Brahms’s Choral Music and His Journey to Contrapuntal

When one thinks of the music of Johannes Brahms, it is possible that the towering masterpieces in large form come to mind: the symphonies, the chamber music, Ein Deutsches Requiem. Undoubtedly, certain aspects of his musical language also make an impression, such as his rhythmic inventiveness, his progressive harmonies, the folk-song element, his emotional intensity, and his lyricism. Perhaps the most pervasive aspect of his compositions,[1] however-and the least obvious to passive listeners-is his use of contrapuntal techniques. contrapuntal techniques. There is an old saying: “Mighty oaks from small acorns grow. ” Three of Brahms’s sacred choral works can be utilized to demonstrate how his mastery and use of contrapuntal techniques became an integral part of his musical language