Brahms and Bruckner as artistic antipodes

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In the late 19th century, Brahms and Bruckner were seen as opposites. This study explores whether that perception aligns with historical reality or if it exaggerates their differences. Both composers created original music, adhered to traditional forms, and rejected program music. The first part examines Brahms’ relationship with Bruckner through biographical, historical, artistic, and theoretical lenses. The second part focuses on Brahms’ early work, questioning whether he truly operated as an independent composer. The third part addresses a less-explored aspect of Bruckner research: his connection to program music. New insights emerge from a thorough analysis of biographical data alongside a detailed examination of musical elements, enhancing the understanding of 19th-century music. The study is informed by Floros’s extensive research on Mahler, revealing previously unnoticed clues regarding Brahms’s and Bruckner’s compositions. The findings highlight significant ideological and musical heritage differences between the two composers, suggesting that what was once considered ‘absolute’ music in Bruckner’s works may carry deeper semantic meanings when the composer intended.