Jan Brandts Buys
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3 Klavierstücke, Op.293 Lieder, Op.203 Lieder, Op.334 Nachtliedjes5 Charakterstücke, Op.116 LiederenA
Aus dem west-östlichen Divan, Op.32Ave Samobor, Op.37C
Capriccio Fugato, Op.39D
Der Mann im MondDie Schneider von SchönauF
Flute Quintet, Op.21M
Meeressang, Op.4Moderne Studien, Op.13O
Oberon, Op.27P
Piano Concerto, Op.15Poetical Excursions, Op.50R
Romantische Serenade, Op.25S
Sizilianische Serenade, Op.28String Quartet, Op.19String Sextet, Op.40Suite for String Quartet, Op.23Suite, Op.43T
Tancred, Op.35Tänze und Weisen, Op.17Ten HemelwegV
Violin Sonata, Op.26WikipediaJan Willem Frans Brandts Buijs (Zutphen, 12 September 1868 – Salzburg, 7 December 1933) was a Dutch-Austrian composer who came from a long line of Dutch organists and composers of protestant church music.
His father was an organ player in the town of Zutphen in the Netherlands, where Jan was born. He studied at the Raff Conservatory in Frankfurt and in 1892 settled in Vienna, where he got to know
Johannes Brahms, who, along with
Edvard Grieg, praised his early works. His piano concerto won an important international prize and such famous artists as Lilli Lehmann often included his songs on the same program with those of
Franz Schubert.
Brandts Buys' oeuvre comprises piano pieces, organ pieces, chamber music, orchestral music, songs, pieces for choir and cantatas, operas and many arrangements - such as piano arrangements of all the symphonies of
Schubert and
Beethoven).
However, his reputation today mainly rests on his comic operas and operettas, such as The Tailors of Schönau [1916] and The Man in the Moon [1922], which gained considerable international acclaim. These two operas, along with Glockenspiel [1913] and Der Eroberer [1918] were first performed at the Dresden Hofoper, with casts that included the young Richard Tauber. Of the ten chamber music works he wrote, only the Romantische Serenade (Romantic Serenade), composed in 1905, was performed with any regularity before disappearing shortly after his death. In the United States, it figured in the first New York program given by the Zoellner Quartet after returning from its formative years in Europe, at which time the work had been heard in that city only once before. The quartet continued to program the serenade as late as 1919.
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