Johannes Brahms_ A Biography - Jan Swafford [406]
53. Musgrave Music 159.
54. Quoted in Schauffler 215.
55. Hanslick “Memories” 173–4.
56. Kalbeck III, 223.
57. May 537.
58. Kalbeck III, 223–4.
59. May 537.
60. Schwarz 508.
61. Brahms Briefwechsel XVIII, 139.
62. Keys Brahms 93.
63. Pulver 26.
64. Door 218 and Henschel 54.
CHAPTER EIGHTEEN
1. Litzmann Life 346.
2. Litzmann Life 337.
3. Litzmann Life 342.
4. Litzmann Life 350.
5. Litzmann Life 350.
6. Barkan Brahms/Billroth Letters 81.
7. Litzmann Life 349.
8. Stark 181.
9. Litzmann Life 351.
10. Heuberger 77–8.
11. Litzmann Schumann/Brahms Letters 9/1879.
12. Litzmann Life 352–3.
13. Kalbeck I, 298n.
14. Kalbeck Brahms/Herzogenberg Letters 105.
15. Barkan Brahms/Billroth Letters 92.
16. Kalbeck Brahms/Herzogenberg Letters 105.
17. Bickley Joachim Letters 421.
18. Holde 318.
19. Holde 319–20.
20. Brahms Briefwechsel X, 162.
21. Litzmann Life 355.
22. Barkan Brahms/Billroth Letters 94.
23. Ehrmann 68.
24. May 553.
25. Musgrave Music 218.
26. Niemann 128–9.
27. Schauffler 11.
28. Kalbeck Brahms/Herzogenberg Letters 7/14/1880.
29. From the Stanley Appelbaum translation in the Dover score.
30. MacDonald 288. Several writers have seen a connection of Nänie also to composer and Brahms acquaintance Hermann Götz, who set the same text and died young in 1876.
31. Kalbeck III, 296.
32. Kalbeck Brahms/Herzogenberg Letters 7/7/1881.
33. Heuberger 147.
34. Barkan Brahms/Billroth Letters 75n.
35. Hanslick Criticisms 234.
36. F. Schumann 509.
37. Hanslick Criticisms 184.
38. Kalbeck III, 495.
39. Kalbeck III, 491.
40. Geiringer Brahms 150.
41. Geiringer Brahms 147–8.
42. Bozarth/Brady.
43. Tovey III, 120.
44. Musgrave Music 234. As Charles Rosen points out in “Plagiarism,” just as the D Minor Concerto finale had been built on the model of the Beethoven Third Concerto, Brahms’s B has many Beethoven echoes, starting with the Emperor-like opening cadenza for the soloist.
45. Tovey III, 125.
46. Litzmann Life 362.
47. Kalbeck Brahms/Herzogenberg Letters 4/1882.
48. Kalbeck Brahms/Herzogenberg Letters 159n.
49. Brodbeck “New German School” 66.
50. Bickley Joachim Letters 415–16.
51. MacDonald 285.
52. Hanslick “Memories” 174.
53. Barkan Brahms/Billroth Letters 122–5.
54. Litzmann Schumann/Brahms Letters 8/23/1882.
55. Brahms Briefwechsel XI, 17.
56. Kalbeck Brahms/Herzogenberg Letters 181n.
57. Crankshaw 273.
58. Crankshaw 317.
CHAPTER NINETEEN
1. Kalbeck III, 377.
2. Litzmann Life, 370.
3. May 577.
4. Barkan Brahms/Billroth Letters 132.
5. Geiringer Brahms 151.
6. Kalbeck and others surmise that ideas for the Third Symphony went back some years, but there is no solid evidence for that (Brodbeck “New German School” 6n). Though it was likely working in his mind, the Third may essentially have been another one-summer job, like the Second. It is intriguing to speculate that Wagner’s death may have galvanized it, but there is no evidence about that either.
7. David Brodbeck in “Brahms and the New German School” has examined the connection of the Third to Wagner. A few of his examples seem to me speculative. The ones in the text are perhaps speculative too, but are my own.
8. Brodbeck “New German School” 73.
9. Dahlhaus Nineteenth-Century Music 269.
10. Frisch 137.
11. Brinkmann 220.
12. Keys Brahms 113.
13. Langer 31–2.
14. Dahlhaus Nineteenth-Century Music 269.
15. Kalbeck Brahms/Herzogenberg Letters 190n.
16. Litzmann Life 371.
17. Litzmann Schumann/Brahms Letters 2/11/1884.
18. Litzmann Schumann/Brahms Letters 8/10/1882.
19. Holde 322–3.
20. Keys Brahms 116.
21. Geiringer Brahms 156.
22. Hanslick “Memories” 167–8.
23. Geiringer Brahms 156.
24. Kalbeck III, 438.
25. Kalbeck III, 440–1.
26. Litzmann Life 375.
27. Dietrich/Widmann 79–80.
28. Kalbeck Brahms/Herzogenberg Letters 12/29/1884.
29. Kalbeck Brahms/Herzogenberg Letters 215–16, n.d.
30. Litzmann Life 362.
31. Kalbeck Brahms/Herzogenberg Letters 1/12/1885, and Notley 109.
32. Gartenberg 178–9.
33. Morton 163.
34. Morton 18–19.
35. Morton 97–8.
36. Dahlhaus Nineteenth-Century