Johannes Brahms_ A Biography - Jan Swafford [407]
37. Kalbeck III, 409.
38. Botstein “Time and Memory” 8.
39. Hanslick Criticisms 288–9.
40. Dahlhaus Nineteenth-Century Music 271.
41. Specht 262.
42. Notley 122; preceding paragraphs based on Notley.
43. Notley 110. She notes that many in Vienna, including the more liberal and assimilated Jews, were unsympathetic toward the strictly Orthodox Galician immigrants.
44. Kalbeck III, 158n.
45. Heuberger 30n.
46. Specht 288.
47. MacDonald 239n.
48. Gartenberg 183.
49. Morton 147.
50. Kalbeck III, 411n.
51. Grove (1954 ed.) IX, 333.
52. Geiringer Brahms 154–5.
53. Heuberger 41.
54. Gartenberg 188.
55. Ehrmann 75.
56. Zemlinsky/Weigl 206.
57. Heuberger 15.
58. Jenner 188.
59. Jenner passim.
60. Heuberger 15.
61. Heuberger 39.
62. Heuberger 132.
63. Heuberger 39.
64. Heuberger 50.
65. Helmholtz, 358.
66. Botstein “Time and Memory” 10–11.
67. Kalbeck Brahms/Billroth Letters 230n.
68. Kalbeck III, 538n.
69. Kalbeck III, 444.
70. Kalbeck Brahms/Herzogenberg Letters 5/21–2/1885.
71. Kalbeck Brahms/Herzogenberg Letters 8/29/1885.
CHAPTER TWENTY
1. Kalbeck Brahms/Herzogenberg Letters 9/8 and 9/31/1885.
2. Kalbeck III, 453–5.
3. Kalbeck Brahms/Herzogenberg Letters 10/10/1885.
4. Kalbeck Brahms/Herzogenberg Letters 252–63.
5. Brahms Briefwechsel XI, 103.
6. Litzmann Schumann/Brahms Letters, end of October 1885.
7. Kalbeck Brahms/Herzogenberg Letters 2/3/1886.
8. Litzmann Schumann/Brahms Letters 12/15/1885.
9. Litzmann Life 383.
10. Geiringer Brahms 159.
11. Specht 252–3.
12. Barkan Brahms/Billroth Letters 160–1.
13. Kalbeck III, 457.
14. Hanslick Criticisms 243–5.
15. Barkan Brahms/Billroth Letters 164–5.
16. The rejected four-bar introduction for the Fourth Symphony was mainly sustained wind chords in a iv —i cadence.
17. MacDonald 312n.
18. Rosen Sonata Forms 327.
19. MacDonald 313.
20. Tovey I, 120.
21. MacDonald 309, translation slightly changed. Brahms’s term for Bach’s chaconne bass is klotzig, which MacDonald renders as “heavy.” In fact, the closest translation might be “klutzy,” but that Yiddishism seemed a stretch here, so I settled on “clunky.”
22. Musgrave Music 225.
23. Musgrave Music 225.
24. Knapp 10.
25. Musgrave Music 226.
26. The tradition of ending a minor-key piece with a major chord (the raised note is called a “Picardy third”) has a technical reason beyond an expressive one: the overtones of the fundamental note, especially noticeable in a full organ chord, have a strong major third that can clash with the minor third in a prolonged triad. (Orchestral composers sometimes compensate for that acoustic dissonance by heavily doubling the minor third.) Still, nineteenth-century convention tended to think of the Picardy third more as an expressive device, a turn from “dark,” “tragic,” and the like, to “triumph,” “optimism,” and the like. Brahms, steeped in that tradition, was certainly thinking of it when he withheld the expected turn to major in the Fourth Symphony and in the F Minor Piano Quintet.
27. Quoted in Brinkmann 221.
28. Brinkmann 221–5.
29. Kalbeck Brahms/Herzogenberg Letters 12/2/1886.
30. Litzmann Schumann/Brahms Letters 107–8.
31. Litzmann Life 387.
32. Schonberg 235.
33. Schonberg 242.
34. Kalbeck IV, 1.
35. Brahms Briefwechsel XI, 120–1.
36. Niemann 119.
37. Dietrich/Widmann 133–4.
38. Dietrich/Widmann 131.
39. Dietrich/Widmann 122–3.
40. Schauffler 102.
41. Dietrich/Widmann 133.
42. Thatcher 8.
43. Thatcher 13–20.
44. Dietrich/Widmann 127.
45. Kalbeck III, 540–1.
46. Stark 326.
47. Musgrave Music 193.
48. Barkan Brahms/Billroth Letters 180.
49. The remarkable metrical structure of the C Minor Trio’s slow movement makes one wonder if Brahms had some experience with more authentic Hungarian folk music than what was usually played in Vienna cafés. Meanwhile, in the scherzo in several spots (such as measure 32) he uncharacteristically indulges in forbidden parallel fifths in the piano part, in a direct change from tonic to Neapolitan. In these and like ways Brahms seems to have loosened up in his old age. Maybe