By Walter Frisch, Kevin C. Karnes
On the grounds that its first booklet in 1990, Brahms and His global has turn into a key textual content for listeners, performers, and students attracted to the existence, paintings, and occasions of 1 of the 19th century's so much celebrated composers. during this considerably revised and enlarged version, the editors stay just about the imaginative and prescient in the back of the unique booklet whereas updating its contents to mirror new views on Brahms that experience constructed over the last twenty years. To this finish, the unique essays via best specialists are retained and revised, and supplemented by way of contributions from a brand new iteration of Brahms students. jointly, they think about such issues as Brahms's dating with Clara and Robert Schumann, his musical interactions with the "New German School" of Wagner and Liszt, his impression upon Arnold Schoenberg and different younger composers, his method of appearing his personal track, and his effective interactions with visible artists.
The essays are complemented by way of a brand new choice of feedback and analyses of Brahms's works released via the composer's contemporaries, documenting the ways that Brahms's track 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 way of Brahms's acquaintances, 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 files the breadth of impression exerted by means of the composer upon his contemporaries.
Almost precisely two times so long as the unique ebook, this revised version of Brahms and His global offers new views on Brahms that experience come to gentle over the last twenty years. . . . A helpful alternative of its predecessor, this well-illustrated quantity concludes with a catalog of books, compositions, and artistic endeavors devoted to the composer in the course of the finish of the nineteenth century.
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Extra resources for Brahms and His World (Revised Edition)
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 Meaning: Second Series (Philadelphia, 1902), 361. 32. Ernst Mach, “Auszüge aus den Notizbüchern 1871–1910,” in Ernst Mach: Werk und Wirkung, ed.
Then he would go for a long walk, preferably in the country. Toward the evening, he prepared himself to go to a concert or the opera. Afterward he had supper, often with friends and usually in an informal setting such as a beer hall. He could easily take a catnap and seldom seemed tired. It was difficult for others to keep up with Brahms; for example, while traveling he always had to be on the go, to walk faster, climb higher, and explore more places than anyone else. Like Beethoven, he moved around a great deal, frequently changing his residence until he finally settled down in 1872 at Karlsgasse 4, in a small furnished apartment.
Zimmerman, Brahms in der Schweiz: Eine Dokumentation (Zurich, 1983), 102–12. 7. This is evident if one reads his correspondence in Briefe von Theodor Billroth, ed. Georg Fischer (Hannover, 1897). 8. Ludwig Eisenberg, Künstler und Schriftsteller Lexikon: “Das geistige Wien” (Vienna, 1891), 646–50. 9. From Richard von Perger, Denkschrift zur Feier des Fünfzigjährigen ununterbrochenen Bestandes der Philharmonischen Konzerte in Wien 1869–1910 (Vienna, 1910). 10. Hans Gál, Johannes Brahms: Leben und Werk (Frankfurt, 1961), 93.