By John Daverio
In Crossing Paths, John Daverio explores the connections among artwork and lifestyles within the works of 3 giants of musical romanticism. Drawing on modern serious concept and a wide selection of nineteenth-century resources, he considers subject matters together with Schubert and Schumann's uncanny skill to rouse reminiscence in tune, the meant 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 point of view 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 proof of the composer's descent into insanity yet as suggestion for his successors. Daverio portrays the book's 3 key avid gamers as musical storytellers, each one in his personal method simulating the constitution of lived adventure in artworks. As an intimate examine 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 inventive influence.
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Extra info for Crossing Paths: Schubert, Schumann, and Brahms
Almost surely composed in , though subjected to revision over the course of the next year or two,23 the symphony had not yet been performed when Schumann came upon it. He quickly rectified this situation, arranging for a public premiere with the Leipzig Gewandhaus orchestra under Mendelssohn’s direction on March , and also for publication of the score by the venerable firm of Breitkopf und Härtel. While the Gewandhaus orchestra was preparing for another rendition of the work later in , Schumann wrote breathlessly to his colleague Ernst Becker: “At today’s rehearsal I heard part of Schubert’s [C-major] Symphony—all the ideals of my life unfolded in this piece, which is the greatest achievement in instrumental music after Beethoven, not even Spohr and Mendelssohn excepted.
Presto, Andante, and Allegro giusto. 42 On March he checked through the score “note for note . . behind closed doors,” no doubt in preparation for another run-through at the final meeting of his group on March . ”43 Although this plan was never realized, and while Schumann opted not to see the quartet version through to publication, he nonetheless retained fond memories of his youthful effort. ”44 A wistful E-minor dance tune notable for its lilting dactylic rhythms, the theme of the Trio is presented first by the violin, while the quietly pulsing chords in the piano part produce delicious appoggiature between D and E in the third and seventh bars.
The Scherzos are similar, though I prefer the one in the second trio [in E b]. As for the finales, I cannot decide. 36 As in his review of the C-major Symphony, Schumann seems to have been indulging in a bit of wishful thinking. For some critics, the similarities between the trios (especially evident in a number of melodic figures shared by their opening movements)37 are just as compelling as their differences. Moreover, the binary oppositions through which Schumann defined the essential character of the two works—active/passive, masculine/feminine, dramatic/ ’ lyrical—are at once overly schematic and, in several crucial instances, downright contrary to aural experience.
Crossing Paths: Schubert, Schumann, and Brahms by John Daverio
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