Johannes Brahms_ A Biography - Jan Swafford [409]
34. Geiringer “Brahms the Ambivalent” 2.
35. Litzmann Schumann/Brahms Letters 5/7/1892.
36. Kalbeck III, 250.
37. Kalbeck III, 247–8.
38. Keys Brahms 141.
39. Kalbeck IV, 315.
40. Litzmann Schumann/Brahms Letters 9/13/1892.
41. Litzmann Schumann/Brahms Letters 9/27/1892.
42. Litzmann Schumann/Brahms Letters 10/1892.
43. Litzmann Schumann/Brahms Letters 12/23/1892.
44. Litzmann Life 420.
45. Barkan Brahms/Billroth Letters 233.
46. Barkan Brahms/Billroth Letters 226.
47. Barkan Brahms/Billroth Letters 227n.
48. Barkan Brahms/Billroth Letters 229n.
49. Litzmann Schumann/Brahms Letters 5/10/1893.
50. Heuberger 61.
51. Litzmann Schumann/Brahms Letters 228–9.
52. Ira Braus feels that “the modulations in the C Minor String Quartet are more ‘futuristic’ than the 11ths and 13ths in the B Minor Intermezzo.”
53. As has been pointed out by Peter Burkholder, Schoenberg was overapt to present anything that led to his own music as “progressive,” and in general applied that term to matters of motivic saturation, harmonic complexity, and the like. Brahms’s rhythmic innovations, for example, he largely ignored. I suggest, though, that in proclaiming Brahms as his main inspiration, rather than Wagner as everyone assumed, Schoenberg deliberately obscured some of his debt to Wagner. Besides the obvious musical influences, one also finds in Schoenberg an echo of Wagner’s messianic conception of the artist. Perhaps Schoenberg deliberately distanced himself from Wagner partly as a way of recognizing his genuine debt to Brahms; but surely he also did it partly, and understandably, because as a Jew Schoenberg was repulsed by Wagner’s antisemitism. Schoenberg had converted to Christianity in the hostile atmosphere of 1890s Vienna; his reconversion to Judaism came before his epochal article “Brahms the Progressive.” I am suggesting, in other words, that those two developments in Schoenberg’s life were not entirely distinct, and not entirely aesthetic. Wagner could not be a father figure to Schoenberg; Brahms could.
54. Barkan Brahms/Billroth Letters 237–241. Composer Larry Moss first called my attention to this passage.
55. Brahms Briefwechsel III,87.
56. Musgrave, “Cultural World” 11.
57. Dietrich/Widmann 201.
58. Botstein “Painting” 166.
59. Musgrave “Cultural World” 13.
60. Botstein “Painting” 165.
61. Botstein “Painting” 165.
62. Botstein “Painting” 163.
63. Botstein “Painting” 168.
64. Dietrich/Widmann 202.
65. Barkan Brahms/Billroth Letters 247–8.
66. Geiringer Brahms 187.
67. Geiringer Brahms 186.
68. Geiringer Brahms 187–8.
69. MacDonald 156.
70. Litzmann Schumann/Brahms Letters 7/1894.
71. Litzmann Schumann/Brahms Letters 8/1897.
72. Kalbeck IV, 348.
73. F. Schumann 507.
74. E. Schumann 166.
75. F. Schumann 507–10.
76. E. Schumann, 170.
77. F. Schumann 512–13.
78. Kalbeck IV, 400.
79. Heuberger 81–2.
CHAPTER TWENTY-THREE
1. Heuberger 83.
2. Specht 172.
3. Heuberger 85–6.
4. E. Schumann 172–3 and F. Schumann 515.
5. Heuberger 88.
6. MacDonald 412.
7. MacDonald 298.
8. Geiringer Brahms 178–9.
9. Specht 189–92.
10. Specht 191–2.
11. Bickley Joachim Letters 91.
12. Heuberger, 92.
13. Fellinger 50.
14. Heuberger 94–5.
15. Litzmann Life 436.
16. Heuberger 99.
17. Clapham 254.
18. Litzmann Schumann/Brahms Letters 4/1896.
19. Heuberger 103.
20. Litzmann Schumann/Brahms Letters 5/7/1896.
21. Heuberger 104.
22. Heuberger 104–5.
23. MacDonald 371.
24. MacDonald 417.
25. Litzmann Life 437–8.
26. Kalbeck IV, 435–6.
27. Specht 348–9.
28. Kaufmann 751.
29. Brahms Briefwechsel VII, 307–8.
30. Litzmann Schumann/Brahms Letters 7/7/1896.
31. Specht 353.
32. LaGrange 374.
33. Kalbeck IV, 464.
34. Niemann 152.
35. Dietrich/Widmann 208.
36. Heuberger 110.
37. Schauffler 292–3.
38. Dietrich/Widmann 209.
39. Biba “New Light.”
40. Specht 352.
41. Barkan Brahms/Billroth Letters 251.
42. May 663.
43. Heuberger 121.
44. “Schatzkästlein” 640, 644, 645.
45. May 665.
46. Heuberger 123.
47. Specht 356.
48. MacDonald 195.
49. Kalbeck IV, 515–17.
50. Henschel 58–60.