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most part, his life was without external incident, being spent in the quiet and secluded pursuit of artistic ideals. He died of a painful disease and was buried close to Beethoven and Schubert.

His works were not extraordinarily numerous, but they were elaborated with the minutest care and earnestness. At first they were chiefly for the piano, the solo voice or the chamber ensemble. In 1860 came the earliest of his serenades for orchestra. Several choral works followed, notably the Deutsches Requiem (1867-8, Vienna and Bremen), the Triumphlied (1872-3, Vienna and Cologne, celebrating the German victories) and the Schicksalslied—all displaying marvelous technical and emotional power. At intervals came many important piano works, including 2 concertos, manifold songs of extreme beauty and a succession of chamber works. The 4 symphonies (1876-86) were notably different from each other, displaying the complex structure, rhythmical and melodic fertility, sustained energy and disdain of merely superficial effect that mark his whole style. With these appeared the Akademische Festouvertüre (1881) and the Tragische Ouvertüre (1881) in contrasted tones of sentiment.

In the fields of the song, the choral cantata, the classical quartet and the symphony, Brahms certainly ranks as the chief master in the period just after 1850.

215. Famous Violinists and 'Cellists.—It is interesting to note about the middle of the century a gradual change in the critical estimate of virtuosity as a profession. Touring for the purpose of appealing to a variety of audiences continues common, of course, but the number of great players who thus become known is less in proportion to those whose powers are concentrated upon stated work in some local circle where they are associated with a fixed orchestra or similar organization. In other words, the virtuoso begins to lose the marks, once considered necessary, which remind us of the strolling mountebank of the Middle Ages, and finds his higher place in connection with some institution maintained as a stated means of local education. In consequence, virtuosity of the highest rank now usually involves readiness in ensemble playing, in conducting, in solid composition, in broad musicianship, as well as the power to sway casual audiences to enthusiasm or to execute difficult feats. Furthermore, the work of teaching on the part of solo instrumentalists becomes more orderly and thoughtful, so that they compete more equally with teachers in other branches. The trend of progress is everywhere toward greater dignity and breadth in the virtuoso's conception of himself and toward higher respect for him on the part of the musical public.