Johannes Brahms_ A Biography - Jan Swafford [403]
35. Kalbeck II, 333–4.
36. Litzmann Life 270. Ludwig’s insanity seems to have been organic in cause, from a spinal disease (MacDonald 141n).
37. E. Schumann 65.
38. Stephenson 215.
39. Stephenson 187.
40. Litzmann Schumann/Brahms Letters 3/20/1870.
41. Geiringer Brahms 358.
42. Bickley Joachim Letters 390.
43. In Brahms’s day the golden caryatids in the Musikverein held up the front of the balcony, so people in the parterre had to peer around them to the orchestra. Later they were moved back to the wall.
44. Litzmann Schumann/Brahms Letters 6/28/1870.
45. Geiringer Brahms 106.
46. Litzmann Life 274.
47. Litzmann Life 273.
48. Henschel 43.
49. Dietrich/Widmann 76.
50. May 448–9.
51. MacDonald 208.
52. Gal 188–9.
53. Brahms Briefwechsel IX, 143.
54. Brahms Briefwechsel IX, 103.
55. Trans. Stanley Appelbaum, in the Dover score.
56. Gal 194.
57. Tovey V, 229.
58. Schauffler 221.
CHAPTER FIFTEEN
1. Brahms Briefwechsel VII, 89.
2. Kalbeck II, 407.
3. Niemann 159–60.
4. Schauffler 85.
5. Schauffler 87–8.
6. May, “Personal Recollections” from The Life of Brahms.
7. Stephenson 190.
8. May 426.
9. Brahms Briefwechsel XVII, 77.
10. Litzmann Schumann/Brahms Letters Easter 1872.
11. Brahms Briefwechsel VII, 56.
12. Litzmann Life 291.
13. Barkan Brahms/Billroth Letters 17–18.
14. Litzmann Life 292.
15. Kalbeck II, 402.
16. Janik/Toulmin 34.
17. Kalbeck II, 418.
18. Specht 167.
19. Kalbeck II, 417.
20. Hancock “Early Choral Music” 126. Brahms’s approach to Bach et al. is examined in this article, which includes reproductions of scores he has marked up with crescendos, etc.
21. The “where do you buy your music paper?” story also appears with victims other than Bruch, and with Bruch’s Violin Concerto rather than Odysseus. It is entirely possible that Brahms used the put-down more than once—he was apt to repeat what he considered good lines. To his publisher Simrock, Brahms observed of his self-promoting friend, “Bruch is short-sighted, he sees only to the next laurel-wreath” (Ehrmann 70).
22. Brahms Briefwechsel VII, 128.
23. Litzmann Schumann/Brahms Letters 12/24/1872.
24. Keys 71.
25. Bickley Joachim Letters 398.
26. Bickley Joachim Letters 401–3.
27. Schauffler 157.
28. Bickley Joachim Letters 401.
29. Bickley Joachim Letters 405.
30. Bickley Joachim Letters 404–5.
31. Litzmann Schumann/Brahms Letters 4/22/1873.
32. Litzmann Life 300.
33. Litzmann Life 295.
34. D. McCorkle Haydn Variations 16.
35. The “Chorale St. Antoni” has been attributed to Haydn pupil Ignaz Pleyel, but that is also disputed. See D. McCorkle Haydn Variations 28–30n.
36. The discussion here comes largely from D. McCorkle Haydn Variations; other sources are cited. Why these sketches escaped destruction is a good question—it may have been an oversight, or Brahms may deliberately have left them to history as the sole extensive record of his working methods.
37. Geiringer Brahms 218.
38. D. McCorkle Haydn Variations 4–5.
39. As D. McCorkle details (58–9) Brahms went back and forth about how to replace the obsolete serpent horn that was the low voice in the original “Haydn” version of the theme. In the early 1870s the contrabassoon was in the middle of development between an obsolescent and modern version. Meanwhile, Brahms felt dubious about the tuba in general, especially tuba without the company of trombones. After much indecision he specified contrabassoon for the lowest wind part in hopes an adequate instrument would be developed soon—which it was.
40. In The Music of Brahms, Musgrave disputes a contention of Geiringer’s (Brahms 252) that the whole of the Haydn Variations exemplifies durchbrochene Arbeit. Clearly, though, several sections of the piece do show it. Historically, the climax of that fluid coloristic use of the orchestra came first with Mahler, who led directly to Schoenberg and Webern’s concept of Klangfarbenmelodie (tone-color melody), in which changing instrumental colors washing through a single line are an essential feature of the composition. That in turn led to