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Brahmsian
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Brahmsian
Brahmsian, a. and n. (ˈbrɑːmzɪən) [f. Brahms (see def.) + -ian.] A. adj. Of, relating to, or characteristic of the German composer Johannes Brahms (1833–97) or his music. B. n. A follower or admirer of Brahms. So ˈBrahmsite a. and n.1894 G. B. Shaw Music in London 1890–94 (1956) III. 145 A German Br...
Oxford English Dictionary
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Burleske
A second, more lyrical Brahmsian theme emerges, followed by waltz-like measures not unlike the waltzes from Der Rosenkavalier.
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Gunnar de Frumerie
His works possess a Brahmsian complexity mixed with an impressionistic elegance.
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Renaissance
Renaissance (rɪˈneɪsəns, F. rənɛsɑ̃s) Also with small initial. [F., f. renaître to be born again, after naissance birth: cf. renascence.] 1. a. The great revival of art and letters, under the influence of classical models, which began in Italy in the 14th century and continued during the 15th and 16...
Oxford English Dictionary
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Friedrich Gernsheim
His earlier works show the influence of Schumann, and from 1868, when he first became friendly with Brahms, a Brahmsian influence is very palpable. Gernsheim's four symphonies (the first of which was written before the publication of Brahms' First Symphony) are an interesting example of the reception of Brahmsian
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Dirk Schäfer
His compositions include piano pieces ("Sonate Inaugurale" Op. 9) and chamber music, such as his distinctly Brahmsian piano quintet in D flat (Opus 5)
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Variations and Fugue on a Theme by Mozart
Many critics, however, have remained lukewarm to the piece as little more than Brahmsian pastiche.
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Franz Mittler
From these teachers, Mittler attained his neo-Brahmsian style.
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Alfred Whitehead
Whitehead's eight-part motets Watch Thou, Dear Lord (words by St Augustine) and Love Unknown, the Brahmsian organ Prelude on Irby, and his many short carols
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Albert Elkus
Works
Elkus was prolific as a composer, writing in a post-Brahmsian style, tending towards conservatism but with an emphasis on chromatic harmonics tinged
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Frontispiece (Unsuk Chin)
certain chord sequences by Anton Bruckner are interpreted in a manner akin to Anton von Webern, splinters of Strauss, Scriabin and Stravinsky collide, Brahmsian
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Otto Malling
Fantasia for Violin and Orchestra, Op. 20, an appealing Schumannesque piano trio (in A minor, opus 36, 1889), piano quartet (in C minor, opus 80), and a Brahmsian
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Gustav Jenner
Though his music is highly conservative for his time and shows a strong Brahmsian imprint, he was capable of individual expression and his works are always
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Symphony No. 6 (Chávez)
The twenty-ninth variation evokes a Brahmsian sound as a culmination, reflecting the illustrious antecedent Chávez has accepted as his model, and the main
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Joachim Neergaard
It is written in a post-Brahmsian, late Romantic idiom, a style cultivated at that time by composers such as Arnold Schoenberg (before he started composing
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