ABSTRACT
The case of Johannes Brahms is very different. Brahms was anything rather than a pioneer. He worked upon strictly traditional lines. He invented no new forms, he made no pretence at being revolutionary, yet few composers of modern times have been more vigorously discussed or more variously judged. Brahms has been before the world for fully half a century, yet it seems that we are as far as ever from having made up our minds what is his place in the hierarchy of musicians. Brahms's position in the world of German music was definitely fixed. Anyone who wanted to run down Wagner did it by exalting Brahms. Wagner was a wicked anarchist, striving to overturn the musical apple-cart by every means in his power; while Brahms was a serene and high-souled artist, to whom, by some kind of extra-special divine providence, the ark of classical tradition had been confided. Brahms worked on very different lines.
