요하네스 브람스의 『Piano Trio in B Major, Op. 8』의 원작(1854)에 나타난 음악적 암시 = Musical allusions in the original version of Johannes Brahms' Piano Trio in B Major, Op. 8

다국어 초록 (Multilingual Abstract)

This dissertation is on the musical allusions observed in the original version of Johannes Brahms’ (1833-1897) “Piano Trio No. 1 in B Major, Op. 8” (1854).
In the original version of Brahms’ Op. 8, musical allusions from Ludwig van Beethoven, Franz Schubert, and Domenico Scarlatti’s music were found.
First, Brahms’ Op. 8 alluded a melody of the 6thsong of Beethoven’s “An Die Ferne Geliebte”, < Nimm sie hin denn, diese Lieder >. This melody was also borrowed by Robert Schumann in his “Fantasie Op.17” in 1836, which was widely accepted that the melody along with its lyrics were utilized to metaphorically express his love towards his long-distanced lover, Clara Schumann. The melody of Brahms’ Op. 8 resembles that of Schumann’s more than Beethoven’s, which implies that Brahms alluded Schumann’s work and at the same time subtly expressed his feelings towards Clara as well.
Next, in Brahms’ piece can be found a melody similar to that of < Am Meer >, the 12^th piece of Schubert’s “Schwanengesang”. The fact that Brahms studied and analyzed Schubert’s works deeply from a very young age suggests that Brahms’ piece alluded Schubert’s song. Moreover, the original lyrics of Schubert’s piece that was alluded also hints at Brahms’ feelings towards Clara Schumann.
Lastly, Brahms’ work has similarities with Scarlatti’s “Sonata in A Major, K.159”. It is well-known that Brahms was keen on Scarlatti’s music, and that it was Clara Schumann, who was one of the only few players of Scarlatti, who has suggested to Brahms that he study Scarlatti’s music. From these facts, it is not hard to notice that Brahms had alluded some parts of Scarlatti’s sonata into his work.
On the one hand, the aforementioned allusions have been removed from Brahms’ Op. 8 during its revision in 1889. At the time, the people of the musical community were preoccupied with boasting their musical knowledge by comparing and pointing out the similarities of certain musical pieces. Brahms, who was mainly focusing on cultivating a music style of his own during this era, would not have enjoyed his work being considered as a copy of existing pieces. In addition, he would have been concerned about public reaction when they found out his music had musical allusions that seemingly implied his love towards Clara. These factors have led to the deletion of the musical allusions during its revision.
In conclusion, the musical allusions in Brahms’ initial “Piano Trio No. 1 in B Major, Op. 8” reveal Brahms’ thorough knowledge and admiration in musical tradition as well as his affection towards Clara. Furthermore, the piece had become a foundation for Brahms in his later years to digest musical tradition of other composers and make it into his own unique form.