Johannes Brahms_ A Biography - Jan Swafford [400]
19. Graf 185.
20. Trans. in Musgrave “Cultural World.”
21. Gal 143.
22. C. Wagner II, 25.
23. C. Wagner 362–3.
24. C. Wagner 518.
25. Gutman 397.
26. Geiringer “Wagner and Brahms” 180.
27. Gal 39.
28. Geiringer “Wagner and Brahms” 182.
29. Kalbeck II, 44.
30. S. Drinker 80.
31. Geiringer Brahms 353.
32. May 339.
33. Bickley Joachim Letters 291.
34. Bickley Joachim Letters 295–6.
35. Stephenson 20.
36. From Dietrich 55 and Kalbeck II, 50.
37. M. McCorkle 203.
38. S. Drinker 72.
39. Litzmann Life 216.
40. May 344–5.
41. Hanslick “Memories” 171.
42. May 347–8.
43. May 348.
44. Specht 174. Hermann Levi, more and more taken by the Wagnerian siren song, surely had an ulterior motive in trying to drive a wedge between Brahms and Hanslick, but his words still ring true.
45. Dietrich/Widmann 57.
46. Holde 316–7.
47. Hancock “Early Choral Music” 130–31.
48. Specht 136.
49. Specht 135.
50. Litzmann Schumann/Brahms Letters 4/4/1864.
51. Kalbeck II, 113.
52. Litzmann Schumann/Brahms Letters 4/4/1864.
53. Schauffler 285n.
54. Barkan Brahms/Billroth Letters 29.
55. Sams Brahms Songs 5.
56. Sams Brahms Songs 5.
57. Janik/Toulmin 47.
58. Litzmann Schumann/Brahms Letters 7/19/1864. In fact, when she first met Brahms’s parents a decade earlier, Clara had noted Johannes’s preference for his father, though he was devoted to both parents. Probably in 1864 Clara was responding to his increased concern for his mother in her declining years. Johann Jakob, seventeen years younger than his wife, was still healthy and active.
59. Brahms in Baden 17.
60. E. Schumann 11–15.
61. E. Schumann 61.
62. E. Schumann 18.
63. E. Schumann 41–5.
64. From Grove s.v. Viardot-Garcia.
65. MacDonald 131.
66. Brahms in Baden 28.
67. Litzmann Schumann/Brahms Letters 11/3/1864.
68. Brody 25.
69. Brahms Briefwechsel XVIII, 65 n8.
70. E. Schumann 113.
71. Musgrave Music.
72. Kalbeck II, 154.
73. Geiringer Brahms 90.
74. Brahms Briefwechsel VII, 17.
75. Brahms Briefwechsel IV 113–14.
76. Gal 91.
CHAPTER THIRTEEN
1. Litzmann, Schumann/Brahms Letters 12/5/1864.
2. Litzmann, Schumann/Brahms Letters 12/5/1864.
3. Stephenson 104.
4. Geiringer Brahms 87. Geiringer notes that Brahms kept the letters he wrote his father but destroyed the ones to his mother.
5. Stephenson 106.
6. Stephenson 11–12, 107.
7. As Kalbeck details (II, 175), Florence May’s melodramatic account of Christiane Brahms’s death and funeral probably comes from the imagination of the Cossels’ daughter. He also disputes the story, often quoted, that after the funeral Brahms cried, “I have no mother now, I must marry!”
8. Litzmann Schumann/Brahms Letters 2/8/1865.
9. Brahms Briefwechsel XVII, 41n.
10. Litzmann Schumann/Brahms Letters 2/10/1865.
11. Litzmann Schumann/Brahms Letters 2/8/1865.
12. Litzmann Schumann/Brahms Letters 3/23/1865.
13. Litzmann Schumann/Brahms Letters 3/6/1865.
14. Litzmann Schumann/Brahms Letters 4/24/1865. In this letter Brahms cites the wrong key for the “All flesh is grass” second movement.
15. Brahms in Baden 10.
16. What I mean by a composer feeling an instrument is an admittedly vague quality, but real all the same. It is a matter of the composer creating the illusion that exactly this instrument in this register is the inevitable vehicle of those notes, that gesture. Perhaps the supreme example of it is Mahler, who worked from daily experience as a conductor and had an uncanny intuitive connection with the orchestra. An audible demonstration is the difference between the original and reconstructed (expertly, from rough drafts) movements in Mahler’s Tenth. When the symphony returns to Mahler’s own scoring in the third movement, it is as if a light were switched on inside the music; suddenly every texture is lucid and every timbre wedded to every gesture. By no means does this imply that a piece can never be arranged for another medium. Stravinsky, another transcendent master of instrumentation, somehow made both the original L’histoire du soldat and his arrangement of parts of it for violin, clarinet, and