for Pianoforte (Nos. 1 and 2) after 1869 I. 67;
Chopin and Weber II. 98.
Hungarian Dances arranged for Pianoforte 1869 II. 79,
Duet, Books 1 and 2 98.
Gavotte by Gluck arranged for Pianoforte 1871 I. 201;
II. 106.
Hungarian Dances arranged for Pianoforte 1872 I. 222;
solo, Books 1 and 2 II. 79,
98.
Hungarian Dances arranged for Orchestra, 1874 I. 135.
Nos. 1, 3, 10
Studies for Pianoforte (Nos. 3, 4, 5) after 1879 II. 181.
Bach
Hungarian Dances arranged for Pianoforte 1880 II. 184.
Duet, Books 3, 4
Chorale-Prelude and Fugue for Organ 1881 I. 219;
II. 138.
Fifty-one Technical Exercises for 1893 II. 256.
Pianoforte. (Two books)
German Folk-songs with Pianoforte 1894 I. 80;
accompaniment. (Seven books) II. 261,
262.
Arrangements of Joachim's Overtures to 1902 II. 92,
'Henry IV.' and 'Demetrius' as Pianoforte 289.
Duets
 WORKS EDITED BY BRAHMS
Couperin: Clavier Compositions. (Chrysander's 'Denkmäle
der Tonkunst.')
Mozart: Requiem. (Breitkopf and Härtel's critically revised
complete edition.)
Schubert: Three Pianoforte pieces.
Schumann: Supplementary volume to Clara Schumann's
complete edition.
Brahms' name appears for the first time in 1878 in the list of the
committee of the Leipzig Society's edition of Bach's works.
ARRANGED CATALOGUE OF WORKS
INSTRUMENTAL MUSIC
For Orchestra.

Op. 11. Serenade, D major

Op. 16. " A major
Op. 56a Variations, Haydn's Theme
Op. 68. Symphony, C minor
Op. 73. " D major
Op. 90. " F major
Op. 98. " E minor
Op. 80. Overture, Academic
Op. 81. " Tragic
Arrangement: 3 Hungarian
Dances

Pianoforte with Orchestra.

Op. 15. Concerto, D minor

Op. 83. " B flat major

Pianoforte Solos.

Op. 1. Sonata, C major

Op. 2. " F sharp minor
Op. 5. " F minor
Op. 4. Scherzo, E flat minor
Op. Ballades
10.
Op. 9. Variations, Schumann's
Theme
Op.
21,
No. 1
} " Original Theme

Op.
21,
No. 2
} " Hungarian Air

Op. Variations and Fugue,

24. Handel's Theme
Op. Variations, Paganini's Theme
35.
Op. Pianoforte Pieces, 2 books
76.
Op. Two Rhapsodies
79.
Op. Fantasias, 2 books
116.
Op. Three Intermezzi
117.
Op. Pianoforte Pieces
118.
Op. " "
119.
Technical Exercises, 2 bks.
Arrangement: Hungarian
Dances, 2 books
" Studies 1-5
" Gavotte by
Gluck
 Pianoforte Duets.

Op. 23. Variations, Schumann's Theme

Op. 39. Waltzes
Op. 52a Waltzes
Arrangement: Hungarian
Dances, 4 books

Two Pianofortes.

Op.
34,
bis
} Sonata in F minor (after the
Pianoforte Quintet)
Op. Variations, Haydn's Theme
56b.

Pianoforte and Violin.

Op. 78. Sonata, G major

Op. " A major
100.
Op. " D minor
108.

Pianoforte and Violoncello.

Op. 38. Sonata, E minor

Op. 99. " F major

Pianoforte and Clarinet (or Viola).

Op.
120,
No. 1
} Sonata, F minor
Op.
120,
No. 2
} " E flat major

Trios.

Op. 8. Pianoforte, Violin, Violoncello,

B major
Op. 87. Pianoforte, Violin, Violoncello,
C major
Op. Pianoforte, Violin, Violoncello,
101. C minor
Op. 40. Pianoforte, Violin, Horn, E flat
major
Op. Pianoforte, Clarinet,
114. Violoncello, A minor

Quartets.

Op. 25. Pianoforte, Violin, Viola,

Violoncello, G minor
Op. 26. Pianoforte, Violin, Viola,
Violoncello, A major
Op. 60. Pianoforte, Violin, Viola,
Violoncello, C minor

Quintet.

Op. 34. Pianoforte, 2 Violins, Viola,

Violoncello, F minor

Pianoforte with Voices.

Op. 52. Liebeslieder, Waltzer (voices

ad libitum)
Op. 65. Neue Liebeslieder

Organ.

Op. Eleven Chorale-Preludes

122.
Chorale-Prelude and Fugue
Fugue in A minor

Strings with Orchestra.

Op. 77. Violin Concerto, D major

Op. Concerto for Violin and
102. Violoncello, A minor

String Quartets.

Op.
51,
No. 1
} C minor
Op.
51,
No. 2
} A minor
Op. B flat major
67.

String Quintets.

Op. 88. F major

Op. G major
111.
Op. Quintet for Clarinet, 2 Violins,
115. Viola, Violoncello, B minor

String Sextets.

Op. 18. B flat major

Op. 36. G major
 VOCAL MUSIC

Mixed Chorus without Accompaniment.

Op. 22. Marienlieder

Op. 29. Two Motets; five-part
Op. 42. Three Songs (Gesänge); six-
part
Op. 62. Seven Songs (Lieder)
Op. 74. Two Motets; four- and six-part
Op. 93a Songs (Lieder) and Romances
Op. Songs (Gesänge)
104.
Op. Fest and Gedenksprüche
109.
Op. Three Motets; four- and eight-
110. part
German Folk-songs (dedicated
to the Vienna Singakademie)

Women's Chorus without Accompaniment.

Op. 37. Three Sacred Choruses

Op. 44. Twelve Songs and Romances
Op. Thirteen Canons
113.

Men's Chorus without Accompaniment.

Op. 41. Five Songs (Lieder)

 Vocal Music with Orchestral Accompaniment.

Op. 12. Ave Maria: women's Chorus

Op. 45. A German Requiem: Soli and
Chorus
Op. 50. Rinaldo: Tenor Solo and men's
Chorus
Op. 53. Rhapsody: Contralto Solo and
men's Chorus
Op. 54. Song of Destiny: mixed
Chorus
Op. 55. Triumph-Song: double Chorus
Op. 82. Nänie: mixed Chorus
Op. 89. Song of the Fates: mixed
Chorus

Vocal Music variously Accompanied.

Op. 13. Funeral Song: mixed Chorus

and Wind
Op. 17. Songs for women's Chorus
with accompaniment for 2
Horns and a Harp
Op. 91. Two Songs for Contralto with
Viola and Pianoforte

Choruses with Pianoforte or Organ Accompaniment.

Op. 12. Ave Maria: women's Chorus

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