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Johannes Brahms (1833 – 1897) was a German composer of the Romantic period. Born in Hamburg, he eventually settled in Vienna, Austria. He had been composing steadily throughout the 1850s and 60s, but his music had evoked divided critical responses and the First Piano Concerto had been badly received in some of its early performances. His works were labelled old-fashioned by the 'New German School' whose principal figures included Liszt and Richard Wagner. Brahms in fact admired some of Wagner's music and admired Liszt as a great pianist, but in 1860 he attempted to organize a public protest against some of the wilder excesses of their music. His manifesto, which was published prematurely with only three supporting signatures, was a ludicrous failure and he never engaged in public polemics again. It was the premiere of Ein deutsches Requiem, his largest choral work, in Bremen in 1868 that confirmed Brahms's European reputation and led many to accept that he had fulfilled Schumann’s prophecy. This may have given him the confidence finally to complete a number of works that had been wrestled with over many years, such as the cantata Rinaldo, his first String Quartet, Third Piano Quartet and, most notably, his First Symphony; this appeared in 1876, though it had been begun (and a version of the first movement seen by some of his friends) in the early 1860s. The other three symphonies then followed in fairly rapid succession (1877, 1883, and 1885). From 1881 he was able to try out his new orchestral works with the court orchestra of the Duke of Meiningen, whose conductor was Hans von Bulow.

Brahms frequently traveled, for both business (concert tours) and pleasure. From 1878 onwards he often visited Italy in the springtime, and usually sought out a pleasant rural location in which to compose during the summer. He was a great walker and especially enjoyed spending time in the open air, where he felt that he could think more clearly.

In 1890, the 57-year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces. His admiration for Richard Mühlfeld, clarinettist with the Meiningen orchestra, caused him to compose the clarinet quintet Op.115 (1891), clarinet trio Op.114 (1891) and the two clarinet sonatas Op. 120 (1894). He also wrote several cycles of piano pieces, Opp.116-119 and the Four Serious Songs (Vier ernste Gesänge) Op. 121 (1896).

While completing the Op. 121 songs Brahms developed cancer (sources differ on whether this was of the liver or pancreas). His condition gradually worsened and he died on April 3, 1897. Brahms is buried in the Zentralfriedhof in Vienna.

Although many listeners may regard Brahms as one of the last bastions of the Romantic Period, he was not a mainstream Romantic, but rather maintained a Classical sense of form and logic within his works - in contrast to the opulence and excesses of many of his contemporaries. Thus many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music," as opposed to the New German embrace of program music. Alongside Anton Bruckner, Brahms was perhaps the major practitioner of the symphony during the latter half of the 19th century; his symphonies helped revive a virtually moribund genre and pave the way for others such as Gustav Mahler and Jean Sibelius. Though he was viewed as diametrically opposed to Wagner during his lifetime, it is incorrect to characterize Brahms as a reactionary. His point of view looked both backward and forward; his output was often bold in harmony and expression, prompting Arnold Schoenberg to write his 1933 essay "Brahms the Progressive", which paved the way for the revaluation of Brahms's reputation in the 20th century. Only in recent decades have scholars begun to examine Brahms's remarkably original rhythmic conceptions, which include 5- and 7-beat meters.

It is (perhaps) significant that Brahms himself had considered giving up composition at a time when all notions of tonality were being stretched to their limit and that further expansion would seemingly only result in the rules of tonality being broken altogether. It should be noted, however, that he offered substantial encouragement to Schoenberg's teacher Alexander Zemlinsky and was apparently much impressed by two movements of Schoenberg's early D major Quartet which Zemlinsky showed him.

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