Johannes Brahms_ A Biography - Jan Swafford [394]
32. Litzmann Life 69.
33. Reich 145.
34. Litzmann Life 71.
35. Reich 147.
36. Litzmann Life 71–2.
37. Stephenson 53–4.
38. Stephenson 55.
39. Niemann 62.
40. Neighbor “Opus Nines” 266–7.
41. Ostwald Schumann 77.
42. Litzmann Life 76.
43. Bickley Joachim Letters 6/9/1854.
44. Litzmann Life 63.
45. Quoted in Musgrave Music 29.
46. Horne 252. Brahms’s proposed collection of occasional pieces echoes Schumann’s similar grab-bag Bunte Blätter (Mottled Leaves). Sams (“Clara Themes” 433–4) finds suggestive connections in Brahms’s B Major Trio to Schumann’s Genoveva and general Clara-symbolism.
47. Keyes 18.
48. Holde 314.
49. Bickley Joachim Letters 7/27/1854.
50 Bickley Joachim Letters 9/12/1854.
51. Litzmann Life 65, 83.
52. Litzmann Schumann/Brahms Letters 8/15/1854.
53. May 171–2.
54. Litzmann Schumann/Brahms Letters 8/21/1854.
55. Litzmann Schumann/Brahms Letters 8/27/1854.
56. Burk 311.
57. Litzmann Schumann/Brahms Letters 9/14/1854.
58. Bickley Joachim Letters 9/17/1854.
59. Quoted in Burk 312.
60. Litzmann Life 87–8.
61. Litzmann Life 74.
62. Krebs Schatzkästlein #296.
63. Krebs Schatzkästlein #510.
64. Krebs Schatzkästlein #560.
65. Krebs Schatzkästlein #584–5.
66. Krebs Schatzkästlein 321.
67. Bozarth “Sprichworte” 17.
68. Bickley Joachim Letters 9/12/1854.
69. MacDonald 82.
70. Sams, “Clara Themes.”
71. Rosen Romantic Generation 222–3.
72. Bozarth “Lieder ohne Worte” 378.
73. From Malcolm MacDonald’s speculation in Brahms 86.
74. Litzmann Schumann/Brahms Letters 9/26/1854.
75. Litzmann Life 81.
76. Storck R. Schumann Letters 11/27/1854.
CHAPTER SIX
1. Reich 148–9.
2. Litzmann Schumann/Brahms Letters 8/27/1854.
3. Walker 343 and Litzmann Life 91.
4. Litzmann Life 91.
5. Litzmann Brahms/Schumann Letters 10/21/54.
6. Bickley Joachim/Letters 91.
7. Bickley Joachim Letters 91.
8. Bickley Joachim Letters 10/20/1854.
9. Schumann/Brahms Letters 10/21/1854 and end of Oct.
10. Stephenson 22.
11. Burk 315–17 and Litzmann Life 91–2.
12. Reich 149.
13. Stephenson 59.
14. Quoted in Keys 22.
15. Litzmann Schumann/Brahms Letters11/30/1854.
16. Litzmann Schumann/Brahms Letters 12/15/1854.
17. Litzmann Schumann/Brahms Letters 12/15/1854.
18. Litzmann Life 98.
19. Litzmann Life 98.
20. Litzmann Life 99.
21. Litzmann Schumann/Brahms Letters 11/30/1854.
22. Bickley Joachim Letters 1/18/1855.
23. May 181–2.
24. Reynolds 5.
25. Litzmann Life 100n.
26. Litzmann Schumann/Brahms Letters 1/25/1855.
27. Litzmann Schumann/Brahms Letters 24n.
28. Suicide by starvation is again the inevitably tentative diagnosis of psychiatrist Peter Ostwald, in Schumann: The Inner Voices of a Musical Genius. On a foundation of that conclusion I add my conjectures about what Brahms may have had to do with it.
29. Einstein 109.
30. That Clara Schumann could and eventually did take care of herself perfectly well does not apply in all this—she herself thought she needed a husband. In theory if not practice Clara conformed to the conventional wife’s role of dependent and supporter of her husband.
31. Niemann 49.
32. Litzmann Schumann/Brahms Letters 3/20/1855.
33. Litzmann Schumann/Brahms Letters 2/3/1855.
34. Litzmann Life 102.
35. Burk 326.
36. Reynolds 5. With this letter Brahms enclosed a new musical idea that nearly a decade later would become the adagio theme of the G Major String Sextet.
37. Litzmann Briefe 3/3/1855.
38. MacDonald 225.
39. Brodbeck Sprichworte.
40. Litzmann Life 102–3.
41. Litzmann Schumann/Brahms Letters 2/23–4/1855.
42. Quoted in Ostwald Schumann 289.
43. Litzmann Life 107.
44. Litzmann Life 108.
45. The impression of Clara Wieck/Schumann as a composer that one gains from her diary and from Nancy Reich’s book is not of a woman whose creative side was thwarted. The men in Clara’s life from her father to Schumann to Brahms encouraged her to compose, and she had the same distinguished publisher for her work that her husband did—Breitkopf & Härtel. Clara did seem daunted at the idea of being a female composer, in the sense that she felt if she were