Crossing Paths: Schubert, Schumann, and Brahms by John Daverio

By John Daverio

In Crossing Paths, John Daverio explores the connections among artwork and existence within the works of 3 giants of musical romanticism. Drawing on modern severe thought and a large choice of nineteenth-century assets, he considers subject matters together with Schubert and Schumann's uncanny skill to rouse reminiscence in track, the intended cryptographic practices of Schumann and Brahms, and the attract of the Hungarian Gypsy variety for Brahms and others within the Schumann circle. This publication deals a clean standpoint at the track of those composers, together with a entire dialogue of the nineteenth century perform of cryptography, a debunking of the parable that Schumann and Brahms planted codes for "Clara Schumann" all through their works, and a spotlight to the overdue works of Schumann no longer as facts of the composer's descent into insanity yet as concept for his successors. Daverio portrays the book's 3 key avid gamers as musical storytellers, every one in his personal manner simulating the constitution of lived event in artistic endeavors. As an intimate learn of 3 composers that mixes cultural heritage and literary feedback with deep musicological realizing, Crossing Paths is a wealthy exploration of reminiscence, the new version of inventive culture, and the worth of creative influence.

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To do so, however, would be ill advised, for it is precisely here that Schubert realizes the explosive potential of his main theme. In retrospect, the digression turns out to be the affective center of the movement. The foundation for Schubert’s techniques of incremental addition is the variation principle. Bound by no fixed law of continuation, a chain of variations is capable of infinite expansion and thus a favored agency of heavenly length. While the theme-and-variations form is common enough in the slow movements of multimovement cycles, Schubert often transferred this approach to sites within the cyclic structure where we would least expect it, namely, to the main sections of the sonata-allegro design.

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