Johannes Brahms_ A Biography - Jan Swafford [404]
41. Brahms said both quartets were “begun earlier” and “written for the second time” in summer 1873 (Frisch Developing Variation 109).
42. Krummacher 24.
43. Dahlhaus Nineteenth-Century Music 28.
44. MacDonald 209.
45. Schoenberg 402–3.
46. Keys Chamber Music 31.
47. Frisch Developing Variation 110–11.
48. Musgrave Brahms 115.
49. Krummacher 33.
CHAPTER SIXTEEN
1. D. McCorkle Haydn Variations 10.
2. Schorske 127.
3. Schorske 212.
4. Schorske 303.
5. M. McCorkle 208.
6. Barkan Brahms/Billroth Letters 22.
7. Kalbeck II, 479–80.
8. Litzmann Life 303.
9. Litzmann Life 301.
10. Litzmann Life 305.
11. Kalbeck III, 9.
12. Kalbeck Brahms/Herzogenberg Letters ix–x.
13. Litzmann Schumann/Brahms Letters 3/31/1874.
14. Geiringer Brahms 119.
15. Dietrich/Widmann 97. Brahms also recalled to Widmann that exchange with Götz, trying to justify himself. Götz died at age thirty-five.
16. Dietrich/Widmann 98.
17. Barkan Brahms/Billroth Letters 30.
18. The joining of old and new material in the C Minor Piano Quartet is so closely matched that scholars have never completely figured out the chronology. Musgrave (Music 117) surmises: first two movements in the mid-50s, second two later but hard to say when. Brahms apparently pulled the piece together during 1874–5.
19. Barkan Brahms/Billroth Letters 30n.
20. Holde 312.
21. Hanslick “Memories” 163–4.
22. Barkan Brahms/Billroth Letters 26–9.
23. May 456.
24. Brahms Briefwechsel VII, 178–9.
25. Schauffler 152.
26. Keys Brahms 77. That summer Levi also outraged Clara Schumann by claiming Wagner was a better musician than Gluck (Litzmann Life 313).
27. Gay 191.
28. Geiringer Brahms 120. He reports that Brahms began to grow his beard this summer, but other observers do not mention it until 1878.
29. Keys Brahms 78.
30. Litzmann Life 317.
31. Krummacher 33.
32. Musgrave “Cultural World” 8.
33. Specht 305.
34. Botstein “Brahms and Painting” 161.
35. Specht 304.
36. Geiringer “Wagner and Brahms” and Kalbeck III, 123–7.
37. Musgrave “Cultural World” 18.
38. Gutman 227.
39. Roses.
40. May 502.
41. Litzmann Schumann/Brahms Letters 6/1876.
42. Kalbeck Brahms/Herzogenberg Letters 4–7. For an examination of Brahms’s comments on variation form in the letter, see Sisman.
43. Of course, when Brahms was composing the First Symphony Bruckner was already in his prime as a symphonist, but few took his work seriously in those years.
44. Kalbeck (III, 94) calls the opening chromatic fan the “fate-motive.” Besides that, pounding timpani—especially the triplets—have an old connection with the theme of fate in Brahms’s vocal music, from the Begräbnisgesang through the Requiem to the Schicksalslied.
45. Schubert 15.
46. Pascall “First Symphony.” In the Andante sostenuto there are other references, some clear and some subtle, to the first-movement introduction, including the descending thirds of the winds at 12, the chromatic octaves at 53–5, 71–2, and 116–23. In general, all chromatic lines have a charged significance by this point.
47. Brinkmann 34.
48. Musgrave (Music 133–4) compares the chorale theme of the C Minor of course to the Beethoven’s Ninth theme, but also to the folk song “Sandmännchen” (Sandman) that Brahms set for Clara’s children, and to the opening theme of the B Sextet finale.
49. Frisch, in Symphonies 61, presents the finale of the First as having no development, rather “a development/expansion within the recapitulation’s transition.”
50. Brinkmann 37–40. The thematic evolution is taken from Giselher Schubert.
51. Brinkmann (44–5) sees in the coda a symbolic resolution, calling the alpenhorn theme “nature” and the trombone chorale “religion.” Thus, “The alpenhorn call and [trombone] chorale present an antithesis to the tragic note in the first movement and the introduction to the finale. Or to sum it up further: nature and religion intervene to resolve the dramatically sharpened conflict on a higher plane.” This resolution he places in contrast to the similar