Emanuel Leutze
Born	(1816-05-24)May 24, 1816 Schwäbisch Gmünd, Württemberg Germany
Died	July 18, 1868(1868-07-18) (aged 52) Washington DC
Nationality	American
Field	History painter
Training	John Rubens Smith Karl Friedrich Lessing

Emanuel Gottlieb Leutze (May 24, 1816, Schwäbisch Gmünd – July 18, 1868) was a German American history painter best known for his painting Washington Crossing the Delaware. He is associated with the Düsseldorf school of painting.

Biography[link]

Philadelphia[link]

Leutze was born in Schwäbisch Gmünd, Württemberg (Germany), and was brought to America as a child. His parents settled first in Philadelphia, Pennsylvania, then at Fredericksburg, Va. His early education was good, though not especially in the direction of art. The first development of his artistic talent occurred while he was attending the sickbed of his father, when he attempted drawing to occupy the long hours of waiting.^[1] His father died in 1831.^[2] At 14, he was painting portraits for $5 apiece. Through such work, he supported himself after the death of his father.^[3] In 1834, he received his first instruction in art in classes of John Rubens Smith,^[4] a portrait painter in Philadelphia. He soon became skilled, and promoted a plan for publishing, in Washington, portraits of eminent American statesmen; however, he met with but slight encouragement.^[1]

Europe[link]

In 1840, one of his paintings attracted attention and procured him several orders, which enabled him to go to the Kunstakademie Düsseldorf, where he studied with Lessing. In 1842 he went to Munich, studying the works of Cornelius and Kaulbach, and, while there, finished his Columbus before the Queen. The following year he visited Venice and Rome, making studies from Titian and Michaelangelo. His first work, Columbus before the Council of Salamanca was purchased by the Düsseldorf Art Union. A companion picture, Columbus in Chains, procured him the gold medal of the Brussels Art Exhibition, and was subsequently purchased by the Art Union in New York. In 1845, after a tour in Italy, he returned to Düsseldorf, marrying Juliane Lottner^[2] and making his home there for 14 years.^[1]

• 

  Washington Crossing the Delaware

• 

  Westward the Course of Empire Takes its Way

• 

  Washington rallying the troops at Monmouth

• 

  One of his last paintings depicted William H. Seward and Eduard de Stoeckl negotiating the Alaska Purchase.^[5]

During his years in Düsseldorf, he was a resource for visiting Americans: he found them places to live and work, provided introductions, and emotional and even financial support.^[2] For many years, he was the president of the Düsseldorf Artists' Association; in 1848, he was an early promoter of the “Malkasten” art association; and in 1857, he led the call for a gathering of artists which led to the founding of the Allgemeine deutsche Kunstgenossenschaft.^[3]

A strong supporter of Europe's Revolutions of 1848, Leutze decided to paint an image that would encourage Europe's liberal reformers with the example of the American Revolution. Using American tourists and art students as models and assistants, Leutze finished Washington Crossing the Delaware in 1850. It is owned by the Metropolitan Museum of Art in New York. In 1854, Leutze finished his depiction of the Battle of Monmouth, "Washington rallying the troops at Monmouth," commissioned by an important Leutze patron, banker David Leavitt of New York City and Great Barrington, Massachusetts.^[6]

New York City and Washington, D.C.[link]

Worthington Whittredge in His Tenth Street Studio, oil on canvas, 1865. Reynolda House Museum of American Art

In 1859, Leutze returned to the United States and opened a studio in New York City.^[1] He divided his time between New York City and Washington, D.C.^[7] In 1859, he painted a portrait of Chief Justice Roger Brooke Taney which hangs in the Harvard Law School. In a 1992 opinion, Justice Antonin Scalia described the portrait of Taney, made two years after Taney's infamous decision in Dred Scott v. Sandford, as showing Taney "in black, sitting in a shadowed red armchair, left hand resting upon a pad of paper in his lap, right hand hanging limply, almost lifelessly, beside the inner arm of the chair. He sits facing the viewer and staring straight out. There seems to be on his face, and in his deep-set eyes, an expression of profound sadness and disillusionment."

Leutze also executed other portraits, including one of fellow painter William Morris Hunt. That portrait was owned by Hunt's brother Leavitt Hunt, a New York attorney and sometime Vermont resident, and was shown at an exhibition devoted to William Morris Hunt's work at the Museum of Fine Arts, Boston in 1878.^[8]

Portrait of Leutze by his friend William Morris Hunt, ca. 1845

In 1860 Leutze was commissioned by the U.S. Congress to decorate a stairway in the Capitol Building in Washington, DC, for which he painted a large composition, Westward the Course of Empire Takes Its Way, which is also commonly known as Westward Ho!.

Late in life, he became a member of the National Academy of Design. He was also a member of the Union League Club of New York, which has a number of his paintings. He died in Washington, D.C., in his 53rd year, of heatstroke. At the time of his death, a painting, The Emancipation of the Slaves, was in preparation.^[4]

Leutze's portraits are known less for their artistic quality than for their patriotic emotionalism. Washington Crossing the Delaware firmly ranks among the American national iconography, and is thus often caricatured.

References[link]

1. ^ ^{a b c d}  "Leutze, Emanuel". Appletons' Cyclopædia of American Biography. 1892. 
2. ^ ^{a b c} Brucia Witthoft and others (1982). American Artists in Düsseldorf: 1840–1865. Framingham, Massachusetts: Danforth Museum. pp. 14, 32. http://openlibrary.org/books/OL3512328M/American_artists_in_Du%CC%88sseldorf_1840-1865. 
3. ^ ^{a b} Moritz Blanckarts (1883) (in German). "Leutze, Emanuel". In Allgemeine Deutsche Biographie (ADB). 18. Leipzig: Duncker & Humblot. pp. 500–502.
4. ^ ^{a b} Barbara Groseclose (1999). "Leutze, Emanuel Gottlieb". American National Biography. New York: Oxford University Press. 
5. ^ Metcalfe, Peter M., ed. (1991). "History, State Designations and Superlatives". Alaska Blue Book (Tenth ed.). Juneau: Alaska Department of Education, Division of State Libraries, Archives and Museums. p. 227. 
6. ^ "Washington at Monmouth," American Heritage Magazine, June 1965, AmericanHeritage.com
7. ^ William Howe Downes (1933). "Leutze, Emanuel". Dictionary of American Biography. New York: Charles Scribner's Sons. 
8. ^ Exhibition of the Works of William Morris Hunt, Museum of Fine Arts, Boston, John C. Dalton, Alfred Mudge & Son, Boston, 1879

Further reading[link]

• Wierich, Jochen. Grand Themes: Emanuel Leutze, "Washington Crossing the Delaware," and American History Painting (Penn State University Press; 2012) 240 pages; Argues that the painting was a touchstone for debates over history painting at a time of intense sectionalism.
• Hutton, Anne Hawkes (1975). Portrait of Patriotism: Washington Crossing the Delaware. Radnor, Pennsylvania: Chilton Book Company. ISBN 0-8019-6418-0. 
• New International Encyclopedia

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article Leutze, Emanuel.

Wikimedia Commons has media related to: Emanuel Leutze

• Leutze Gallery at MuseumSyndicate
• Emanuel Leutze
• Works by or about Emanuel Leutze in libraries (WorldCat catalog)
• Introduction to Washington's Crossing by David Hackett Fischer at the Oxford University Press blog, discusses Leutze's most famous painting.
•  "Leutze, Emanuel". New International Encyclopedia. 1905. 
•  "Leutze, Emanuel". Collier's New Encyclopedia. 1921. 
• Reynolda House Museum of American Art

Washington Crossing the Delaware

Artist	Emanuel Leutze
Year	1851
Type	Oil on canvas
Dimensions	378.5 cm × 647.7 cm (149 in × 255 in)
Location	Metropolitan Museum of Art, New York City

Washington Crossing the Delaware is an 1851 oil-on-canvas painting by German American artist Emanuel Gottlieb Leutze. It commemorates General George Washington's crossing of the Delaware River on the night of December 25–26, 1776, during the American Revolutionary War. That action was the first move in a surprise attack against the Hessian forces at Trenton, New Jersey in the Battle of Trenton.

The original was part of the collection at the Kunsthalle in Bremen, Germany and was destroyed in a British Air Raid in 1942. There are many copies, one of which is in the West Wing reception area of the White House. A replica is part of the permanent collection of the Metropolitan Museum of Art in New York City.

History[link]

German-born Emanuel Gottlieb Leutze (1816–1868) grew up in America, then returned to Germany as an adult, where he conceived of the idea for this painting during the Revolutions of 1848. Hoping to encourage Europe's liberal reformers through the example of the American Revolution, and using American tourists and art students as models and assistants, among them Worthington Whittredge and Andreas Achenbach, Leutze finished the first painting in 1850. Just after it was completed, the first version was damaged by fire in his studio, subsequently restored, and acquired by the Kunsthalle Bremen. In 1942, during World War II, it was destroyed in a bombing raid by the British Royal Air Force (which has led to a persistent joke that the raid was Britain's final retaliation for the American Revolution).

The second painting, a full-sized replica of the first, was begun in 1850 and placed on exhibition in New York in October 1851. More than 50,000 people viewed it. The painting was originally bought by Marshall O. Roberts for $10,000 (at the time, an enormous sum). After changing ownership several times, it was finally donated to the Metropolitan Museum of Art by John Stewart Kennedy in 1897.

The painting was loaned at least twice in its history. In the early 1950s, it was part of an exhibition in Dallas, Texas. Then, beginning in 1952, it was exhibited for several years at the United Methodist Church in Washington Crossing, Pennsylvania, not far from the scene of the painting. Today, it is on exhibition at the Metropolitan Museum of Art.

In January 2003, the painting was defaced when a former Metropolitan Museum of Art guard glued a picture of the September 11, 2001, terrorist attacks to it. No permanent damage was caused.^[1]

Composition[link]

The painting depicted on the New Jersey state quarter.

The painting is notable for its artistic composition. General Washington is emphasized by an unnaturally bright sky, while his face catches the upcoming sun. The colors consist of mostly dark tones, as is to be expected at dawn, but there are red highlights repeated throughout the painting. Foreshortening, perspective and the distant boats all lend depth to the painting and emphasize the boat carrying Washington.

The people in the boat represent a cross-section of the American colonies, including a man in a Scottish bonnet and a man of African descent facing backward next to each other in the front, western riflemen at the bow and stern, two farmers in broad-brimmed hats near the back (one with bandaged head), and an androgynous rower in a red shirt, possibly meant to be a woman in man's clothing. There is also a man at the back of the boat that looks to be Native American.

The man standing next to Washington and holding the flag is Lieutenant James Monroe, future President of the United States. Also, General Edward Hand, the General who accepted the sword of surrender from Charles Cornwallis at the Siege of Yorktown, is shown seated and holding his hat within the vessel.

Historical inaccuracies[link]

The flag depicted is the original flag of the United States (the "Stars and Stripes"), the design of which did not exist at the time of Washington's crossing. The flag's design was specified in the June 14, 1777, Flag Resolution of the Second Continental Congress, and flew for the first time on September 3, 1777—well after Washington's crossing in 1776. The historically accurate flag would have been the Grand Union Flag, officially hoisted by Washington himself on January 2, 1776, at Cambridge, Massachusetts, as the standard of the Continental Army and the first national flag.

Artistic concerns motivated further deviations from historical (and physical) accuracy. For example, the boat (of the wrong model) looks too small to carry all occupants and stay afloat, but this emphasizes the struggle of the rowing soldiers. There are phantom light sources besides the upcoming sun, as can be seen on the face of the front rower and shadows on the water, to add depth. The crossing took place in the dead of night, so there ought to have been little natural light, but this would have made for a very different painting. The river is modeled after the Rhine, where ice tends to form in jagged chunks as pictured, not in broad sheets as is more common on the Delaware. (However, it is speculated that the Delaware River really was frozen over as depicted because of the Little Ice Age that was occurring at the time.)^{[citation needed]} Also, the Delaware at what is now called Washington Crossing is far narrower than the river depicted in the painting. It was also raining during the crossing. Next, the men did not bring horses across the river in the boats. Finally, Washington's stance, obviously intended to depict him in a heroic fashion, would have been very hard to maintain in the stormy conditions of the crossing. Considering that he is standing in a rowboat, such a stance would have risked capsizing the boat. However, historian David Hackett Fischer has argued that everyone would have been standing up to avoid the icy water in the bottom of the boat (the actual boats used have higher sides).^[2]

In popular culture[link]

• "Washington Crossing the Delaware" is also the title of a 1936 sonnet by David Shulman. It refers to the scene in the painting, and is a 14-line rhyming sonnet of which every line is an anagram of the title.
• William H. Powell produced a painting that owes an artistic debt to Luetze's work, depicting Oliver Perry transferring command from one ship to another during the Battle of Lake Erie during the War of 1812. The original painting now hangs in the Ohio Statehouse, and Powell later created a larger, more light toned rendering of the same subject which hangs in the U.S. Capitol in Washington, D.C. In both of Powell's works, Perry is shown standing in a small boat rowed by several men in uniform. The Washington painting shows the direction of travel from right to left, and the Perry image shows a reverse direction of motion, but the two compositions are still amazingly similar. Both paintings feature one occupant of the boat with a bandaged head.
• Washington Rallying the Troops at Monmouth, Leutze's companion piece to Washington Crossing the Delaware is displayed in the Heyns (East) Reading Room of Doe Library at the University of California, Berkeley.^[3]
• In 1953, the American Pop Artist Larry Rivers painted his version of Washington Crossing the Delaware which is in the collection of The Museum of Modern Art in New York City.^[4]
• Grant Wood makes direct use of Leutze's painting in his own Daughters of Revolution. The painting is a direct jab at the D.A.R., scrutinizing what Wood interpreted as their unfounded elitism.
• The painting is obtainable in the video game Animal Crossing as the "Classic Painting".
• Movie poster of Winnie the Pooh (2011) features the characters of Winnie and his friends in a honeypot, floating in honey. Tigger is the rower, with Winnie stylized as Washington.[1]

Censorship[link]

At least three times in the 20th century, and as recently as 2002, American grade school administrators stepped in to alter textbook reproductions of the painting because Washington's watch fob was painted too close to his crotch for their comfort, possibly resembling male genitalia. In Georgia in 1999, for example, Muscogee County teachers' aides painted out the timepiece by hand on 2,300 copies.^[5][6]

References[link]

Further reading[link]

• Anne Hawkes Hutton, Portrait of Patriotism: Washington Crossing the Delaware. Chilton Book Company, 1975. ISBN 0-8019-6418-0. A detailed history of the painting, the actual crossing of the Delaware by American forces, and the life of Emanuel Gottlieb Leutze.
• David Hackett Fischer, Washington's Crossing. Oxford University Press, 2004. ISBN 0-19-517034-2. A detailed military history of George Washington's attack on Trenton; the introduction offers a close look at Leutze's painting.
• Barratt, Carrie Rebora (Fall 2011). "Washington Crossing the Delaware and the Metropolitan Museum". The Metropolitan Museum of Art Bulletin: pp. 5–19. 
• Howat, John K. (March 1968). "Washington Crossing the Delaware". The Metropolitan Museum of Art Bulletin 26 (7): pp. 289–299. http://www.metmuseum.org/pubs/bulletins/1/pdf/3258337.pdf.bannered.pdf. Retrieved January 27, 2012. 

External links[link]

Wikimedia Commons has media related to: Washington Crossing the Delaware

• Introduction to Washington's Crossing by David Hackett Fischer at the Oxford University Press blog.
• Errors in the painting from ushistory.org

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Course of Empire was an Alternative / post-punk band based in Dallas, Texas.

Biography[link]

Course of Empire was a hard-edged, post-industrial, alternative music group based in Dallas, Texas from 1988 to 1998. In the early days, large drums would be placed throughout the audience as a means to eliminate the separation between performer and audience. Inspired by the Kodo Drummers of Japan, C.o.E. sought to use the theater of mass drumming to illustrate their vision of a future culture that would evolve as a response to the exponentially increasing human population on the planet. This practice was stopped, however, when the drums ceased to be played by ever-increasing crowds, becoming dangerous missiles instead. The band retained one defining feature however: two drummers playing simultaneously (Michael Jerome and Chad Lovell) creating a propulsive, driving beat that underlaid many of the group's songs.

Song topics were initially of a more political and environmental stance (the name Course of Empire having come from a 5-piece series by 19th Century painter Thomas Cole). Later, the lyrical content would take on topics related to conspiracy theories and the personal quest of spirituality.

They released three studio albums over their ten year existence: one on the Dallas label Carpe Diem, one with Zoo Entertainment, and one with TVT Records. Additionally, they toured with industrial-metal groups such as Prong, Sister Machine Gun, Stabbing Westward, Young Gods and many others. The band's first two albums established the group's sound: precise, driving drums overlaid with heavy industrial guitars and hard-edged vocals. However, the group refused to conform to any particular genre, incorporating elements of Eastern and Middle Eastern music, tabla drumming, and electronic music into their songs. As film students at Southern Methodist University, members of the band used their knowledge to infuse their songs with references to the environment, culture and the effects of humankind on the planet.

The band released their first single/EP, Infested, ahead of the Initiation album in 1993. The single featured two new songs, Joy and Let's Have A War (a cover of a song by Fear (band)), as well as a "Darwin Goodman" remix of Infested -- Darwin from naturalist/evolutionary scientist Charles Darwin, and Goodman from legendary big band clarinetist Benny Goodman. The remix sampled Goodman's performance of swinger Louis Prima's big band standard Sing, Sing, Sing and featured a different, swing-inspired drumbeat.

In 1995, producer John Fryer (Nine Inch Nails, Gravity Kills) was tapped to produce their third record, Telepathic Last Words, as it featured more electronic-edged material. Soon after, the band found support in Dallas radio icon Redbeard who promoted the album weeks ahead of release on Dallas radio station Q102, including heavy airplay of New Maps, which was scheduled to be the lead single from Telepathic Last Words. Unfortunately, the Zoo record label folded in July 1996, just one month before the album was due to be released.

TVT Records signed the band by December 1996 after working out the licensing terms with BMG for the rights to Telepathic Last Words and the previous Initiation record. At TVT's request, the band recorded additional tracks with drummer Chad Lovell as producer. The new tracks were mixed in Hollywood at Larrabee Studios North with Dave Bianco at the helm. Some previous tracks were also remixed by Bianco. Telepathic Last Words, originally mastered by Bob Ludwig for the Zoo release, was re-mastered by Howie Weinberg in September 1997 and was finally released in January 1998, almost two years after its original completion. As part of the new deal, the scheduled national lead single was changed from New Maps to The Information. The band received favorable press in the form of a two-page cover story in a local alternative weekly newsmagazine, the Dallas Observer, as well as mentions in Spin (magazine) and trade publications. However, a lack of promotion by the record company prevented the song from seeing a wide release on modern-rock playlists across the United States. The Information was picked up by local Dallas alternative-rock station Q102 (KTXQ) after the success of New Maps on Redbeard's show but failed to gain traction and was dropped from the playlist by 1998. Plans to release either Persian Song or the newly re-recorded version of Coming of the Century as singles did not come to fruition.

One track from Telepathic Last Words, The Information, was included on the soundtrack for the film Dark City. A music video was also produced featuring scenes from the movie and was aired on MTV at the time of the movie's premiere. The band toured with Rob Halford's ill-fated "Two" project along with John 5 of Marilyn Manson fame, and also opened for The Sisters of Mercy in L.A. that spring.

The group disbanded after ten years together over frustration with management, booking, and lack of a proper A&R rep. The final show, played in July 1998 at Trees in the Deep Ellum area of Dallas, Texas, drew a vibrant, energetic group of fans determined to give a lively send-off to their favorite band. After the crowd had been pumped up by local opening acts Caulk and Doosu, Course of Empire took the stage and electrified the audience by performing some of their earlier songs, including most of the Initiation album, instead of concentrating on the new material from Telepathic Last Words.

After the group split in 1998, drummer Michael Jerome and guitarist Mike Graff collaborated with Van Eric Martin to form the group Halls of the Machine who released their debut album, Atmospheres for Lovers and Sleepers, in 2001.

In 2004, Mike Graff and Martin Baird at Verge Music Works recording studio mixed the still-existing 24 tracks of the final performance at Trees in Dallas, TX from 1998 and personally financed and self released the tracks, titled Phone Calls From the Dead.^[1] The group's website, courseofempire.com, currently offers all of their major releases as downloads in MP3 format free of charge, and the band also maintains a Myspace page under "Course of Empire".

Group Members[link]

• Mike Graff 1988-1998 (guitar)
• Vaughn Stevenson 1988-1998 (vocals)
• Paul Semrad 1988-1998 (bass, backing vocals)
• Anthony Headley 1988-1991 (drums)
• Chad Lovell 1989-1998 (drums)
• Michael Jerome 1994-1998 (drums)

Other performing members: Dave Abbruzzese (drums) Kyle Thomas (drums)

Discography[link]

Albums[link]

• 1990: Course of Empire (Carpe Diem Records)
  • After selling over 5000 copies in Dallas alone following its November release, BMG subsidiary Zoo Entertainment signed the band in August, 1991. This first album was reissued on the new label in January, 1992
• 1994: Initiation
• 1998: Telepathic Last Words (TVT Records)

Other Releases[link]

• 2004: Phone Calls From the Dead (Lust)
• 2004: Hiss DVD (Self-released)
• 2008: Initiation Demos (Self-released)

Singles and EPs[link]

• Infested! [CD] - 1993
• Infested! [12] - 1994
• The Information [CD] - 1998

Connections[link]

• Halls of the Machine^[2]

Notes and references[link]

External links[link]

• Official site

Albert Bierstadt
"Albert Bierstadt" by Napoleon Sarony
Born	(1830-01-07)January 7, 1830 Solingen, Germany
Died	February 18, 1902(1902-02-18) (aged 72) New York City, New York
Nationality	German-American
Field	painting
Training	Düsseldorf School
Movement	Hudson River School
Influenced	William Bliss Baker

Albert Bierstadt (January 7, 1830 – February 18, 1902) was a German-American painter best known for his lavish, sweeping landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century.

Bierstadt was part of the Hudson River School, not an institution but rather an informal group of like-minded painters. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. An important interpreter of the western landscape, Bierstadt, along with Thomas Moran, is also grouped with the Rocky Mountain School.^[1]

Biography[link]

Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1831. He developed a taste for art early and made clever crayon sketches in his youth. In 1851, he began to paint in oils.^[2] He studied painting with the members of the Düsseldorf school of painting in Düsseldorf from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting.

Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career.

Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject^[3] and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed was the way things should be: water is ultramarine, vegetation is lush and green, etc.

Nonetheless, in 1860 he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany;^[4] and his paintings remain popular. He was a prolific artist, having completed over 500^[5] (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices.

In 1882 his studio at Irvington, New York, was destroyed by fire, with many of his pictures.^[2]

Existing work[link]

Yosemite Valley, Yosemite Park (c. 1868), Oakland Museum, Oakland, California

Staubbach Falls, Near Lauterbrunnen, Switzerland, (1865)

Storm in the Mountains, (1870)

Bierstadt Lake, Rocky Mountain National Park

• Echo Lake, Franconia Mountains, NH, 1861 at the Smith College Museum of Art
• The Emerald Pool, New Hampshire, ca. 1870 at the Chrysler Museum of Art
• Oregon Trail, 1869 at the Butler Institute of American Art
• Puget Sound on the Pacific Coast, 1870 at the Seattle Art Museum
• The Wolf River, Kansas at the Detroit Institute of Arts
• Several pieces at the Museum of Fine Arts, Boston
• Alaskan Coast Range, ca. 1889 at the Smithsonian American Art Museum
• Among the Sierra Nevada, California, 1868 at the Smithsonian American Art Museum
• Domes of Yosemite ca. 1871 at the St. Johnsbury Athenaeum, St. Johnsbury, Vermont
• Cathedral Rocks, Yosemite Valley, ca. 1872 at the Smithsonian American Art Museum
• Gates of the Yosemite, ca. 1882 at the Smithsonian American Art Museum
• Indians in Council, California, ca. 1872 at the Smithsonian American Art Museum
• Passing Storm over the Sierra Nevadas ca. 1870 at the San Antonio Museum of Art
• San Francisco Bay, 1871-1873 at the Smithsonian American Art Museum
• The Rocky Mountains, Lander's Peak at the Metropolitan Museum of Art in New York City
• Sunrise in the Sierras, ca. 1872 at the Smithsonian American Art Museum
• Sierra Nevada Morning at the Gilcrease Museum
• Sierra Nevada at the Reynolda House Museum of American Art in Winston-Salem, NC
• Mount Tamalpais ca 1873' at the Parthenon in Nashville, TN
• Cho-looke, the Yosemite Fall, 1864 at the Timken Museum of Art in San Diego, CA
• Looking Down Yosemite Valley, California, 1865 at the Birmingham Museum of Art
• Indian Canoe ca 1886' at the Blanton Museum of Art in Austin, TX
• Sioux Village at Ft. Laramie at the Blanton Museum of Art in Austin, TX
• Farallon Island ca. 1887 at the Carnegie Museum of Art in Pittsburgh, Pennsylvania
• Hetch Hetchy Canyon ca 1875 at Mount Holyoke College Art Museum in South Hadley, Massachusetts
• Matterhorn at Mabee-Gerrer Museum of Art, Shawnee, OK
• St. Scholastica's Abbey, Mabee-Gerrer Museum of Art, Shawnee, OK
• Sketchbook of American Journey, Mabee-Gerrer Museum of Art, Shawnee, OK

Legacy[link]

• Because of Bierstadt's interest in mountain landscapes, Mount Bierstadt and Bierstadt Lake in Colorado are named in his honor. Bierstadt was probably the first European to visit the summit of Mount Evans in 1863, 1.5 miles from Mount Bierstadt.^[6] Bierstadt named it Mount Rosa, a reference to both Monte Rosa above Zermatt and, Rosalie Ludlow, his future wife, but the name was changed from Rosalie to Evans in 1895 in honor of Colorado governor John Evans.

• In 1998, the United States Postal Service issued a set of 20 commemorative stamps entitled "Four Centuries of American Art", one of which featured Albert Bierstadt's The Last of the Buffalo.^[7] In 2008, the USPS issued a commemorative stamp in its "American Treasures" series featuring Bierstadt's 1864 painting "Valley of the Yosemite."^[8]
• "Valley of the Yosemite"^[9] also appears in a scene in Terry Gilliam's 1995 film "Twelve Monkeys", accompanied by several doctors singing Blueberry Hill (song).^[10]
• William Bliss Baker, another landscape artist, studied under Bierstadt.

Footnotes[link]

Selected paintings[link]

• 

  Gosnold at Cuttyhunk, (c. 1858), New Bedford Whaling Museum, New Bedford, MA

• 

  The Marina Piccdola, Capri, (1859), Albright-Knox Art Gallery, Buffalo, New York

• 

  The Rocky Mountains, Lander's Peak, (1863), Metropolitan Museum of Art, New York City, New York

• 

  Among the Sierra Nevada Mountains, California, (1868), Smithsonian American Art Museum, Washington, DC.

• 

  Lake Tahoe, (1868), Fogg Art Museum, Cambridge, Massachusetts

• 

  San Francisco Bay, (1871-1873), Smithsonian American Art Museum, Washington, DC.

• 

  Looking Down Yosemite Valley (1865), Birmingham Museum of Art, Birmingham, Alabama

• 

  Sierra Nevada (c. 1871–1873), Reynolda House Museum of American Art, Winston-Salem, North Carolina.

• 

  Storm in the Rocky Mountains (Mount Rosa), 1886, Brooklyn Museum, New York

See also[link]

• List of Hudson River School artists
• List of works by Albert Bierstadt
• Edward Bierstadt
• History of painting
• Western painting

References[link]

• Anderson, Nancy K. et al. Albert Bierstadt, Art & Enterprise, Hudson Hills Press, Inc.: New York, New York, 1990.
• Hendricks, Gordon. Albert Bierstadt, Painter of the American West, Harrison House/Harry N. Abrams, Inc.: New York, New York 1988.

External links[link]

Wikimedia Commons has media related to: Albert Bierstadt

• White Mountain paintings by Albert Bierstadt
• Museum of Nebraska Art MONA Moment
• Gallery of Bierstadt's Paintings
• The Winterthur Library Overview of an archival collection on Albert Bierstadt.
• Albert Bierstadt Paintings Gallery 345 images online
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Johannes Brahms

Johannes Brahms (pronounced [joːˈhanəs ˈbʁaːms]; 7 May 1833  – 3 April 1897) was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms's popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the Three Bs.

Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he also worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinist Joseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed many of his works and left some of them unpublished.^[1]

Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and also of development, a compositional ethos pioneered by Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven. Brahms aimed to honour the "purity" of these venerable "German" structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms's works was a starting point and an inspiration for a generation of composers.

Life[link]

Early years[link]

Brahms's father, Johann Jakob Brahms (1806–72), came to Hamburg from Dithmarschen, seeking a career as a town musician. He was proficient in several instruments, but found employment mostly playing the horn and double bass. In 1830, he married Johanna Henrika Christiane Nissen (1789–1865), a seamstress never previously married, who was seventeen years older than he was. Johannes Brahms had an older sister and a younger brother. Initially, they lived near the city docks, in the Gängeviertel quarter of Hamburg, for six months, before moving to a small house on the Dammtorwall, a small city in the Inner Alster.

Photograph from 1891 of the building in Hamburg where Brahms was born. Brahms's family occupied part of the first floor, behind the two double windows on the left hand side. The building was destroyed by bombing in 1943.

Johann Jakob gave his son his first musical training. He studied piano from the age of seven with Otto Friedrich Willibald Cossel. Owing to the family's poverty, as a boy Brahms played in dance halls and brothels – some of the seediest places in Hamburg – surrounded by drunken sailors and prostitutes that often fondled the boy as he played.^{[citation needed]} Early biographers found this shocking and played down this portion of his life. Modern writers have pointed to this as a reason for Brahms's later inability to have a successful relationship for marriage, etc., his view of women being warped by his experiences.^[2] Recently, Brahms scholars Styra Avins^[3] and Kurt Hoffman have suggested that this legend is false. Since Brahms himself clearly originated the story, however, some have questioned Hoffman's theory.^[4][5]

For a time, Brahms also learned the cello.^[6] After his early piano lessons with Otto Cossel, Brahms studied piano with Eduard Marxsen, who had studied in Vienna with Ignaz von Seyfried (a pupil of Mozart) and Carl Maria von Bocklet (a close friend of Schubert). The young Brahms gave a few public concerts in Hamburg, but did not become well known as a pianist until he made a concert tour at the age of nineteen. (In later life, he frequently took part in the performance of his own works, whether as soloist, accompanist, or participant in chamber music.) He conducted choirs from his early teens, and became a proficient choral and orchestral conductor.

Meeting Joachim and Liszt[link]

Brahms in 1853

He began to compose quite early in life, but later destroyed most copies of his first works; for instance, Louise Japha, a fellow-pupil of Marxsen, reported a piano sonata, that Brahms had played or improvised at the age of 11, had been destroyed. His compositions did not receive public acclaim until he went on a concert tour as accompanist to the Hungarian violinist Eduard Reményi in April and May 1853. On this tour he met Joseph Joachim at Hanover, and went on to the Court of Weimar where he met Franz Liszt, Peter Cornelius, and Joachim Raff. According to several witnesses of Brahms's meeting with Liszt (at which Liszt performed Brahms's Scherzo, Op. 4, at sight), Reményi was offended by Brahms's failure to praise Liszt's Sonata in B minor wholeheartedly (Brahms supposedly fell asleep during a performance of the recently composed work), and they parted company shortly afterwards. Brahms later excused himself, saying that he could not help it, having been exhausted by his travels.

Brahms and Schumann[link]

Joachim had given Brahms a letter of introduction to Robert Schumann, and after a walking tour in the Rhineland, Brahms took the train to Düsseldorf, and was welcomed into the Schumann family on arrival there. Schumann, amazed by the 20-year-old's talent, published an article entitled "Neue Bahnen" (New Paths) in the 28 October 1853 issue of the journal Neue Zeitschrift für Musik alerting the public to the young man, who, he claimed, was "destined to give ideal expression to the times."^[7] This pronouncement was received with some scepticism outside of Schumann's immediate circle, and may have increased Brahms's naturally self-critical need to perfect his works and technique. While he was in Düsseldorf, Brahms participated with Schumann and Albert Dietrich in writing a sonata for Joachim; this is known as the "F–A–E Sonata" (German: Frei aber einsam). He became very attached to Schumann's wife, the composer and pianist Clara, fourteen years his senior, with whom he would carry on a lifelong, emotionally passionate relationship. Brahms never married, despite strong feelings for several women and despite entering into an engagement, soon broken off, with Agathe von Siebold in Göttingen in 1859. After Schumann's attempted suicide and subsequent confinement in a mental sanatorium near Bonn in February 1854, Brahms was the main intercessor between Clara and her husband, and found himself virtually head of the household.

After Schumann's death, Brahms hurried to Düsseldorf and for the next two years lived in an apartment above the Schumann's house, and sacrificed his career and his art for Clara's sake. The question of Brahms and Clara Schumann is perhaps the most mysterious in music history, alongside that of Beethoven's "Immortal Beloved". Whether they were actually lovers is unknown, but their destruction of their letters to each other may point to something beyond mere privacy.^[8]

Detmold and Hamburg[link]

After Schumann's death at the sanatorium in 1856, Brahms divided his time between Hamburg, where he formed and conducted a ladies' choir, and Detmold in the Principality of Lippe, where he was court music-teacher and conductor. He was the soloist at the premiere of his Piano Concerto No. 1 in 1859. He first visited Vienna in 1862, staying there over the winter, and, in 1863, was appointed conductor of the Vienna Singakademie. Though he resigned the position the following year, and entertained the idea of taking up conducting posts elsewhere, he based himself increasingly in Vienna and soon made his home there. From 1872 to 1875, he was director of the concerts of the Vienna Gesellschaft der Musikfreunde; afterwards, he accepted no formal position. He declined an honorary doctorate of music from University of Cambridge in 1877, but accepted one from the University of Breslau in 1879, and composed the Academic Festival Overture as a gesture of appreciation.

He had been composing steadily throughout the 1850s and 60s, but his music had evoked divided critical responses, and the Piano Concerto No. 1 had been badly received in some of its early performances. His works were labelled old-fashioned by the 'New German School' whose principal figures included Liszt and Richard Wagner. Brahms admired some of Wagner's music and admired Liszt as a great pianist, but the conflict between the two schools, known as the War of the Romantics, soon embroiled all of musical Europe. In the Brahms camp were his close friends: Clara Schumann, the influential music critic Eduard Hanslick, and the leading Viennese surgeon Theodor Billroth. In 1860, Brahms attempted to organise a public protest against some of the wilder excesses of the Wagnerians' music. This took the form of a manifesto, written by Brahms and Joachim jointly. The manifesto, which was published prematurely with only three supporting signatures, was a failure, and he never engaged in public polemics again.^[9]

Years of popularity[link]

It was the premiere of A German Requiem, his largest choral work, in Bremen, in 1868, that confirmed Brahms's European reputation and led many to accept that he had conquered Beethoven and the symphony. This may have given him the confidence finally to complete a number of works that he had wrestled with over many years, such as the cantata Rinaldo, his first string quartet, third piano quartet, and most notably his first symphony. This appeared in 1876, though it had been begun (and a version of the first movement seen by some of his friends) in the early 1860s. The other three symphonies then followed in 1877, 1883, and 1885. From 1881, he was able to try out his new orchestral works with the court orchestra of the Duke of Meiningen, whose conductor was Hans von Bülow. He was the soloist at the premiere of his Piano Concerto No. 2 in 1881, in Pest.

Brahms frequently travelled, both for business (concert tours) and pleasure. From 1878 onwards, he often visited Italy in the springtime, and he usually sought out a pleasant rural location in which to compose during the summer. He was a great walker and especially enjoyed spending time in the open air, where he felt that he could think more clearly.

Brahms's grave in the Zentralfriedhof (Central Cemetery), Vienna.

In 1889, one Theo Wangemann, a representative of American inventor Thomas Edison, visited the composer in Vienna and invited him to make an experimental recording. Brahms played an abbreviated version of his first Hungarian dance on the piano. The recording was later issued on an LP of early piano performances (compiled by Gregor Benko). Although the spoken introduction to the short piece of music is quite clear, the piano playing is largely inaudible due to heavy surface noise. Nevertheless, this remains the earliest recording made by a major composer. Analysts and scholars remain divided, however, as to whether the voice that introduces the piece is that of Wangemann or of Brahms.^[10] Several attempts have been made to improve the quality of this historic recording; a "denoised" version was produced at Stanford University which claims to solve the mystery.^[11]

In 1889, Brahms was named an honorary citizen of Hamburg, until 1948 the only one born in Hamburg.^[12]

Later years[link]

In 1890, the 57-year-old Brahms resolved to give up composing. However, as it turned out, he was unable to abide by his decision, and in the years before his death he produced a number of acknowledged masterpieces. His admiration for Richard Mühlfeld, clarinetist with the Meiningen orchestra, moved him to compose the Clarinet Trio, Op. 114, Clarinet Quintet, Op. 115 (1891), and the two Clarinet Sonatas, Op. 120 (1894). He also wrote several cycles of piano pieces, Opp. 116–119, the Vier ernste Gesänge (Four Serious Songs), Op. 121 (1896), and the Eleven Chorale Preludes for organ, Op. 122 (1896).

While completing the Op. 121 songs, Brahms developed cancer (sources differ on whether this was of the liver or pancreas). His condition gradually worsened and he died on 3 April 1897, aged 63. Brahms is buried in the Zentralfriedhof in Vienna.

Tributes[link]

Later that year, the British composer Hubert Parry, who considered Brahms the greatest artist of the time, wrote an orchestral Elegy for Brahms. This was never played in Parry's lifetime, receiving its first performance at a memorial concert for Parry himself in 1918.

Music of Brahms[link]

	Intermezzo, Op. 116, No. 4 Intermezzo, Op. 117, No. 1 Intermezzo, Op. 117, No. 2 Intermezzo, Op. 117, No. 3 Intermezzo, Op. 76, No. 7
Problems listening to these files? See media help.

Double Concerto in A minor, 2nd movement Double Concerto in A minor, 3rd movement Cello Sonata in F, Op. 99, 1st movement Cello Sonata in F, Op. 99, 2nd movement Cello Sonata in F, Op. 99, 3rd movement Cello Sonata in F, Op. 99, 4th movement Wiegenlied (Op. 49) Ernestine Schumann-Heink (1915)

Brahms plays his Hungarian Dance No. 1 Hungarian Dance No. 1 Recorded on 2 December 1889

Works[link]

Brahms wrote a number of major works for orchestra, including two serenades, four symphonies, two piano concertos (No. 1 in D minor; No. 2 in B-flat major), a Violin Concerto, a Double Concerto for violin and cello, and two companion orchestral overtures, the Academic Festival Overture and the Tragic Overture.

His large choral work A German Requiem is not a setting of the liturgical Missa pro defunctis but a setting of texts which Brahms selected from the Lutheran Bible. The work was composed in three major periods of his life. An early version of the second movement was first composed in 1854, not long after Robert Schumann's attempted suicide, and this was later used in his first piano concerto. The majority of the Requiem was composed after his mother's death in 1865. The fifth movement was added after the official premiere in 1868, and the work was published in 1869.

Brahms's works in variation form include, among others, the Variations and Fugue on a Theme by Handel and the Paganini Variations, both for solo piano, and the Variations on a Theme by Haydn (now sometimes called the Saint Anthony Variations) in versions for two pianos and for orchestra. The final movement of the Fourth Symphony, Op. 98, is formally a passacaglia.

His chamber works include three string quartets, two string quintets, two string sextets, a clarinet quintet, a clarinet trio, a horn trio, a piano quintet, three piano quartets, and four piano trios (the fourth being published posthumously). He composed several instrumental sonatas with piano, including three for violin, two for cello, and two for clarinet (which were subsequently arranged for viola by the composer). His solo piano works range from his early piano sonatas and ballades to his late sets of character pieces. Brahms was a significant lieder composer, who wrote over 200 songs. His chorale preludes for organ, Op. 122, which he wrote shortly before his death, have become an important part of the organist's repertoire.

Brahms strongly preferred writing absolute music that does not refer to an explicit scene or narrative, and he never wrote an opera or a symphonic poem.

Despite his reputation as a serious composer of large, complex musical structures, some of Brahms's most widely known and most commercially successful compositions during his life were small-scale works of popular intent aimed at the thriving contemporary market for domestic music-making; indeed, during the 20th century, the influential American critic B. H. Haggin, rejecting more mainstream views, argued in his various guides to recorded music that Brahms was at his best in such works and much less successful in larger forms. Among the most cherished of these lighter works by Brahms are his sets of popular dances—the Hungarian Dances, the Waltzes, Op. 39, for piano duet, and the Liebeslieder Waltzes for vocal quartet and piano—and some of his many songs, notably the Wiegenlied, Op. 49, No. 4 (published in 1868). This last was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber and is universally known as Brahms's Lullaby.

Style and influences[link]

Brahms in mid-career

Brahms maintained a Classical sense of form and order in his works – in contrast to the opulence of the music of many of his contemporaries. Thus many admirers (though not necessarily Brahms himself) saw him as the champion of traditional forms and "pure music", as opposed to the "New German" embrace of programme music.

Brahms venerated Beethoven: in the composer's home, a marble bust of Beethoven looked down on the spot where he composed, and some passages in his works are reminiscent of Beethoven's style. Brahms's First Symphony bears strongly the influence of Beethoven's Fifth Symphony, as the two works are both in a formidable C minor, and end in the struggle towards a C major triumph. The main theme of the finale of the First Symphony is also reminiscent of the main theme of the finale of Beethoven's Ninth, and when this resemblance was pointed out to Brahms, he replied that any ass – jeder Esel – could see that. In 1876, when the work was premiered in Vienna, it was immediately hailed as "Beethoven's Tenth". However, the similarity of Brahms's music to that of late Beethoven had first been noted as early as November 1853, in a letter from Albert Dietrich to Ernst Naumann.^[13][14]

A German Requiem was partially inspired by his mother's death in 1865 (at which time he composed a funeral march that was to become the basis of Part Two, Denn alles Fleisch), but it also incorporates material from a symphony which he started in 1854 but abandoned following Schumann's suicide attempt. He once wrote that the Requiem "belonged to Schumann". The first movement of this abandoned Symphony was re-worked as the first movement of the First Piano Concerto.

Brahms also loved the Classical composers Mozart and Haydn. He collected first editions and autographs of their works, and edited performing editions. He studied the music of pre-classical composers, including Giovanni Gabrieli, Johann Adolph Hasse, Heinrich Schütz, Domenico Scarlatti, George Frideric Handel, and, especially, Johann Sebastian Bach. His friends included leading musicologists, and, with Friedrich Chrysander, he edited an edition of the works of François Couperin. Brahms also edited works by C. P. E. and W. F. Bach. He looked to older music for inspiration in the art of counterpoint; the themes of some of his works are modelled on Baroque sources such as Bach's The Art of Fugue in the fugal finale of Cello Sonata No. 1 or the same composer's Cantata No. 150 in the passacaglia theme of the Fourth Symphony's finale.

The early Romantic composers also had a major influence on Brahms, particularly Schumann, who encouraged Brahms as a young composer. During his stay in Vienna in 1862–63, Brahms became particularly interested in the music of Franz Schubert.^[15] The latter's influence may be identified in works by Brahms dating from the period, such as the two piano quartets Op. 25 and Op. 26, and the Piano Quintet which alludes to Schubert's String Quintet and Grand Duo for piano four hands.^[15][16] The influence of Chopin and Mendelssohn on Brahms is less obvious, although occasionally one can find in his works what seems to be an allusion to one of theirs (for example, Brahms's Scherzo, Op. 4, alludes to Chopin's Scherzo in B-flat minor;^[17] the scherzo movement in Brahms's Piano Sonata in F minor, Op. 5, alludes to the finale of Mendelssohn's Piano Trio in C minor).^[18]

Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality would result in the rule of tonality being broken altogether. Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early Variations and Fugue on a Theme by Handel; Brahms himself, according to many sources (Swafford, 1999), deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory.

Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life. His Hungarian Dances were among his most profitable compositions.

Brahms and religion[link]

Brahms's personal views tended to be humanistic and sceptical, though one of his musical influences was undoubtedly the Bible as rendered in German by Martin Luther. His Requiem employs biblical texts to speak words of comfort to the bereaved while generally omitting statements concerning salvation or immortality. Composer Walter Niemann declared "The fact that Brahms began his creative activity with the German folk song and closed with the Bible reveals... the true religious creed of this great man of the people." Biographers and critics more often understand Brahms's appreciation of Lutheran tradition as cultural more than existential.^[19] When asked by conductor Karl Reinthaler to add additional sectarian text to his German Requiem, Brahms responded, "As far as the text is concerned, I confess that I would gladly omit even the word German and instead use Human; also with my best knowledge and will I would dispense with passages like John 3:16. On the other hand, I have chosen one thing or another because I am a musician, because I needed it, and because with my venerable authors I can't delete or dispute anything. But I had better stop before I say too much."

There is reason to believe that Brahms was a religious freethinker. Being a star of his age, he would frequently say deceptive things to the public. This means that the most reliable accounts on Brahms's innermost feelings may come from the people in the close circle around him. Among these was the devout Catholic Antonín Dvořák, the closest Brahms ever came to having a protégé. In a letter, Dvořák disclosed his concerns regarding Brahms's religious views: "Such a man, such a fine soul—and he believes in nothing! He believes in nothing!"^[20]

The question of Brahms and religiosity has been controversial and elicited accusations of fraud. One example is the book Talks With Great Composers, released in the 1950s by Arthur Abell, which contains an unconfirmed interview with Brahms and Joseph Joachim, replete with biblical references. The interview has been declared fraudulent by Brahms biographer Jan Swafford.^[5]

Influence[link]

Brahms's point of view looked both backward and forward; his output was often bold in its exploration of harmony and rhythm. As a result, he was an influence on composers of both conservative and modernist tendencies. Within his lifetime, his idiom left an imprint on several composers within his personal circle, who strongly admired his music, such as Heinrich von Herzogenberg, Robert Fuchs, and Julius Röntgen, as well as on Gustav Jenner, who was Brahms's only formal composition pupil. Antonín Dvořák, who received substantial assistance from Brahms, deeply admired his music and was influenced by it in several works, such as the Symphony No. 7 in D minor and the F minor Piano Trio. Features of the 'Brahms style' were absorbed in a more complex synthesis with other contemporary (chiefly Wagnerian) trends by Hans Rott, Wilhelm Berger, Max Reger and Franz Schmidt, whereas the British composers Hubert Parry and Edward Elgar and the Swede Wilhelm Stenhammar all testified to learning much from Brahms's example. As Elgar said, "I look at the Third Symphony of Brahms, and I feel like a pygmy."^[21]

Ferruccio Busoni's early music shows much Brahmsian influence, and Brahms took an interest in him, though Busoni later tended to disparage Brahms. Towards the end of his life, Brahms offered substantial encouragement to Ernő Dohnányi and also to Alexander von Zemlinsky. Their early chamber works (and those of Béla Bartók, who was friendly with Dohnányi) show a thoroughgoing absorption of the Brahmsian idiom. Zemlinsky, moreover, was in turn the teacher of Arnold Schoenberg, and Brahms was apparently impressed by two movements of Schoenberg's early Quartet in D major which Zemlinsky showed him. In 1933, Schoenberg wrote an essay "Brahms the Progressive" (re-written 1947), which drew attention to Brahms's fondness for motivic saturation and irregularities of rhythm and phrase; in his last book (Structural Functions of Harmony, 1948), he analysed Brahms's "enriched harmony" and exploration of remote tonal regions. These efforts paved the way for a re-evaluation of Brahms's reputation in the 20th century. Schoenberg went so far as to orchestrate one of Brahms's piano quartets. Schoenberg's pupil Anton Webern, in his 1933 lectures, posthumously published under the title The Path to the New Music, claimed Brahms as one who had anticipated the developments of the Second Viennese School, and Webern's own Op. 1, an orchestral passacaglia, is clearly in part a homage to, and development of, the variation techniques of the passacaglia-finale of Brahms's Fourth Symphony.

Brahms was honoured by the German Hall of Fame, the Walhalla memorial. On 14 September 2000, he was introduced there as the 126th "rühmlich ausgezeichneter Teutscher" and 13th composer among them, with a bust by sculptor Milan Knobloch.^[22]

Personality[link]

Like Beethoven, Brahms was fond of nature and often went walking in the woods around Vienna. He often brought penny candy with him to hand out to children. To adults, Brahms was often brusque and sarcastic, and he sometimes alienated other people. His pupil Gustav Jenner wrote, "Brahms has acquired, not without reason, the reputation for being a grump, even though few could also be as lovable as he."^[23] He also had predictable habits, which were noted by the Viennese press, such as his daily visit to his favourite "Red Hedgehog" tavern in Vienna, and his habit of walking with his hands firmly behind his back, which led to a caricature of him in this pose walking alongside a red hedgehog. Those who remained his friends were very loyal to him, however, and he reciprocated with equal loyalty and generosity.

Brahms had amassed a small fortune in the second half of his career, around 1860, when his works sold widely. But despite his wealth, he lived very simply, with a modest apartment – a mess of music papers and books – and a single housekeeper who cleaned and cooked for him. He was often the butt of jokes for his long beard, his cheap clothes and often not wearing socks, etc. Brahms gave away large sums of money to friends and to aid various musical students, often with the term of strict secrecy. Brahms' domicile was hit during World War II, destroying his piano and other possessions that were still kept there for posterity by the Viennese.^[2]

Johann Strauss II (left) and Johannes Brahms (right) photographed in Vienna

Brahms was a lifelong friend of Johann Strauss II, though they were very different as composers. Brahms even struggled to get to the Theater an der Wien in Vienna for the premiere of Strauss's operetta Die Göttin der Vernunft in 1897 before his death. Perhaps the greatest tribute that Brahms paid to Strauss was his remark that he would have given anything to have written The Blue Danube waltz. An old anecdote recounts that when Strauss's wife Adele asked Brahms to autograph her fan, he wrote the first few notes of the "Blue Danube" waltz, and then wrote the words "Unfortunately not by Johannes Brahms!" underneath.

Brahms was an extreme perfectionist. He destroyed many early works – including a Violin Sonata he had performed with Reményi and violinist Ferdinand David – and once claimed to have destroyed 20 string quartets before he issued his official First in 1873. Over the course of several years, he changed an original project for a symphony in D minor into his first piano concerto. In another instance of devotion to detail, he laboured over the official First Symphony for almost fifteen years, from about 1861 to 1876. Even after its first few performances, Brahms destroyed the original slow movement and substituted another before the score was published. (A conjectural restoration of the original slow movement has been published by Robert Pascall.) Another factor that contributed to Brahms's perfectionism was that Schumann had announced early on that Brahms was to become the next great composer like Beethoven, a prediction that Brahms was determined to live up to. This prediction hardly added to the composer's self-confidence, and may have contributed to the delay in producing the First Symphony. However, Clara Schumann noted before that Brahms's First Symphony was a product that was not reflective of Brahms's real nature. She felt that the final exuberant movement was "too brilliant", as she was encouraged by the dark and tempestuous opening movement she had seen in an early draft. However, she recanted in accepting the Second Symphony, which has often been seen in modern times as one of his sunniest works. Other contemporaries, however, found the first movement especially dark, and Reinhold Brinkmann, in a study of Symphony No. 2 in relation to 19th century ideas of melancholy, has published a revealing letter from Brahms to the composer and conductor Vinzenz Lachner in which Brahms confesses to the melancholic side of his nature and comments on specific features of the movement that reflect this.

International Johannes Brahms Competition[link]

Further reading[link]

• Deiters/Newmarch. (1888). Johannes Brahms: A Biographical Sketch. Fisher Unwin (reissued by Cambridge University Press, 2009; ISBN 978-1-108-00479-4)
• Johannes Brahms: Life and Letters, ISBN 0-19-816234-0 by Brahms himself, edited by Styra Avins, translated by Josef Eisinger (1998). A biography by way of comprehensive footnotes to a comprehensive collection of Brahms's letters (some translated into English for the first time). Elucidates some previously contentious matters, such as Brahms's reasons for declining the Cambridge invitation.
• Brahms, His Life and Work, by Karl Geiringer, photographs by Irene Geiringer (1987, ISBN 0-306-80223-6). A biog and discussion of his musical output, supplemented by, and cross-referenced with, the body of correspondence sent to Brahms.
• Charles Rosen discusses a number of Brahms's imitations of Beethoven in Chapter 9 of his Critical Entertainments: Music Old and New (2000; Cambridge, MA: Harvard University Press, ISBN 0-674-17730-4).
• Brahms by Malcolm MacDonald is a biography and also discussion of virtually everything Brahms composed, along with chapters examining his position in Romantic music, his devotion to Early Music, and his influence on later composers. (Dent 'Master Musicians' series, 1990; 2nd edition Oxford, 2001, ISBN 0-19-816484-X
• Johannes Brahms: A Biography, by Jan Swafford. A comprehensive (752 pages) look at the life and works of Brahms. (1999; Vintage, ISBN 0-679-74582-3)
• Late Idyll: The Second Symphony of Johannes Brahms, by Reinhold Brinkmann, translated by Peter Palmer. An analysis of Symphony No.2 and meditation of its position in Brahms's career and in relation to 19th century ideas of melancholy. (1995, Harvard, ISBN 0-674-51175-1)
• Johannes Brahms, His Work & Personality, by Hans Gal (Translated by Joseph Stein). Wiedenfeld & Nicolson, 1963.
• The Music of Brahms, by Michael Musgrave. Oxford, 1985 ISBN 0-19-816401-7

References[link]

External links[link]

Wikimedia Commons has media related to: Johannes Brahms

• Brahms Institut, Lübeck Academy of Music
• The Lied and Art Song Texts Page created and maintained by Emily Ezust Texts of the Lieder of Brahms with translations in various languages.
• "What's late about late Brahms?": an article in the TLS by Peter Williams, 7 November 2007
• Brahms at the Piano. Information about the recording made by Thomas Edison in 1889 of Brahms playing part of his Hungarian Dance No. 1 in G minor.
• Johannes Brahms: list of works from http://www.johannesbrahms.org
• Photo of Brahms as a young man in 1853
• Brahms Listening Guides. A collection in progress of detailed guides to the composer's works, linked to specific recordings but also including measure numbers
• Listings of live performances at Bachtrack
• johannes brahms biography
• Works by or about Johannes Brahms in libraries (WorldCat catalog)
• Johannes Brahms in the German National Library catalogue (German)

Sheet music[link]

• Complete collection of scores at the Brahms Institut in Breitkopf & Härtel or Simrock editions; work details
• Brahms’ scores – selection of printable works.
• www.kreusch-sheet-music.net Brahms's piano works
• Free scores of Brahms Lieder and orchestral works in GIF format from the Variations Project at Indiana University. Last accessed 14 August 2008.
• Free scores by Brahms at the International Music Score Library Project
• Free scores by Johannes Brahms in the Choral Public Domain Library (ChoralWiki)
• Works by Johannes Brahms at Project Gutenberg
• Free scores by Johannes Brahms in the Werner Icking Music Archive (WIMA)
• Free scores Mutopia Project

Recordings[link]

• Free audio MP3 of some Brahms's works OnClassical – Creative Commons BY-NC-SA, 1.0 licensed
• Johannes Brahms – Violin Sonatas MP3 Creative Commons Recording
• Fünf Gesänge, Op. 104 (Brahms): Free MP3s (Op. 42, Op. 93a, Op. 104 and Op. 52)
• Kunst der Fuge: Johannes Brahms – MIDI files Daily limit of 5 files.
• Works by Brahms performed on virtual organs
• Classic Cat – Brahms – mp3s
• Performances of works by Johannes Brahms in MIDI and MP3 formats at Logos Virtual Library