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  • noun

Synonyms for Brahms

German composer who developed the romantic style of both lyrical and classical music (1833-1897)

the music of Brahms

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References in periodicals archive ?
26) A possible exception are putative Brahmsian topoi that have associated tempos, but my earlier (and similar) speculations would need more data to be confirmed.
There is that in Baudelaire, to be sure, but it hardly does justice to our Brahmsian artist, has nothing to do with his finest poems such as La Chevelure, L'Invitation au voyage, Le Cygne, and only marginally with great ones like Les Petites Vieilles.
This refreshing Grieg threw up some Brahmsian moments, and it was Brahms' Third Symphony which concluded the afternoon.
Ewazen's neo-romantic harmonies and arching melodies match well with the symphonic lushness of this Brahmsian instrumentation.
The Brahmsian influence in Barber's music, often noted in his later Curtis studies as a student of Rosario Scalero, (10) is not readily apparent in Christmas Eve.
The composition contains a number of tiny melodic fragments, which keep reappearing in new connections, which is essentially a very classical, I would say Brahmsian, technique.
These charming songs of Brahms are quite different from the Brahmsian style we are accustomed to hearing.
The main work here is a sonata by the redoubtable suffragette Dame Ethel Smyth, a splendidly Brahmsian composition, and there are shorter pieces by Elizabeth Maconchy, Phyllis Tate and another sonata by Irena Wieniawska, the daughter of the famous Polish violinist and composer.
The lyricism of the earlier trios bears a Brahmsian influence.
Stimulating though it is to study these, they risk too decisive a move to locate the work within Brahmsian traditions whose relevance is strictly limited.
In the Seventh - though the most Brahmsian of Dvorak's symphonies - you could smell the Bohemian woods and fields - one glorious tune after another.
Another mid-European worthy of revival is Franz Schmidt, clearly a Brahmsian disciple.
Two sets of songs by Fuchs were reviewed in the January/February 2007 issue of the Journal, where substantial background was given on Fuchs and his place in the Brahmsian circle of nineteenth century Vienna.
1876-77), while a sense of Liszt's fascination with thematic transformation pervades the freely designed Fantasie Sonata of 1878, and a more mature, controlled Brahmsian approach characterizes the late D-Major Sonata of 1888.
The post-modernist concoction of a portion of keyboard on a plate is in Brahmsian dark colours, but otherwise it misses the spirit of this exceptional recording in every respect.