o,
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. During this period
he devoted himself assiduously to composition. After leaving Detmold, he
successively resided in Hamburg, Zuerich, 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. Schumann's
prophecy has been made good; Brahms is to-day one of the most eminent of
living musicians. Among his most famous compositions are a Funeral Hymn
for chorus and wind-band; the "German Requiem;" "Triumphlied," for
double-chorus and orchestra; "Schicksallied," for chorus and orchestra;
five symphonies; variations on a theme of Haydn, for orchestra; the
Tragic and Academic overtures; and several trios, quartets, quintets,
sextets, concertos, and sonatas.

The German Requiem.

The "German Requiem," so called, is not a requiem in its sentiment, nor
in any sense a religious service. The poem is full of consolation for the
mourner, of assurances of joy hereafter, of warnings against the pomps
and vanities of the world, and closes with the victory of the saints over
death and the grave. It might with more propriety be called "a sacred
cantata." The work has seven numbers,--two baritone solos and chorus,
soprano solo and chorus, and four separate choruses. It was first
performed at Bremen on Good Friday, 1868, and in 1873 was first heard in
England. It was also given at the Cincinnati festival of 1884, under Mr.
Thomas's direction.

The opening chorus ("Blessed are they that go mourning") is beautifully
written, and is particularly noticeable for the richness of its
accompaniment. In the Funeral March, which follows, a very graphic
resemblance to the measured tread of the cortege is accomplished by the
use of triple time. In this, as well as in numerous other instances, the
composer cuts loose from ordinary methods, and in pure classical form and
by the use of legitimate musical processes achieves what others seek to
effect by sensuous or purely imitative music. The third number ("Lord,
make me to know the Measure of my Days on Earth") opens with a baritone
solo, followed by two choral fugues, which are solidly constructed,
though they are extremely difficult to sing, and call for a chorus of
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