John Mayer - a modern day Johannes Brahms?

Wednesday, March 10, 2010 by Scott Harrison
When Stella Artois Happy Hour at the Symphony returns on March 18, the program turns to music by John Mayer and a John of an older generation - Johannes Brahms.  Crazy as it may seem, these two musicians actually share more than just a first name. 

While many of us are stuck with the image of the old, bearded Brahms in our minds, in his younger days, Johannes (right) was quite the looker and probably attracted his fair share of female attention, just like John Mayer. 
 















But Brahms was more than just good looks.  This guy had soul.  Brahms was a throwback, looking to the music of Bach to write truly heartfelt music in an era where contemporaries like Liszt, Wagner and Mahler were revolutionaries out to discover the music of the future.  In an era where vocal hooks and sampled beats reign supreme, John Mayer also looks to the old masters, writing guitar-driven pop inspired by blues legends like B.B. King and rock gods like Jimi Hendrix.

And the similarities just keep on coming. . .
  1. Brahms wrote four symphonies.  Mayer has released four albums.  (There are also four Happy Hour concerts this season.  Try to explain that coincidence!)
  2. Both men pursued secondary instruments in their youth.  Can you imagine Brahms as a cellist or John Mayer with a clarinet in his hands?  They both also started touring as teenagers.  At one point, Brahms' teacher wanted to send him to America to earn that big paycheck.  His parents declined, probably sparing Brahms future anonymity as a washed-up child star.
  3. Speaking of the clarinet, John Mayer's first instrument, Brahms took up an interest in the reedy instrument late in life.  He came out of his self-imposed retirement to write some of his most moving music, all featuring the clarinet.  Do you think Mayer ever tried his hand at the Brahms' Clarinet Quintet?
The greatest coincidence of all?

Both men shared an interest in older women.  John Mayer famously dated Jennifer Aniston, eight years his senior.  Brahms spent most of his adult life pining after Clara Schumann, 14 years his elder and the widow of the man who helped launch his career, Robert Schumann.  While Mayer was never too shy to share the most intimate details of his relationship via Twitter, Brahms was not as forthcoming.  While many scholars believe the relationship with Clara was never consummated, there isn't definitive proof either way.

For the full story on Brahms, check out Jan Swafford's fun biography.  (Or get the lightning round in this article.)

As for Mayer?  Well, there's always @johncmayer.

(Thanks to Alyson Ahrns for research and writing assistance.)
    

Comments for John Mayer - a modern day Johannes Brahms?

Wednesday, March 10, 2010 by Candi Berry:
Great job Scott and Alyson! I started some research of my own on this topic after noticing a mention in the Marketing materials of a similarity between the two. You two found much more than I did and I appreciate the further detail to back up the Happy Hour flyer.
Thursday, March 11, 2010 by Richard Taruskin:
This is, without smidge of doubt, one of the most poorly conceived (and written?) blog posts associated with a major American performing arts organization I've ever come across. Shame on you and your inane marketing efforts.
Friday, March 12, 2010 by Rob Simonds:
The connections this post makes between Brahms and Mayer made me think more about their context. We so often hear that Brahms looked backwards and John Mayer is steeped in the blues. However, both are clearly of their time. If blindly listening to either music and asked to guess a composition date, I doubt anybody would be off by a century. A distinction should be made between those who incorporate elements of the past to create a modern language and those who actually speak in an older dialect. The composers Avro Part and Gorecki do more than simply borrow from the past. They seem to express themselves with a centuries old vocabulary. Non-classical musicians like Justin Townes Earle similarly write new music that adheres very strictly to a country-folk idiom that was "popular" more than sixty years ago. Ultimately, one approach is not better than the other but they are two distinctly different ways of looking at tradition.

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