Since its first book in 1990, Brahms and His World has develop into a key textual content for listeners, performers, and students drawn to the lifestyles, paintings, and occasions of 1 of the 19th century's so much celebrated composers. during this considerably revised and enlarged version, the editors stay with reference to the imaginative and prescient at the back of the unique publication whereas updating its contents to mirror new views on Brahms that experience built during the last 20 years. To this finish, the unique essays by means of major specialists are retained and revised, and supplemented by way of contributions from a brand new new release of Brahms students. jointly, they give thought to such subject matters as Brahms's courting with Clara and Robert Schumann, his musical interactions with the "New German institution" of Wagner and Liszt, his effect upon Arnold Schoenberg and different younger composers, his method of appearing his personal song, and his efficient interactions with visible artists.
The essays are complemented through a brand new collection of feedback and analyses of Brahms's works released by means of the composer's contemporaries, documenting the ways that Brahms's track used to be understood by way of 19th- and early twentieth-century audiences in Europe and North the US. a brand new number of memoirs by way of Brahms's acquaintances, scholars, and early admirers presents intimate glimpses into the composer's operating equipment and character. And a catalog of the song, literature, and visible arts devoted to Brahms files the breadth of impact exerted via the composer upon his contemporaries.
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Extra info for Brahms and His World: Revised Edition (The Bard Music Festival)
Tables 1–3, n. p. 12. See Theodor Billroth, Wer ist musikalisch? (Berlin, 1898). thirteen. See Arthur Schnitzler, Tagebuch 1873–1892 (Vienna, 1987), 27 and 128; and Tagebuch 1917–1919 (Vienna, 1985), 417. 14. Rudolf Louis, Die deutsche Musik der Neuzeit (Munich, 1912), 159–62, 328–29. 15. Brahms to Schubring, February 1869, in Johannes Brahms, Briefwechsel, rev. edns. (Berlin, 1912–22; repr. Tutzing, 1974), 8:216–17. See using an analogous letter in Walter Frisch, Brahms and the main of constructing version (Berkeley and la, 1984), 32. sixteen. Louis, Deutsche Musik, 161. 17. Hermann Helmholtz, at the Sensations of Tone, trans. and ed. Alexander J. Ellis (New York, 1954; orig. 1885), 249. 18. Ibid. , 365–71. 19. See Max Kalbeck, Johannes Brahms (Berlin, 1904–14; rev. ed. Berlin, 1912–21; repr. Tutzing, 1976), 2:27–34; 388–89; additionally R. Hirschfeld and R. von Perger, Geschichte der okay. ok. Gesellschaft der Musikfreunde in Wien (Vienna, 1912), 191–94. 20. L. A. Zellner, Vorträge über Akustik: Gehalten am Conservatorium der Gesellschaft der Musikfreunde in Wien (Vienna, 1892), 2:113–14. 21. See Ernst Mach, Einleitung in die Helmholtz’sche Musiktheorie. Populär für Musiker dargestellt (Graz, 1866); and Leo Koeningsberger, Hermann von Helmholtz (Braunschweig, 1911), 182–87; and William M. Johnston, The Austrian brain: An highbrow and Social background 1848–1938 (Berkeley and la, 1972), 182. 22. at the courting among Brahms and Ehrlich, see Kalbeck, Johannes Brahms, 1:73–75. 23. Heinrich Ehrlich, Die Musik-Aesthetik (Leipzig, 1882), 124. 24. Ibid. , 2. 25. Ibid. , three. 26. Ibid. , four. 27. Ibid. , 134–37 and 173–76. 28. H. A. Koestlin, Die Tonkunst: Einführung in die Aesthetik der Musik (Stuttgart, 1879), 260–61. 29. Richard Wallaschek, Aesthetik der Tonkunst (Stuttgart, 1886), 230. 30. See Gál, Brahms, 147–48; and Imogen Fellinger, “Brahms’s ‘Way’: A Composer’s Self View,” in Brahms 2, ed. Michael Musgrave (Cambridge, 1986), 49–58. 31. Philip H. Goepp, Symphonies and Their which means: moment sequence (Philadelphia, 1902), 361. 32. Ernst Mach, “Auszüge aus den Notizbüchern 1871–1910,” in Ernst Mach: Werk und Wirkung, ed. Rudolf Haller and Friedrich Stadler (Vienna, 1988), 171–72, 182. 33. See Gerald Holton, Thematic Origins of medical proposal: Kepler to Einstein (Cambridge, Mass. , 1973), 223–25. 34. Ernst Mach, Die examine der Empfindungen, sixth ed. (Jena, 1911), 6, 28–30. 35. Ibid. , 250–52. 36. Ibid. , 230–34; see additionally Ernst Mach, Populär-Wissenschaftliche Vorlesungen, 4th ed. (Leipzig, 1910), 43–47. 37. See the attention-grabbing dialogue of Ernst Mach in Katherine Arens, Functionalism and Fin de Siècle: Fritz Mauthner’s Critique of Language (New York, 1984), 183–222. 38. Mach, Die examine, 214. • 24 • Notes to TIME AND reminiscence IN BRAHMS’S VIENNA 39. On Mach and Husserl, see Manfred summer season, “Denkökonomie und Empfindungstheorie bei Mach und Husserl—Zum Verhältnis von Positivismus und Phänomenologie,” in Haller and Stadler, Ernst Mach, 309–28. forty. Edmund Husserl, The Phenomenology of inner Time awareness, ed. Martin Heidegger, trans.