Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23