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Part II - Identities, Environments and Influences

Published online by Cambridge University Press:  15 May 2019

Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

During his lifetime, Brahms accumulated a sizeable fortune. Although the early days were not without difficulties, his finances then accumulated steadily and virtually uninterruptedly. When he died in 1897, he left behind not only manuscripts of his own works, but also an extensive collection of other composers’ autograph manuscripts (including of Mozart, Haydn, Beethoven, Schubert, Schumann, etc.) as well as bonds worth over 181,000 Gulden.The size of the sum is evident when one compares the rent that he paid his landlady Coelestine Truxa between 1887 and 1897 for his three-room apartment in Vienna’s Karlsgasse, which amounted half-yearly to 347 Gulden and 25 Kreuzer.

Brahms grew up in the Hamburg‘Gängeviertel’, an area of workers, small-scale artisans and tradesmen in modest circumstances [see Ch. 1 ‘Childhood in Hamburg’]. Later on, when he could determine his own lifestyle, luxury still held no appeal.

Keywords

BrahmscontextincomefreelancecurrencyarrangementspublishingsymphonyLindeckFaberBrahmscontextpianopublicprivateconcertJoachimStockhausenSchumannBachBrahmscontextconductorchoirDetmoldHamburgViennaconcertprogrammingBrahmscontextarrangementpianoBrüllfour-handsKellerconcertosymphonyperformanceBrahmscontexteditingscorephilologySpittaChopinSchumannMozartBrahmscontextteacherstudentcompositionpianoJennercounterpointBrahmscontextprivatepublicchambervocalarrangementwaltzpublishingamateurBrahmscontextpublicmiddle classconcertMusikvereincourtprogrammingaudienceBrahmscontextgenrestylecompositionaestheticsconservativeprogressiveSchumannhistoricalBrahmscontextfolk musicarrangementmanuscriptstylecompositionHungarianmedievalBrahmscontextearly musiclibrarymanuscriptchoraleLuthercompositionstyle
Type
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Brahms in Context , pp. 69 - 184
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Ehlert, G., ‘Brahms, Schönberg und ihre Berliner Verleger’, in Dümling, A. (ed.), Verteidigung des musikalischen Fortschritts. Brahms und Schönberg (Hamburg: Argument, 1990), 111–16Google Scholar
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Further Reading

R. and Hofmann, K., Johannes Brahms als Pianist und Dirigent (Tutzing: Hans Schneider, 2006)Google Scholar
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Further Reading

Bass, J. K., ‘Johannes Brahms the Conductor: Historical Context, Chronology, and Critical Reception,’ DMA thesis, University of Miami (2005)Google Scholar
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Further Reading

Draheim, J., ‘Brahms als Bearbeiter’, in Brahms Handbuch, 101–9Google Scholar
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Fuller information is provided in volumes of the Johannes Brahms Gesamtausgabe: Serie IA, Nr. 1 Symphonien Nr. 1 und 2, Nr. 2 Symphonie Nr. 3, and Nr. 3 Symphonie Nr. 4, all ed. R. Pascall (2008, 2013, 2012); Nr. 4 Serenaden und Ouvertüren, ed. M. Musgrave (2012); Nr. 6 Klavierkonzert Nr. 2 Klavierauszug, ed. J. Behr (2014); Nr. 7 Violinkonzert und Doppelkonzert, Klavierauszüge, ed. L. C. Roesner and M. Struck (2010); Serie IIA Nr. 3 Streichquartetten, ed. Jakob Hauschildt (2015); Serie IX, Nr. 1 Arrangements von Werken anderer Komponisten für ein Klavier oder zwei Klaviere zu vier Händen, ed. V. W. Goertzen (2012); Serie IX, Nr. 2 Arrangements von Werken anderer Komponisten für Klavier solo, ed. V. W. Goertzen (2017).Google Scholar

Further Reading

Brodbeck, D., ‘Brahms’s Edition of Twenty Schubert Ländler: An Essay in Criticism’, in Bozarth, G. (ed.), Brahms Studies. Analytical and Historical Perspectives (Oxford: Clarendon Press, 1990), 229–50Google Scholar
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Struck, M., ‘Editor im Doppelspiegel. Johannes Brahms als Herausgeber fremder und eigener Werke’, in Sandberger, W. and Wiesenfeldt, C. (eds.), Musik und Musikforschung. Johannes Brahms im Dialog mit der Geschichte (Kassel: Bärenreiter, 2007), 185–206Google Scholar

Further Reading

Behr, J., ‘Brahms als Lehrer und Gutachter’, in Brahms Handbuch, 87–92Google Scholar
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Further Reading

Christensen, T., ‘Four-Hand Piano Transcription and Geographies of Nineteenth-Century’, Journal of the American Musicological Society 52/2 (Summer 1999), 255–98Google Scholar
Drinker, S., Brahms and His Women’s Choruses (Merion, PA: Musurgia Publishers, 1952)Google Scholar
Hamilton, K. and Loges, N. (eds.), Brahms in the Home and the Concert Hall (Cambridge: Cambridge University Press, 2014)Google Scholar
McCorkle, M., ‘The Role of Trial Performances for Brahms’s Orchestral and Large Choral Works: Sources and Circumstances’, in Bozarth, G. (ed.), Brahms Studies: Historial and Analytical Perspectives (Oxford: Clarendon Press, 1998), 295–328Google Scholar
Sumner Lott, M., The Social Worlds of Nineteenth-Century Chamber Music: Composers, Consumers, Communities (Chicago: University of Illinois Press, 2015)Google Scholar

Further Reading

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Further Reading

Dahlhaus, C., ‘Zur Problematik der musikalischen Gattungen im 19. Jahrhundert’, in Arlt, W. et al. (eds.), Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, (Bern: Francke, 1973), 840–95Google Scholar
Gelbart, M., ‘Layers of Representation in Nineteenth-Century Genres: The Case of One Brahms Ballade’, in Walden, J. (ed.), Representation in Western Music (Cambridge: Cambridge University Press, 2013), 13–32Google Scholar
Gelbart, M., ‘Nation, Folk, and Music History in the Finale of Brahms’s First Symphony’, Nineteenth Century Studies 23 (2009), 57–85Google Scholar
Krummacher, F., ‘Reception and Analysis: On the Brahms Quartets, Op. 51, Nos. 1 and 2’, 19th-Century Music 18/1 (Summer 1994), 24–45Google Scholar
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Notley, M., ‘The Chamber Music of Brahms’, in Hefling, S. (ed.), Nineteenth-Century Chamber Music (New York and London: Routledge, 2004), 242–86Google Scholar
Lott, M. Sumner, The Social Worlds of Nineteenth-Century Chamber Music (Urbana, Chicago and Springfield: University of Illinois Press, 2015), 195–202Google Scholar

Further Reading

Bellman, J., The Style Hongrois in the Music of Western Europe (Boston: Northeastern University Press, 1993)Google Scholar
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Further Reading

K. and Geiringer, I., ‘The Brahms Library in the Gesellschaft der Musikfreunde Wien’, Notes 30/1 (September 1973), 7–14Google Scholar
Hancock, V., ‘The Growth of Brahms’s Interest in Early Choral Music, and Its Effect on His Own Choral Compositions’, in Pascall, R. (ed.), Brahms: Biographical, Documentary and Analytical Studies (Cambridge: Cambridge University Press, 1983), 27–40Google Scholar
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Mandyczewski, E., ‘Die Bibliothek Brahms’, Musikbuch aus Oesterreich 1 (1904), 7–17Google Scholar

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