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By Brahms, Johannes; Frisch, Walter; Karnes, Kevin; Brahms, Johannes

Since its first e-book in 1990, Brahms and His World has develop into a key textual content for listeners, performers, and students attracted to the lifestyles, paintings, and occasions of 1 of the 19th century's such a lot celebrated composers. during this considerably revised and enlarged version, the editors stay on the subject of the imaginative and prescient at the back of the unique booklet whereas updating its contents to mirror new views on Brahms that experience built over the last twenty years. To this finish, the unique essays through top specialists are retained and revised, and supplemented through contributions from a brand new new release of Brahms students. jointly, they give thought to such issues as Brahms's courting with Clara and Robert Schumann, his musical interactions with the "New German tuition" of Wagner and Liszt, his impact upon Arnold Schoenberg and different younger composers, his method of appearing his personal track, and his efficient interactions with visible artists.

The essays are complemented through a brand new number of feedback and analyses of Brahms's works released through the composer's contemporaries, documenting the ways that Brahms's song used to be understood through 19th- and early twentieth-century audiences in Europe and North the United States. a brand new number of memoirs by way of Brahms's acquaintances, scholars, and early admirers offers intimate glimpses into the composer's operating equipment and character. And a catalog of the track, literature, and visible arts devoted to Brahms records the breadth of impression exerted by way of the composer upon his contemporaries.

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Harmonic relationships and rules of counterpoint) were located in the objective nature of music itself as well as in the selective evolutionary process that established a valid tradition. Richard Wallaschek (1860-1917), a Viennese aesthetician and music historian who, after working in England, returned in 1895 and subsequently taught at the university and at the conservatory in Vienna, provided perhaps the best summary of the impact of scientific inquiry into hearing and musical sound on the aesthetic prejudices of the late nineteenth century when he wrote in 1886: A comparison with the remarks made here about the musical work of art with the general remarks about the beautiful will reveal, with spontaneous logic, that through music the highest beauty can be achieved, because the forms that music provides are tied to no comprehensible content, but at the same time permit access to all—because musical forms reproduce in tones the general form of all experience to which spiritual activity is connected.

The journey from physics to psychology and then to philosophy can be traced in the work of Ernst Mach and Edmund Husserl. Both were citizens of the Habsburg Empire, and both experienced the lure of music as a mode of communication, in their social milieu and their own private lives. , before 1910) became widespread. The assumptions about perception, recall, judgment, and expectation with which Brahms worked as a composer can be revealed, albeit indirectly. The logic of his formal procedures can then be illuminated, if only from the outside.

With respect to the latter, we wish to thank Irene Zedlacher for editorial assistance and troubleshooting, Don Giller for resetting the musical examples he first prepared in 1990, Paul De Angelis for line-editing and Erin Clermont for copyediting the manuscript, Natalie Kelly for composition and design, and Ginger Shore for overseeing the series. Walter Frisch Kevin C. Karnes New York and Atlanta, July 2008 Preface and Acknowledgments from the First Edition This volume was conceived as a companion to a music festival entitled “Rediscovering Brahms,” held at Bard College in Annandale-on-Hudson, New York, in August 1990.

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