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Scan 122
Biographical dictionary of musicians : with a bibliography of English writings on music, 1886
16 lines. Read by computer on 3 September 2026. Printed page 112. See the scan on archive.org.
1minor; op. 61. Four duets for soprano and alto; op. 62. Seven songs for mixed choir; op. 63. Nine Lieder and Songs for voice and Pf.; op. 64. Four Quartets for 4 voices; op. 65. Neue Liebeslieder, Waltzes for Pf. duet; op. 66. Five vocal duets; op. 67. Quartet for strings, in B flat; op. 68. First Symphony for full orch., in C minor, 1876; op. 69. Nine songs for voice and Pf.; op. 70. Four do.; op. 71. Five do.; op. 72. Five do.; op. 73. Second Symphony for full orch., in D, 1877; op. 75. Four vocal duets; op. 76. Eight Pianoforte pieces in 2 books; op. 77. Concerto for violin and orch., in D; op. 80. Akademische Fest-Ouverture, for full orch., 1880; op. 81. Tragische Ouverture, for full orch., 1880. Concerto for Pf. and orch., 1881. Third Symphony for orch., in F, op. 90, etc.
3Hailed from the very outset of his career as a coming genius, Brahms had small difficulty in gaining a hearing for his works. Praised in a general way by every class of musicians, because he did not in any great measure depart from the standard methods of composition, and made no endeavour to imitate a school to be for ever identified with his name, Brahm may fitly be described as one of those genuises who neither retard nor advance contemporary art. He rises far above the genteel mediocrity of the average German professor, but the general tone of his writings is more learned than inspired. He is neither accounted extraordinary and eccentric like Berlioz, Liszt, or Wagner, nor very staid and dull; but he is remarkably ponderous and massive. Massive is perhaps the fittest appellation which can be applied to his class of genius. The truly legitimate manner in which he gains his effects is one of the features which redeems his music in a large degree from heaviness. The honesty by which he rules his artistic method is so evident as to banish all notions as to quackery or undue assumption in his music.
5His most representative works are his symphonies, which have gained a certain amount of approval wherever produced. They are grand and dignified works, entirely free from sensation, and pervaded with a fervour of manner which raises them far above the average concert works of recent times. At the same time it must be admitted that the beauty of a large portion of his works is somewhat marred by a pedantic manner which repels all but the most earnest student.
7BRAINARD (Silas and Sons). An American music-publishing firm established in Cleveland, Ohio, in 1836. Was originally a shop known as "Brainard's Bazaar," and subsequently as the "Melodeon." The founder of the firm, Silas Brainard, B. at Lempster, N. Y., Feb. 14, 1814, D. in 1871, and was succeeded by his sons, Charles S. and Henry M., who in February, 1876, opened a large store in Euclid Avenue. Their publications, commenced to be issued in 1845, are many, numbering about 16,000 different pieces, and consisting of songs, choral music, instruction books, cantatas, pianoforte music, and a monthly magazine named "Brainard's Musical World." This journal is well conducted, and gives many valuable articles on musical topics, as well as a selected amount of music of varying quality. Among the music books issued by the firm may be mentioned the Dollar Musical Library, The Crystal Glee Book; Brainard's Musical Albums; The Golden Chord; Anthems of the Church; and a great number of song and chorus books bearing as a rule fanciful titles.
9BRAINARD (George W.) American musician and writer, author of a "New Method for the Pianoforte," Cleveland, n. d.
11BRAMBACH (Carl Josef). German comp., B. Bonn, July 14, 1833.
13WORKS.—Cantatas: Die Mach des gesanges; Velleda. Das Lied vom Rhein, for male chorus and brass orchestra, op. 40; Four Clavierstücke, op. 1; Vier Frühlingslieder, for 2 soprano voices and Pf., op. 2; Sonata for Pf., in G, op. 3; Six Lieder for voice and Pf., op. 4; Sextet for Pf., 2 violins, 2 violas, and Pf., op. 5; Concerto for Pf. and orch., in D minor, op. 39; Two Romances for Violoncello and Pf., op. 41; Two Sonatas for Pf., op. 20; Three Fantasiestücke for Pf., op. 34; Songs, etc.
15BRANDL (Johann). German comp., B. Rohr, near Ratisbon, Nov. 14, 1760. S. under Valesi, and at Schools of Rohr, Munich, and Neuburg. Musical director to Prince Hohenlohe Bartenstein, 1784. Music-director to Bishop of Bruchsal, 1789. Do. to the Archduke of Baden, 1806. D. Carlsruhe, May 26, 1837.
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