Editing Johannes Brahms (section)

===Influence===

Within his lifetime, Brahms's idiom left an imprint on several composers within his personal circle, who strongly admired his music, such as [[Heinrich von Herzogenberg]], [[Robert Fuchs (composer)|Robert Fuchs]], and [[Julius Röntgen]], as well as on [[Gustav Jenner]], who was his only formal composition pupil. Antonín Dvořák, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works, such as the [[Symphony No. 7 (Dvořák)|Symphony No. 7 in D minor]] and the F minor Piano Trio.

Features of the "Brahms style" were absorbed in a more complex synthesis with other contemporary (chiefly Wagnerian) trends by [[Hans Rott]], [[Wilhelm Berger]], [[Max Reger]] and [[Franz Schmidt (composer)|Franz Schmidt]], whereas the British composers [[Hubert Parry]] and [[Edward Elgar]] and the Swede [[Wilhelm Stenhammar]] all testified to learning much from Brahms. As Elgar said, "I look at the Third Symphony of Brahms, and I feel like a pygmy."{{sfn|MacDonald|2001|p=406}} In France, [[Gabriel Fauré]]'s music showed Brahmsian concern for rhythm and texture; in Russia, [[Sergei Taneyev]] was called "the Russian Brahms";{{sfn|Bozarth and Frisch|2001|loc=§6: "Influence and reception"}} and in the United States, [[Amy Beach]]'s musical textures were noted for their Brahmsian richness.<ref>{{Cite Grove|title=Amy Beach}}</ref>

[[Ferruccio Busoni]]'s early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to [[Ernst von Dohnányi]] and to [[Alexander von Zemlinsky]]. Their early chamber works, those of [[Béla Bartók]] (who was friendly with Dohnányi), show a thoroughgoing absorption of the Brahmsian idiom.

====Second Viennese School====
Zemlinsky in turn taught Schoenberg, and Brahms was apparently impressed when in 1897 Zemlinsky showed him drafts of two movements of Schoenberg's early [[String quartets (Schoenberg)|D-major quartet]]. Webern and later Walter Frisch identified Brahms's influence in the dense, cohesive textures and [[Variation (music)|variation]] techniques of Schoenberg's [[String Quartets (Schoenberg)#String Quartet No. 1, Op. 7|first quartet]].{{sfn|Frisch|1984|loc=[https://archive.org/details/brahmsprincipleo0000fris/page/164/mode/2up 164–165], partly quoting Webern's 1912 essay "Schoenberg's Music"}}

In 1937, Schoenberg orchestrated Brahms's [[Piano Quartet No. 1 (Brahms)|Piano Quartet No. 1]] as an exercise suggested by [[Otto Klemperer]] to break [[writer's block]]; Klemperer regarded it as better than the original.{{sfn|Maurer Zenck|1999|loc=183, 191n71}} ([[George Balanchine]] later set it to dance in ''[[Brahms–Schoenberg Quartet]]''.)

In [[Anton Webern]]'s 1933 lectures, posthumously published under the title ''The Path to the New Music'', he claimed Brahms as one who had anticipated the developments of the [[Second Viennese School]]. Webern's 1908 [[Passacaglia (Webern)|Passacaglia, Op. 1]], is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony.<!-- here Brahms 116/v, iirc Grove/Oxford has a bit on this; then re: W 27/i; also maybe W & Parzenlied--> Ann Scott argued Brahms anticipated the procedures of the serialists by redistributing melodic fragments between instruments, as in the first movement of the [[Clarinet Sonatas (Brahms)|Clarinet Sonata, Op.&nbsp;120, No.&nbsp;2]].<ref name="s696">{{cite journal | last=Scott | first=Ann Besser | title=Thematic transmutation in the music of Brahms: A matter of musical alchemy | journal=Journal of Musicological Research | volume=15 | issue=2 | date=1995 | issn=0141-1896 | doi=10.1080/01411899508574717 | pages=177–206}}</ref>

====Later composers====
Still later composers, like [[Milton Babbitt]], [[Elliott Carter]] and [[György Ligeti]] paid respect to Brahms in their music, especially in terms of their treatment of meter, motives, rhythm, or texture.{{sfnm|Bozarth and Frisch|2001|1loc=§6: "Influence and reception"|Musgrave|1985|2loc=[https://archive.org/details/isbn_9780710097767/page/270 269–270]}} More recently, composers like [[Wolfgang Rihm]] (e.g., Klavierstück Nr. 6, ''Brahmsliebewalzer'', ''Ernster Gesang'', ''Das Lesen der Schrift'', Symphonie ''Nähe Fern'') and [[Thomas Adès]] (e.g., ''Brahms'') also engaged with Brahms's music, often as seen through Schoenberg's "progressive" lens.{{sfnm|Grimes|2018|1loc=523–528, 538–542|Massey|2021|2loc=124–129, citing Venn 2015|Venn|2015|3loc=164–168, 175, 192–193, {{lang|lt|et passim}}, citing [[Adrian Jack]]'s "Brendel's Poems Set to Music" in ''The Independent'' (3 July 2001), Hélène Cao's ''Thomas Adès le voyageur: Devenir compositeur, être musicien'' (Paris, 2007) 34–35, and [[Elaine Barkin]]'s "About Some Music of Thomas Adès", ''[[Perspectives of New Music]]'' 47(1):171–172}}