Of the various compositional challenges Brahms faced in writing his symphonies, integrating oneself into past traditions was one challenge most easily overcome with the use of stylistic allusion as a subtle and complicated form of borrowing. These allusions exist as component parts in larger "webs," which are created when a given passage or melody from one of Brahms's symphonies may simultaneously allude to a multitude of different, and possibly interrelated, sources. Likewise, Brahms may simultaneously allude not only to specific pieces as sources, but also to generic types, thereby creating a more general stylistic resonance while obscuring a listener's ability to accurately recognize and identify potential source compositions. For Brahms, these allusions provide a "double-edged sword" with which he can either pay homage to, or make an ironic departure from, a possible model. This multifaceted practice of simultaneous allusions was Brahms's way of engaging not only with past traditions but also with his present audience (who could, conceivably with some effort, recognize and appreciate the allusions). Consequently, Brahms's symphonies are more retrospective or nostalgic because of these allusions than they would have been if he had simply borrowed from himself.

Works: Brahms: Symphony No. 1 in C Minor (81-85, 88-92, 103-4, 110-11, 113, 124-25, 128-29, 134), Symphony No. 2 in D Major (105-6, 110, 115, 117, 119-21, 123), Symphony No. 3 in F Major (91, 93-95, 107, 122, 134), Symphony No. 4 in E Minor (91, 96-97, 100-101, 105, 108-10, 129-30, 132).

Sources: Bach: St. John Passion (82-84, 88, 91, 124, 126), Weihnachts-Oratorium (92), The Well-Tempered Clavier (96, 98), Cantata No. 150, Nach dir, Herr, verlanget mich (131), Partita No. 2 for Solo Violin, Chaconne in D Minor (131-32); Beethoven: Symphony No. 9 in D Minor (81, 83, 90-91, 103, 117-18, 127-28), Symphony No. 6 in F Major (Pastorale) (88, 91-92, 102, 105, 110-11, 136-37), Symphony No. 3 in E-flat Major (Eroica) (95, 117-120, 132), Violin Concerto in D Major (96), Symphony No. 5 in C Minor (97-98, 109, 120, 122-23), Piano Sonata No. 29 in B-flat Major, Op. 106 (97, 99), Symphony No. 7 in A Major (104-5), Piano Sonata No. 31 in A-flat Major, Op. 110 (108-9), Piano Concerto No. 3 in C Minor (112-13), Piano Sonata No. 15 in D Major, Op. 28 (116-17), Symphony No. 4 in B-flat Major (119, 121), Symphony No. 1 in C Major (126, 128-29), Piano Sonata No. 23 in F Minor, Op. 57 (127-28), Piano Variations in C Minor, Op. 35 (131-33); Schubert: Symphony No. 9 in C Major (Great) (88-90, 92, 100-101, 105, 118-19, 136-37), String Quintet in C Major (94), Symphony No. 8 in B Minor (Unfinished) (101-2, 113-14, 131, 133); Mendelssohn: Symphony No. 5 in D Major (88-89, 103-4), Symphony No. 2 in B-flat Major (97, 99, 101), Ein Sommernachtstraum (106-7, 114, 116), Die Erste Walpurgisnacht (110-11, 114-15), Hebrides Overture (114, 116), Symphony No. 3 in A Minor (114-15); Brahms: Volks-Kinderlieder (89, 106), String Sextet, Op. 18 (90), Variations on a Theme by Haydn (90), Symphony No. 1 in C Minor (94, 99), Waltz, Op. 39 (99), Piano Concerto No. 1 in D Minor (126); Robert Schumann: Symphony No. 1 in B-flat Major (93, 95), Symphony No. 3 in E-flat Major (Rhenish) (93, 95), Symphony No. 4 in D Minor (101, 107-8), Symphony No. 2 in C Major (110, 112), Manfred Overture (127-28); Haydn: Symphony No. 97 in C Major (94-95, 103-4, 124, 126), Symphony No. 103 in E-flat Major (97-98), Symphony No. 104 in D Major (106-7, 116, 119-120), Symphony No. 83 in G Minor (107-8), The Creation (110-11), Symphony No. 94 in G Major (110, 112, 116), Symphony No. 87 in A Major (112-13); Wagner: Tannhäuser (96); Handel: Messiah (96, 98); Buxtehude: Ciaccona in E Minor (96, 130); Mozart: Symphony No. 40 in G Minor (96-98, 113-14), Symphony No. 39 in E-flat Major (106-7); Couperin: Passacaille in B Minor (131).

Index Classifications: 1800s

Contributed by: Alexis Witt