Gustav Jenner and the Music of Brahms: The Case of the Orchestral Serenades

Gustav Jenner (1865–1920) was Brahms’s only long-term composition student. Jenner, an outspoken proponent of the conservative musical values he shared with Brahms, left numerous songs and pieces for chorus, piano, chamber ensembles and orchestra. Despite his obvious stylistic affinities to Brahms, it is clear from Jenner’s prose writings that he placed high value on artistic independence. Although scholars have noted the circumstances surrounding Jenner’s interactions with Brahms between 1888 and 1895 and Brahms’s general aesthetic influence on the young man, Jenner’s music – and particularly its relationship to that of Brahms – has received scant attention. Deeper comparison of the two composers’ works yields insights into not only how Brahms influenced less prominent composers in his circle and in the generation that followed him, but also the extent and nature of Brahms’s direct influence as a teacher.This article compares Jenner’s only complete orchestral piece, his Serenade in A major (1911–12), with its most obvious precedents, Brahms’s orchestral serenades. Although correlations in general style are numerous, discrepancies arise naturally. Jenner furthermore avoids Brahms’s most distinctive compositional choices and takes care not to rely too heavily on any one Brahmsian model for his own Serenade, suggesting his desire to distinguish himself and a wariness of the inevitable comparisons with the works of his teacher. Thus we find in Jenner’s work the same dual emphasis on musical tradition and independence emphasized both in Jenner’s prose writings and in the music of Brahms himself.