<br><p><b>Identifier</b>: modernmusicmusic02elso (<a class="external text" href="https://commons.wikimedia.org/w/index.php?title=Special%3ASearch&amp;profile=default&amp;fulltext=Search&amp;search=insource%3A%2Fmodernmusicmusic02elso%2F">find matches</a>)<br><b>Title</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidmodernmusicmusic02elso">Modern music and musicians : (Encyclopedic)</a><br><b>Year</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookyear1918">1918</a> (<a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookdecade1910">1910s</a>)<br><b>Authors</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookauthorElson__Louis_Charles__1848_1920">Elson, Louis Charles, 1848-1920</a><br><b>Subjects</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectPiano">Piano</a> <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectMusicians">Musicians</a> <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksubjectComposers">Composers</a><br><b>Publisher</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookpublisherNew_York___The_University_Society_Inc_">New York : The University Society Inc.</a><br><b>Contributing Library</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookcontributorHarold_B__Lee_Library">Harold B. Lee Library</a><br><b>Digitizing Sponsor</b>:  <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/booksponsorBrigham_Young_University">Brigham Young University</a><br><br><b>View Book Page</b>: <a rel="nofollow" class="external text" href="https://archive.org/stream/modernmusicmusic02elso/modernmusicmusic02elso#page/n293/mode/1up">Book Viewer</a><br><b>About This Book</b>: <a rel="nofollow" class="external text" href="https://archive.org/details/modernmusicmusic02elso">Catalog Entry</a><br><b>View All Images</b>: <a rel="nofollow" class="external text" href="https://www.flickr.com/photos/internetarchivebookimages/tags/bookidmodernmusicmusic02elso">All Images From Book</a><br>
Click here to <a rel="nofollow" class="external text" href="https://archive.org/stream/modernmusicmusic02elso/modernmusicmusic02elso#page/n293/mode/1up"><b>view book online</b></a> to see this illustration in context in a browseable online version of this book.<br><br><b>Text Appearing Before Image:</b><br><i>He made more of Goethes songsthan Schumann did. He composed, besides, to the poetry of HermannLingg and others of the realistic modern school of the north of Europe. Hehad the right impulse to go with this new school of poetry. The char-acter of Brahms is the hardest and most Norse and harsh of all Germancomposers. In spite of the cosmopolitan style of his music, Brahms is to-day thecomposer of common songs of the German people. I have often heardthem in the most humble surroundings—everywhere, in fact, where apiano could go. His songs are like stairs of every degree, from thesimplest to the deepest and most complex and the most fundamentallymagnificent. He has put everything into his music—old saws, peoplessongs, aphorisms, ballads, philosophy, comedies, dramas—in short, every-thing that appealed to him in any way. Schumann once said that athorough musician must be able to set a menu to music. Brahms fulfilledhis conception. Songs, he wrote, of fate; hero-songs; the Requiem, in</i><br><b>Text Appearing After Image:</b><br><i>JOHANN STRAUSS AND BRAHMS. From a photograph by Krziwanck, made in Vienna.Used by permission of A. F. Czihak, Successor. German words selected by himself from the New Testament (he was adiligent Bible reader); Song of Triumph; Rhapsodie (Goetheswords) ; Nanie,—all for chorus and orchestra. Then the FuneralSong (Op. 13), for chorus and wind instruments; the Twenty-thirdPsalm, for three voices, womens chorus, and organ; the Marienlieder(Op. 22), for mixed chorus in chapel; motets; spiritual songs; trios;duos; quartets; a drinking-glee; love songs; one waltz for quartet andpiano; gipsy songs (four stringed instruments); and four grave-songs.In all these different subjects Brahms, from the first note to the last, gives 26G JOHANNES BRAHMS 267 free rein to his spirit of composition with the most fascinating livelinessand truth. All these compositions are regularly played. To shut onesself off from Brahms for years of ones musical life is an impossibility.To realize his popularity, look o</i><br><br><b>Note About Images</b><br></p>
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<ul><li>Source book page: <a rel="nofollow" class="external free" href="https://archive.org/stream/modernmusicmusic02elso/modernmusicmusic02elso#page/n293/mode/1up">https://archive.org/stream/modernmusicmusic02elso/modernmusicmusic02elso#page/n293/mode/1up</a></li></ul>