By Walter Frisch, Kevin C. Karnes
Since its first 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 instances of 1 of the 19th century's so much celebrated composers. during this considerably revised and enlarged version, the editors stay with regards to the imaginative and prescient in the back of the unique ebook whereas updating its contents to mirror new views on Brahms that experience constructed during the last 20 years. To this finish, the unique essays by way of prime specialists are retained and revised, and supplemented via contributions from a brand new new release of Brahms students. jointly, they give thought to such issues as Brahms's dating with Clara and Robert Schumann, his musical interactions with the "New German tuition" of Wagner and Liszt, his impression upon Arnold Schoenberg and different younger composers, his method of acting 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 through the composer's contemporaries, documenting the ways that Brahms's song was once understood by means of 19th- and early twentieth-century audiences in Europe and North the US. a brand new number of memoirs by means of Brahms's buddies, scholars, and early admirers presents intimate glimpses into the composer's operating tools and character. And a catalog of the track, literature, and visible arts devoted to Brahms records the breadth of effect exerted by means of the composer upon his contemporaries.
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Additional info for Brahms and His World: Revised Edition
Within the wellknown nineteenth-century debate between the Wagnerians and the followers of Liszt and the formalists, Hanslick, and others, in which Brahms somewhat reluctantly assumed the symbolic role of the “counter-pope,” scientific speculation seemed to vindicate the anti-Wagnerians on two accounts. First, the evolution of music, by analogy with evolutionary theory, rendered instrumental music and the modern system of harmony the highest forms of development within a historical logic that was progressive and selective.
11. From the perspective of the modern reader and concertgoer, this is an indication of both the rarity of live performances of orchestral works and the gradual acceleration in concert life. Vienna’s leading impresario, Albert Gutmann, sponsored 16 concerts in 1890; • 23 • Notes to TIME AND MEMORY IN BRAHMS’S VIENNA 39 in 1896; and 86 in 1900. In the three-year period between 1894 and 1897, the end of Brahms’s life, 37 percent were vocal recitals, 32 percent were piano recitals, 12 percent violin recitals, 15 percent chamber music ensembles, and 5 percent visiting orchestras.
Berlin, 1912–22), 9:77–78. 22. Brahms, Briefwechsel, 1:154. 23. Quoted in Niemann, Brahms, 180. 24. Brahms, Briefwechsel, 7:83. 25. Niemann, Brahms, 175. 26. D. W. Winnicott, “The Location of Cultural Experience,” International Journal of Psychoanalysis 48 (1967):370. • 40 • Brahms the Godfather STYRA AVINS The title of this essay is not capricious. Brahms was godfather to at least sixteen children, a little-known facet of his life that accords strangely with his current reputation as a lonesome and solitary man.