By Walter Frisch, Kevin C. Karnes

ISBN-10: 0691143439

ISBN-13: 9780691143439

ISBN-10: 0691143447

ISBN-13: 9780691143446

ISBN-10: 1400833620

ISBN-13: 9781400833627

Since its first e-book in 1990, Brahms and His World 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 variation, the editors stay as regards 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 constructed over the last 20 years. To this finish, the unique essays by way of major specialists are retained and revised, and supplemented by means of contributions from a brand new new release 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 institution" of Wagner and Liszt, his impression 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 by way of a brand new collection of feedback and analyses of Brahms's works released via the composer's contemporaries, documenting the ways that Brahms's track was once understood via 19th- and early twentieth-century audiences in Europe and North the USA. a brand new collection of memoirs by way of Brahms's neighbors, 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 files the breadth of impression exerted by way of the composer upon his contemporaries.

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Extra resources for Brahms and His World: Revised Edition

Sample text

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.

The hearing of the former could imply the latter, and vice versa. ”36 In the discrimination of musical beauty, apart from references to the Helmholtzian overtone series in terms of how tones might be perceived by the ear, Mach distinguished between visual and aural perception, between the perception of space and time. Why can we consider a melody the same when it is transposed to a key where there are not even common overtone partials? Furthermore, one can distinguish common rhythm despite differential pitches that make two separate melodies.

The self-assertion of novelty on the part of Wagner, together with the historicist language of Wagner’s poetry and the aesthetics of the scene painting, may have minimized Wagner’s stimulation of inner-time sensibilities within the audience despite the other forms of response he generated. The subjective time experience in Brahms’s music became a means to sense a collective experience of historical time, recast and renewed in the present moment. The use of the historical in Brahms therefore can be understood as a strategy not of “aesthetic fatigue” but of contextualizing to highlight innovation and change.

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