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 through J. A. Fuller Maitland, the English musicologist whose Schumann within the Novello 'Great Musicians' sequence and Masters of German tune also are reissued during this sequence. Brahms was once nonetheless alive and composing at present: the e-book involves a brief account of his existence by way of a severe evaluation of all his works as much as 1887. The preface states: 'That Johannes Brahms is through some distance the best composer of our time ... are usually not 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 song, that line which stretches down with out interruption via Palestrina, from a miles past time.'
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Extra info for Johannes Brahms: A Biographical Sketch
In the two sextets for strings (op. 18 in B minor, and op. 36 in G) we observe an increased maturity and independence. The fine individuality constantly reveals itself through severe proportion and perfect form. The theme of the first sextet announces itself with noble dignity—again resembling Beethoven. The movement progresses in pure harmony and beautiful contrasts. A second theme is introduced, as it were in long melodious strides, so ideal, and of such a joyous, hopeful character, that we willingly abandon ourselves to its charm.
Space will not allow us to treat fully of his other works ; we will therefore only call attention to those which, to our mind, best display the master's individuality. We will select the three quartets for Pf. and strings, of which the first in G minor (op. 25) shows once JOHANNES BRAHMS. 45 more, in the first movement, what might be termed a redundance of melodic contents, and a wonderful skill in thematic development; but the climax of melodic charm is reached in the Intermezzo and Trio. We frequently hear Brahms, with whom thought and fancy ever worked together in active union, accused of being obscure.
We seem, as so often in Brahms' works, to hear the muse of Schubert reawakened, but endowed with that fine sense of moderation so often wanting in the works which spring from the overflowing and unrestrained genius of the impulsive master of Vienna. A wealth of melody is displayed in every movement of this work, but especially in the last, which at once enchants and carries us away ; while the second theme brings a calm, sweet as the balmy breath of spring. In the adagio he has happily expressed a tender, dreamy longing.