This article examines cross-relationships and mutual influences in the D-minor symphonies and concertos written in the 1850s by a close-knit circle of composers: Johannes Brahms, Robert Schumann, and their friends Joseph Joachim, Julius Otto Grimm and Albert Dietrich. Outlining the overlapping compositional timelines of Brahms's First Piano Concerto (at one point a candidate to become his first symphonic work), the violin concertos of Joachim and Schumann, and the symphonies of Grimm and Dietrich, it demonstrates that the pieces were shared among the composers during their periods of composition and explores musical correspondences indicating mutual influences both among the composers and from other specific works. The musical choices involved in this group of pieces seem to point to an underlying backdrop of Beethovenian influence involving specific works from Beethoven's body of orchestral music, an oeuvre concluding with an unforgettable symphonic work in D minor—to which the younger generation's collection of works may relate symbolically. This study not only emphasizes the central role that Beethoven played in the minds of these composers in the mid-1850s, but also underscores the musical intimacy that extended from the social intimacy of the composers in the Brahms–Schumann circle.

中文翻译：

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1850 年代勃拉姆斯-舒曼圈子的 D 小调协奏曲和交响曲：交叉关系和贝多芬的影响

本文探讨了 1850 年代由一群紧密联系的作曲家创作的 D 小调交响曲和协奏曲中的交叉关系和相互影响：约翰内斯·勃拉姆斯、罗伯特·舒曼和他们的朋友约瑟夫·约阿希姆、朱利叶斯·奥托·格林和阿尔伯特·迪特里希。概述了勃拉姆斯的第一钢琴协奏曲（曾是他的第一部交响乐作品的候选人）、约阿希姆和舒曼的小提琴协奏曲以及格林和迪特里希的交响曲的重叠作曲时间表，它表明这些作品是在作曲家之间共享的在他们的作曲期间，并探索表明作曲家之间和其他特定作品之间相互影响的音乐对应关系。这组作品所涉及的音乐选择似乎指向了贝多芬影响的潜在背景，其中涉及贝多芬管弦乐中的特定作品，以一首令人难忘的 D 小调交响乐作结尾——年轻一代的作品收藏可能象征性地联系起来。这项研究不仅强调了贝多芬在 1850 年代中期在这些作曲家心中所起的核心作用，而且还强调了从勃拉姆斯-舒曼圈中作曲家的社交亲密关系延伸而来的音乐亲密关系。