Book contents
- Brahms in Context
- Brahms in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Music Examples
- Notes on Contributors
- Preface
- Abbreviations
- Part IPersonality, People and Places
- Chapter 1Childhood in Hamburg
- Chapter 2The Schumanns
- Chapter 3Vienna
- Chapter 4Leipzig and Berlin
- Chapter 5Personal Habits
- Chapter 6Correspondence
- Chapter 7Holidays
- Part IIIdentities, Environments and Influences
- Part IIIPerformance and Publishing
- Part IVSociety and Culture
- Part VReception and Legacy
- Further Reading
- Index
- References
Chapter 4 - Leipzig and Berlin
from Part I - Personality, People and Places
Published online by Cambridge University Press: 15 May 2019
Book contents
- Brahms in Context
- Brahms in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Music Examples
- Notes on Contributors
- Preface
- Abbreviations
- Part IPersonality, People and Places
- Chapter 1Childhood in Hamburg
- Chapter 2The Schumanns
- Chapter 3Vienna
- Chapter 4Leipzig and Berlin
- Chapter 5Personal Habits
- Chapter 6Correspondence
- Chapter 7Holidays
- Part IIIdentities, Environments and Influences
- Part IIIPerformance and Publishing
- Part IVSociety and Culture
- Part VReception and Legacy
- Further Reading
- Index
- References
Summary
Robert Schumann’s 1853 essay ‘New Paths’ is famous for its prophetic introduction of the young Johannes Brahms to the wider German musical community. In this, his last piece of published criticism, Schumann presented Brahms, then a virtually unknown young composer, as a Messiah-like figure for a nascent musical era, one who would be called to ‘give the highest expression to the times in an ideal manner’ The final sentence of Schumann’s essay has often been overlooked, but it is significant for the glimpse that it offers of the place that he envisioned for Brahms in the future: ‘In every era there presides a secret league of kindred spirits. Draw the circle tighter, you who belong together, that the truth of art may shine ever more clearly, spreading joy and blessings everywhere!’ [see Ch. 31 ‘Germany’].
Information
- Type
- Chapter
- Information
- Brahms in Context , pp. 33 - 43Publisher: Cambridge University PressPrint publication year: 2019
References
Further Reading
Applegate, C. and Potter, P., ‘Germans as the “People of Music”: Genealogy of an Identity’, in Appelgate, C. and Potter, P. (eds.), Music and German National Identity (Chicago: University of Chicago Press, 2002), 1–35Google Scholar
Berry, P., Brahms among Friends: Listening, Performance, and the Rhetoric of Allusion (New York: Oxford University Press, 2014)CrossRefGoogle Scholar
Eshbach, R., ‘The Joachim Quartet Concerts at the Berlin Singakademie: Mendelssohnian Geselligkeit in Wilhelmine Germany’, in Hamilton, K. and Loges, N., Brahms in the Home and the Concert Hall (Cambridge: Cambridge University Press, 2014), 22–4210.1017/CBO9781107337404.003CrossRefGoogle Scholar
Forner, J., ‘In Leipzig war’s aber doch am schönsten’: Johannes Brahms und seine Beziehung zu Leipzig (Leipzig: Hofmeister, 2007)Google Scholar
Notley, M., Lateness and Brahms: Music and Culture in the Twilight of Viennese Liberalism (New York: Oxford University Press, 2006)CrossRefGoogle Scholar
Ruhbaum, A., Elisabeth von Herzogenberg: Salon – Mäzenatentum – Musikförderung (Kenzingen: Centaurus Verlag, 2009)Google Scholar
Lott, M. Sumner, The Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities (Chicago: University of Illinois Press, 2015)10.5406/illinois/9780252039225.001.0001CrossRefGoogle Scholar
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