History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.

中文翻译：

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勃拉姆斯晚期，古代模式

历史上经常将勃拉姆斯视为一位面容两面的作曲家，即使他在职业生涯的后期寻求开发新的音乐表达方式，他也会将目光转向思考音乐史积累的财富。一方面，他习惯性地从一长串作曲家那里收集违反了对平行五度和八度音阶的传统禁令的乐曲；他与 Nottebohm、Mandyczewski 和 Adler 等音乐学家交换了意见，并阅读了早期的音乐科学文献; 他不时沉迷于一种独特的音乐历史主义。但另一方面，他的音乐为许多将与 20 世纪现代主义抗衡的下一代作曲家指明了前进的方向，其中最著名的当然是勋伯格，在他的文章《进步的勃拉姆斯》中，还有安东冯韦伯恩，其过渡帕萨卡利亚作品。如果没有勃拉姆斯作品的先例，1 是不可想象的。90 后，他的格言缩影背叛了勃拉姆斯晚期的集中表达和音域开放钢琴曲.这篇文章考虑了勃拉姆斯历史凝视的一个相对较少探索的方面——他在后期音乐中对调式的使用，以及它们在创造挑战但在某种程度上与调性兼容的音乐组织的替代方式的潜力。考虑的例子包括单簧管三重奏作品的第一乐章。114和弦乐五重奏的缓慢移动。2 操作。111. 与勃拉姆斯早期的作品不同，将调式视为一种民间音乐或模拟民间音乐风格的能指，后来的器乐作品似乎将调式组织的原则并列在音调作品的背景下。因此，在单簧管三重奏的第一乐章中，法克斯波登给人留下深刻印象的是对一个遥远的、古老的音乐他者的暗示，仿佛历史学家勃拉姆斯正在寻找他的音乐美学的遥远根源。