Johannes Brahms, a striking individual with an inimitable character, is defined by his compositions as meticulous and enlightened. His comprehensive understanding of classical and baroque forms, as well as his familiarity with counterpoint and musical development, allowed him to effortlessly navigate and cultivate the musical architecture presented by Bach and Beethoven. Born in Hamburg in 1833, he was the son of Johann Jacob Brahms, who came from northern Germany, where the family name “Brahms(t)” spread (Musgrave 4). His father, a musician by profession, encouraged Brahms to venture into his own musical field. With Brahms's first instruments being the violin, cello and natural horn (predecessor of the French horn), it was discovered that the genius possessed absolute pitch and that he had also developed his own system of notation even before his formal introductions to music (Musgrave 9). His astonishing understanding of musical rudiments was further reinforced at the age of seven by his first teacher Otto Friedrich Willibald Cossel, with piano literature ranging from Bach to Schubert to Clementi (Musgrave 10). The talented young talent matured quickly, his compositions carefully characterized by craftsmanship akin to the seasoned taste of an aged liqueur. In the wake of Beethoven, his style of romanticism seems sober and considered confined to classical forms. With his preference for absolute music, his works demonstrated "as [Ian] McEwan/[Clive] Linley would have it, at the intersection of emotion and reason" and a "powerful intellect and expressiveness passionate” (Platt and Smith 4). However, being the stubborn romantic that he is, he manipulated the limiting factor into an area of ​​expanse, in which he...... middle of paper ...... Joseph Joachim (Brahms' good friend and virtuoso violinist) and Clara Schumann represented the conservatives, while the progressives were led by Franz Liszt (whom Brahms had known earlier) and Richard Wagner (Burnett 111). While the main disagreement between the two parties was that radical progressives favored new styles of writing and form, Brahms was "passionately convinced that he was defending the great and noblest traditions of German art and music » (Burnett 112). However, considered conservative, Brahms' work offers a contradictory view. Although Brahms is steeped in tradition, there is a reason why he is not a single classicist; his love of expression and this manifestation through his works with the aim of advancing German works in the romantic light, is enough to consider him a progressive rather than an entrenched conservative..