Despite Brahms's reputation as a composer of "absolute" music, his music incorporates motivic borrowings and extramusical ideas. The first Piano Concerto and Requiem illustrate Brahms's use of existing material and musical symbols, which were primarily derived through his interaction with Robert and Clara Schumann. A chart suggests use of these ideas in other works by Brahms, providing a point of departure for further exploration into this subject.

Works: Brahms: Piano Quartet, Op. 60 (3), Piano Concerto in D Minor, Op. 15, German Requiem, Op. 45, String Quartet No. 1 (7), Symphony No. 1 (8), Variations on a Theme by Schumann (21), Ballade, Op. 10, No. 2 (21), Piano Quartet in A Major, Op. 26 (21), Die schöne Magelone, Op. 33, No. 1 (21), Ballades (duets), Op. 75, Nos. 2 and 3 (21), Violin Cncerto, Op. 77, first movement (21), Symphony No. 3, Op. 90, first movement (21).

Index Classifications: 1800s

Contributed by: Paula Ring Zerkle