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By Brahms, Johannes; Frisch, Walter; Karnes, Kevin; Brahms, Johannes

Since its first e-book in 1990, Brahms and His World has turn into a key textual content for listeners, performers, and students drawn to the lifestyles, paintings, and occasions of 1 of the 19th century's so much celebrated composers. during this considerably revised and enlarged variation, the editors stay with regards to the imaginative and prescient in the back of the unique publication whereas updating its contents to mirror new views on Brahms that experience constructed over the last 20 years. To this finish, the unique essays by way of best specialists are retained and revised, and supplemented through contributions from a brand new iteration of Brahms students. jointly, they think about such themes as Brahms's dating with Clara and Robert Schumann, his musical interactions with the "New German institution" of Wagner and Liszt, his impact upon Arnold Schoenberg and different younger composers, his method of appearing his personal song, and his efficient interactions with visible artists.

The essays are complemented by way of a brand new collection of feedback and analyses of Brahms's works released via the composer's contemporaries, documenting the ways that Brahms's track used to be understood by means of 19th- and early twentieth-century audiences in Europe and North the USA. a brand new number of memoirs by way of Brahms's acquaintances, scholars, and early admirers presents intimate glimpses into the composer's operating tools and character. And a catalog of the tune, literature, and visible arts devoted to Brahms records the breadth of effect exerted via the composer upon his contemporaries.

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Theodore Steinway. Helmholtz seemed to have helped to solve the problem of how to build a stable instrument that could be tuned, remain reasonably in tune, and possess a rich, resonating sound. Steinway’s famous duplex scale patent of the 1870s owed its origin to Helmholtz. Helmholtz’s work contributed significantly to the standardization of pitch and tuning in the late nineteenth century and to the establishment of an international standard tuning system (or the effort to do so). Brahms’s colleague in Vienna, L.

Theories of Sensation, Time Consciousness, and Habits of Listening, 1885-1905 Helmholtz’s work spurred a new set of questions about how and why we perceive sounds, and how we conceive of the logic of time, and therefore retain and remember sequences of sound that possess their logic in associations with words or pictures. If Brahms’s music, as has been suggested, played into the conceits of the successful cultivation of the understanding of objective musical elements and their combinations, then it was nearly inevitable that the fundamentals of that conceit of understanding itself would undergo critical scrutiny.

We deeply regret that the death of Peter Ostwald in 1996 prevented him from being part of the revision process. To the original essays we have added three new ones, by Styra Avins, Kevin Karnes, and Roger Moseley. The “Reception and Analysis” section has been reshaped and augmented to present a double historical trajectory, extending across both Brahms’s oeuvre and critical responses to it. This latter section begins with Adolf Schubring’s account of Brahms’s early works from 1862 and extends to Max Kalbeck’s discussion of the Four Serious Songs, op.

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