By Walter Frisch, Kevin C. Karnes
Seeing that its first booklet in 1990, Brahms and His international 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 as regards to the imaginative and prescient in the back of the unique publication whereas updating its contents to mirror new views on Brahms that experience constructed over the last 20 years. To this finish, the unique essays by means of best specialists are retained and revised, and supplemented by way of contributions from a brand new iteration of Brahms students. jointly, they give thought to such themes as Brahms's courting with Clara and Robert Schumann, his musical interactions with the "New German university" of Wagner and Liszt, his impression upon Arnold Schoenberg and different younger composers, his method of acting his personal track, and his efficient interactions with visible artists. The essays are complemented through a brand new number of feedback and analyses of Brahms's works released through the composer's contemporaries, documenting the ways that Brahms's tune used to be understood via 19th- and early twentieth-century audiences in Europe and North the USA. a brand new choice of memoirs by means of Brahms's buddies, scholars, and early admirers offers intimate glimpses into the composer's operating equipment and character. And a catalog of the song, literature, and visible arts devoted to Brahms files the breadth of impression exerted by way of the composer upon his contemporaries.
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37. See the interesting discussion of Ernst Mach in Katherine Arens, Functionalism and Fin de Siècle: Fritz Mauthner’s Critique of Language (New York, 1984), 183–222. 38. Mach, Die Analyse, 214. • 24 • Notes to TIME AND MEMORY IN BRAHMS’S VIENNA 39. On Mach and Husserl, see Manfred Summer, “Denkökonomie und Empfindungstheorie bei Mach und Husserl—Zum Verhältnis von Positivismus und Phänomenologie,” in Haller and Stadler, Ernst Mach, 309–28. 40. Edmund Husserl, The Phenomenology of Internal Time Consciousness, ed.
37 The dramatic shift of emphasis from the work of art to the hearer mirrored the historical reality. Any given work of Brahms was contingent not only on intent but on perceived meaning. Although Mach, in line with his social philosophy, sought to reduce the distance between the normal and the genius, Brahms sought to communicate with compositional procedures that could reach a highly developed discriminatory sensibility. The capacity to follow and recall long stretches of variation and thematic development required the capacity to orient oneself within the balances among formal integrity, the total duration of a work, and its larger harmonic structure.
Brahms often teased Clara about possibly marrying one of her daughters, but he found excuses: “If [Eugenie] retains only a tiny scar on her pretty face [from a minor injury], then surely I can’t marry her, and nothing will tie me down” (15 January 1856). Julie Schumann, probably the prettiest of the girls, also interested Brahms for a while. When she got married in 1869 to the Italian Count Marmorito, he felt embittered and angry, unjustly, since he had never declared any intention to marry Julie.