Famed German composer (1833–1897) whose works in the classical spirit, written in the midst of the Romantic era, take a place among the most enduring music of the 19th century. Among his best-known works are four symphonies, numerous concerti, all manner of chamber and keyboard works, and the large-scale choral masterpiece German Requiem. ALS in German signed “J. B.” and in the text as “J. Br.,” three pages on two adjoining sheets, 5.5 x 8.75, no date [docketed in another hand November 30, 1875]. Brahms writes to “S” [his publisher, Friedrich “Fritz” Simrock]. In part (translated): “I have nothing against [composer Albert] Parlow. However, I am very much against the new dates on my compositions! You did not consider at all that it’s one thing if the composer states the date, but entirely another if the publisher is annotating a date! It’s an old, and, for a number of reasons, well-founded desire that publishers list the date [year] in addition to their numbers, but composers were never expected to do that! You realize, of course, that your titles now look as if I was writing world history, and at the same time I am coming across as a vain and conceited composer! The date must only be listed in a way that no one can have any doubt that it was you who added it. Well, so be it if I am the know-it-all in your line of expertise, but this is how the title has to read, for instance....” After penning a sample layout (including his name as “J. Br.”), Brahms continues: “For how much longer do you think we have to bicker over that darned title? [Publisher] Erler was doing exactly that with [composer Adolf] Jensen, and at that time I was amused by Jensen’s vanity—now I am in the same predicament! Rushed....” Brahms’s compositions for 1875 included the Third Piano Quartet and the arrangement of his Neue Liebeslieder Waltzes for piano duet. Intersecting folds, otherwise fine, bright condition. R&R COA.
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