Page:A Dictionary of Music and Musicians vol 4.djvu/578

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562
BREITKOPF & HÄRTEL.
BRAHMS.

Op.
93. Songs and Romances for 4-part Chorus.
93a. Do. a capella.
93b. Tafllied (Eichendorff).
94. Five Songs for low voice.
95. Seven Songs.
96. Four Songs.
97. Six Songs.
98. Symphony in E minor, No. 4
99. Sonata for Violoncello and PF. in F.
100. Sonata for Violin and PF. in A.
l01. Trio in C minor for PF. and strings.
102. Concerto for Violin and Violoncello in C.[1]
[App. p.819 adds:
Op. 103. Zigeunerlieder for 4 voices and PF. acct.
104. 5 Songs, a capella for mixed choir.
105. 6 Songs.
106. 5 Songs.
107. 5 Songs.
108. Sonata for violin and piano in D minor.]

(Died Apr. 3, 1897.)

[ R. N. ]

BRAMBILLA, Marietta. Add date of death, Nov. 6, 1875.

BRANDES, Emma, born Jan. 20, 1854, near Schwerin, was taught music by Aloïs Schmidt, court-kapellmeister at Schwerin, and by Goltermann, and in 1866 made her first public appearance there, in Mendelssohn's G minor Concerto. In 1871–72 she visited England, and showed herself a pianist of considerable performance and of still greater promise, viz. March 20, '71, at the Monday Popular, when she first appeared in pieces by Scarlatti, Schumann ('Arabeske'), and Weber ('Moto perpetuo'), and with Joachim in Beethoven's Sonata in C minor, op. 30, no. 2; at the Saturday Popular with Mme. Schumann in Bach's G minor Concerto for two pianos; at the Philharmonic April 24 (Mendelssohn's G minor Concerto); at the Crystal Palace, April 13, '72 (Schumann's Concerto); at the New Philharmonic May 8 and June 5 (Chopin's E minor Concerto), etc. She played with great success in Germany and Austria until her marriage with Herr Engelmann, Professor of Physiology at Utrecht, when she retired from public life.

[ A. C. ]

BRANDT, Marianne, whose real name is Marie Bischof, was born Sept. 12, 1842, at Vienna. She was taught singing there by Frau Marschner, and (1869–70) by Mme. Viardôt. In 1867 she was engaged at Gratz, where she made her début on Jan. 4 as Rachel ('La Juive'). She next sang at Hamburg, and on April 21, 1868, first appeared at Berlin as Azucena. On the 28th she played Fidès, with such success that she obtained an immediate engagement, which extended over several years, with the exception of a year's interval in 1873. In 1872, on leave of absence, she was engaged for the season at the Royal Italian Opera; she sang once as Fidelio, May 2, in which she made her début, and several times as Donna Elvira, with very indifferent success.[2] In 1882 she sang in German opera at Drury Lane as Brangäne on the production in England of 'Tristan und Isolde,' and as Fidelio, when her artistic efforts were heartily appreciated. On July 28 of the same year she played Kundry on the second performance of Parsifal at Bayreuth, on which occasion, according to the Paris Figuro, she generously gave her services. For the past two or three years she has been a member of the German Opera Company at New York. In addition to places mentioned, Fräulein Brandt has sung in the principal cities of Germany and Austria. At Berlin she proved herself a most useful artist: her voice being very extensive in compass, she was enabled to play both soprano and mezzo-soprano parts, as Fidelio, Eglantine ('Euryanthe'), Orpheus, Spirit of Hate ('Armida'), Ortrud, Margarethe ('Genoveva'), Elvira, Selica, Amneris ('Aida '), etc., in addition to those above named.

[ A. C. ]

BRANLE. Last line of article, for 287 read 289. (Corrected in late editions.)

BRASS BANDS. See Wind-Band, in App.

BRASSIN, Louis, a Belgian pianist and composer, born June 24, 1836, at Aix-la-Chapelle. His father was a baritone singer of some renown, whose real name was de Brassine, and an uncle of his was Drouet, the famous flautist. To the fact that in 1847 his father was engaged at the opera in Leipzig, young Brassin owed the most important part of his education, for he entered the Conservatorium of that town, and became a pupil of Moscheles, having some years previously appeared in public at Hamburg. He remained in the Conservatorium for five years, carrying off numerous prizes. At the close of this time he undertook several concert tours with his two brothers, and in 1866 was appointed first pianoforte teacher in the Stern Conservatorium at Berlin. After a year's tenure of this post, he resumed a more or less wandering life, and ultimately settled in Brussels as professor in the Conservatoire. In 1878 he accepted a similar post at St. Petersburg, where he died in May 1884. His works include, beside many excellent pianoforte pieces, two German operettas, 'Der Thronfolger,' and 'Der Missionär.' Of his two younger brothers, one, Leopold (born May 28, 1843), who made his first appearance as a pianist at the age of five under Louis Brassin's auspices, is pianist to the Duke of Saxe Coburg, and Professor at Berne; the other, Gerhard (born June 10, 1844), is a violinist of repute.

[ M. ]

BRATSCHE (Viola da Braccio). The German name for Viola or Tenor Violin.

BREITKOPF & HÄRTEL. Twelve lines from end of article, add date of death of Hermann Härtel, Aug. 4, 1875, and that Raymund Härtel retired from business in 1880, leaving the two grandsons of Gottfried at the head of affairs. Since the appearance of the article, the editions of Mendelssohn and Mozart, as well as an edition of Chopin, have been completed; editions, on the same scale, of Palestrina and Schumann, are in an advanced state, and a similar issue of the works of Schütz, Grétry, and Schubert has been undertaken. The 'Jahrbücher für Musikalische Wissenschaft' (see vol. ii. 30) were discontinued in 1867, after the appearance of the second volume; their place has been taken by a 'Viertel-jahrschrift für Musikwissenschaft,' edited by Dr. Chrysander, Professor Spitta, and Herr Guido Adler, which has been published quarterly since 1885. A supplementary volume to the complete edition of Beethoven's works is announced (1887).

[ M. ]

  1. A thematic catalogue of the composer's works has recently been published by Simrock.
  2. The reason of her engagement was to play Ortrud on the intended production of Lohengrin, which opera, according to prospectus, was to be positively produced. For reasons unknown the production did not take place until 1876, when Miss Anna d'Augéri (Angermayer) took the part.