Musical Topoi in Brahms’s 7 Fantasien, Op. 116

ABSTRACT A fair amount of literature has been published on the use of musical topics in the works of eighteenth-century composers, with the writings of Leonard Ratner and Wendy Allanbrook among the most influential. Allanbrook, Ratner, and their disciples have shown how studying representations of topics in opera might allow for the recognition of those same musical characteristics when they appear in instrumental music. Although for these scholars the use of topics was an eighteenth-century practice, it is also useful to consider their use in nineteenth-century repertoire. Ratner’s method can be used to create a guideline for the general musical topoi that Johannes Brahms uses in his late piano works through the examination of his other piano pieces, chamber music works, and songs. The comparison of Brahms’ written tempo markings and the examination of textural elements such as rhythmic patterns, figurations, and key areas help support the identification of certain topical characteristics. Brahms’ songs in particular offer instructive information on common textural topoi, where the text helps underline the given mood of a passage. The compilation of a list of musical topoi used by Brahms, one that reflects both the given period’s and the composer’s personal musical choices, furthers the understanding of Brahms’ musical language and allows for more well-informed interpretations of his works.