BRAHMS.
Johannes Brahms, one of the most eminent of living German composers, was born at Hamburg, May 7, 1833. His father was a double-bass player in the orchestra in that city, and devoted his son at a very early age to his own profession. His first piano teacher was Cossell; but to Edward Marxsen, the royal music director, he owes his real success as a composer. Brahms remained in Hamburg until 1853, when he went upon a concert-tour with Reményí, the eccentric and somewhat sensational Hungarian, who has been a familiar figure upon the American concert-stage. He remained with him however but a very short time, for in October of that year they parted company. Brahms had attracted the notice of Liszt and Joachim, and it may have been through their advice that the musical partnership was dissolved. In any event, soon after leaving Reményí he went to Düsseldorf and visited Schumann, who announced him to the musical world in a very enthusiastic manner. The next year (1854) appeared his first works,—three sonatas, a trio and scherzo for piano, and three books of songs. After a visit to Liszt at Weimar he settled down as chorus-conductor and music-teacher at the court of Lippe-Detmold, where he remained a few years. After leaving Detmold he successively resided in Hamburg, Zürich, and Baden-Baden, though most of his time has been spent in Vienna, where he has directed the Singakademie and the concerts of the Gesellschaft der Musikfreunde. Among his most famous compositions are a funeral hymn for chorus and wind-band; the “German Requiem;” “Triumphlied,” for double chorus and orchestra; “Schicksalslied,” for chorus and orchestra; six symphonies; variations on a theme of Haydn, for orchestra; the “Tragic” and “Academic” overtures; besides several trios, quartets, quintets, sextets, concertos, and sonatas.
Triumphlied.
“Triumphlied” (“Song of Triumph”) was written by Brahms in commemoration of the victories of German arms and the re-establishment of the Empire, and is dedicated to “the German Emperor Wilhelm I.” It was first performed at the fifty-first festival of the Lower Rhine at Cologne in 1873. The text is a paraphrase of certain verses in the nineteenth chapter of Revelation, and reads as follows:—
“Hallelujah, praise the Lord! Honor and power and glory to God!
“For in righteousness and truth the Lord giveth judgment.
“Glory be to God, all ye His servants, and ye that fear Him, all both humble and mighty.
“Hallelujah, for the omnipotent God hath exalted His kingdom.
“O, be joyful, let all be glad, to Him alone give honor.
“Behold, the heavens opened wide, and yonder a snow-white horse, and on him sat one called Steadfast and Faithful, who warreth and judgeth all with righteousness.
“And he treads the wine-press of wrath of the Lord God Almighty.
“Lo! a great name hath he written upon his vesture and upon his girdle.
“A King of kings and Lord of lords! Hallelujah! Amen!”
The scriptural selections are divided into three movements, written for double chorus (with the exception of two short barytone solos), orchestra, and organ, and are introduced by a brief instrumental prelude of a solemn but animated and exultant character, in the closing measures of which both choirs break in with jubilant shouts of “Hallelujah! praise the Lord!” The theme of the movement is the stirring old German song “Heil dir im Siegerkranz,”[17] which is worked up with consummate skill. The first part closes with a climax of power and contrapuntal effect hardly to be found elsewhere outside the choruses of Handel.
The second movement (“Glory be to God!”) is of the same general character as the first. After the opening ascription, a short fugue intervenes, leading to a fresh melody alternately sung by both choruses.
The third movement, after a very brief but spirited orchestral flourish, opens with an exultant barytone solo (“And behold then the Heavens opened wide”). The choruses respond with animation (“And yonder a snow-white Horse”). Again the barytone intervenes (“And lo! a great Name hath He written”), and then the choruses take up the majestic theme, “King of Kings and Lord of Lords,” each answering the other with triumphant shouts that gather force and fire as they proceed, and closing with a mighty hallelujah in which voices, orchestra, and organ join with fullest power to produce one of the grandest harmonies ever written. The work is one of extreme difficulty, as the two choirs are treated independently and their harmonies are complicated, though blended in general effect. Neither choir receives assistance from the other. In fact, each rank of voices is required to perform music of the most exacting kind, so that a perfect performance of this great jubilee hymn requires singers of trained skill and more than ordinary intelligence. When thus given, few choruses of modern times reveal such artistic richness and symmetrical proportions.
[17] A German national song, written by Heinrich Harries, a Holstein clergyman, for the birthday of Christian VII. of Denmark. It was originally in eight stanzas, but was reduced to five and otherwise slightly modified for Prussian use by B. G. Schumacher, and in this form appeared as a “Berliner Volkslied” in the Spenersche Zeitung of Dec. 17, 1793.—Grove’s Dictionary.
