By Walter Frisch, Kevin C. Karnes
Since its first book in 1990, Brahms and His World has turn into a key textual content for listeners, performers, and students drawn to the existence, 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 with reference to the imaginative and prescient at the back of the unique e-book whereas updating its contents to mirror new views on Brahms that experience built over the last twenty years. To this finish, the unique essays by means of prime specialists are retained and revised, and supplemented through contributions from a brand new iteration of Brahms students. jointly, they think about such themes as Brahms's dating 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 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 way of 19th- and early twentieth-century audiences in Europe and North the USA. a brand new collection of memoirs by means of Brahms's acquaintances, scholars, and early admirers presents 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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Friedhelm Krummacher, Michael Struck, Constantin Floros, and Peter Petersen (Munich, 1999). , 2004) and Margaret Notley’s Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism (New York, 2007). 2. J. V. Widmann, Johannes Brahms in Erinnerungen (Berlin, 1898), 58–59. 3. George S. Bozarth and Stephen H. Brady, “The Pianos of Johannes Brahms,” in this volume. 4. See Leon Botstein, “Brahms and His Audience: The Later Viennese Years, 1875–1897,” in The Cambridge Companion to Brahms, ed.
16. Louis, Deutsche Musik, 161. 17. Hermann Helmholtz, On the Sensations of Tone, trans. and ed. Alexander J. Ellis (New York, 1954; orig. 1885), 249. 18. , 365–71. 19. See Max Kalbeck, Johannes Brahms (Berlin, 1904–14; rev. ed. Berlin, 1912–21; repr. Tutzing, 1976), 2:27–34; 388–89; also R. Hirschfeld and R. K. 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.
2004) and Margaret Notley’s Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism (New York, 2007). 2. J. V. Widmann, Johannes Brahms in Erinnerungen (Berlin, 1898), 58–59. 3. George S. Bozarth and Stephen H. Brady, “The Pianos of Johannes Brahms,” in this volume. 4. See Leon Botstein, “Brahms and His Audience: The Later Viennese Years, 1875–1897,” in The Cambridge Companion to Brahms, ed. Michael Musgrave (New York, 1999), 51–78. 5. Neues Universal Lexicon der Tonkunst, ed.