By Hermann Deiters, Rosa Newmarch
Hermann Deiters (1833-1907) first met Brahms in 1856, and have become an enthusiastic supporter of his paintings. This 'biographical comic strip' used to be released in English in 1888, edited via J. A. Fuller Maitland, the English musicologist whose Schumann within the Novello 'Great Musicians' sequence and Masters of German track also are reissued during this sequence. Brahms was once nonetheless alive and composing at the present: the publication includes a quick account of his existence by means of a severe overview of all his works as much as 1887. The preface states: 'That Johannes Brahms is by way of a ways the best composer of our time ... aren't contested by way of any musician whose declare to an opinion relies on an exhaustive wisdom of his works. ... Brahms has a spot within the line of best masters within the craft of tune, that line which stretches down with no interruption via Palestrina, from a much previous time.'
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Additional resources for Johannes Brahms: A Biographical Sketch
We must mention the enthusiastic receptions accorded to him in the beginning of 1874, both at Leipzig and Munich, and also in May at Cologne, where the Triumphlied adorned the programme of the Lower Rhenish Musical Festival. This work was heard the same year in Breslau, and also in Berlin, through the influence of his friend Stockhausen. The King of Bavaria decorated him with the Maximilian Order of Arts and Science, the Academy of Arts of Berlin elected him a foreign member, together with Gade and Reinecke, and the Philosophical Faculty of the University of of Breslau awarded him the title of JOHANNES BRAHMS.
This tonality recurs with such persistence that it seems to us to express symbolically the thought of home and country. The scanty motives which, in their ingenious transformations and modifications, form the principal phrase, may also appear strange ; but in the tuneful second theme the joy of existence triumphs over doubt and hesitation, and completely carries us away. It is the poet himself who speak here, who reveals to us a thoughtful soul, stirred by visions, ever striving to give expression to his subjective sentiments, and with powerful resolution plunging into the full tide of life—where, indeed, new doubts and trials await him.
Sentiment, in harmony, and in richness of colouring, Brahms has scarcely ever again equalled these works. The entirely individual and original character of his imagination, as seen here, gives, as it were, the standard of his future works. So, too, with the songs of the first period, which in their restricted form and close adherence to the text offer little opportunity for any extravagances of genius. There are three collections whose publication dates from this period : six songs (op. 3) dedicated to Bettina von Arnim, of which the first (O versenk) has become one of the most popular ; six songs (op.