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 existence, paintings, and instances 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 in the back of the unique ebook whereas updating its contents to mirror new views on Brahms that experience built during the last 20 years. To this finish, the unique essays by means of prime specialists are retained and revised, and supplemented by means of contributions from a brand new iteration of Brahms students. jointly, they give thought to such themes 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 tune, and his efficient interactions with visible artists.
The essays are complemented by way of a brand new number of feedback and analyses of Brahms's works released by means of the composer's contemporaries, documenting the ways that Brahms's song used to be understood by way of 19th- and early twentieth-century audiences in Europe and North the USA. a brand new choice of memoirs through Brahms's buddies, scholars, and early admirers presents intimate glimpses into the composer's operating equipment and character. And a catalog of the tune, literature, and visible arts devoted to Brahms records the breadth of impression exerted through the composer upon his contemporaries.
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Extra info for Brahms and his world
The several genres he used all had a public. Often, as in the Liebeslieder and the later piano works, there was clearly a playing and listening audience. For both, comprehensibility was an overt goal. Brahms accepted that premise, but without concessions. Brahms’s often-quoted letter to Adolf Schubring regarding the imputed motivic unity of the German Requiem made clear that sophistication in compositional skill was not to be pursued at the expense of comprehensibility: “If I want to retain the same idea, then one should recognize it clearly in every transformation, augmentation, inversion.
Steinway’s famous duplex scale patent of the 1870s owed its origin to Helmholtz. Helmholtz’s work contributed significantly to the standardization of pitch and tuning in the late nineteenth century and to the establishment of an international standard tuning system (or the effort to do so). Brahms’s colleague in Vienna, L. A. 19 Brahms, despite his dislike for theorizing, particularly about music, was no doubt aware of the intense interest in acoustics, hearing, and aesthetics surrounding him among his medical, scientific, and musical colleagues.
The handsome musical examples for this book were prepared by Don Giller. Karen Painter prepared the index. The editor of this volume and the organizers of “Rediscovering Brahms” also acknowledge the generous assistance of the Andrew W. Mellon Foundation. Earlier, briefer versions of the articles by Nancy Reich, George Bozarth and Stephen Brady, and Walter Frisch appeared in the American Brahms Society Newsletter, respectively in issues 3/2 (Autumn 1985), 6/2 (Autumn 1988), and 7/1 (Spring 1989).