Crossing Paths: Schubert, Schumann, and Brahms

Crossing Paths: Schubert, Schumann, and Brahms

Volumn , Issue , 2008, Pages 1-322

  Daverio, John ^a  

^a BOSTON UNIVERSITY   (United States)

Author keywords

Brahms; Cryptography; Hungarian Gypsy style; Musical romanticism; Schubert; Schumann

Indexed keywords

EID: 84939788299     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1093/acprof:oso/9780195132960.001.0001     Document Type: Book

References (337)

1. Siegfried Kross, "The Establishment of a Brahms Repertoire 1890-1902," in Michael Musgrave, ed., Brahms 2:Biographical, Documentary and Analytical Studies (Cambridge: Cambridge University Press, 1987), p. 37.
2. Malcolm MacDonald, Brahms (New York: Schirmer, 1990), pp. 322-23.
3. "'Veiled Symphonies'? The Concertos," in Michael Musgrave, ed., The Cambridge Companion to Brahms (Cambridge: Cambridge University Press, 1999), pp. 167-70.
4. Otto Gottlieb-Billroth, ed. Billroth und Brahms im Briefwechsel (Berlin: Urban, 1935), p. 421.
5. Berthold Litzmann, Clara Schumann: Ein Künstlerleben nach Tagebüchern und Briefen, 8th ed., vol. 3 (Leipzig: Breitkopf und HÄrtel, 1923-25), pp. 495-96, 499-500.
6. Johannes Joachim and Andreas Moser, eds., Briefe von und an Joseph Joachim, vol. 3 (Berlin: Julius Bard, 1911-13), p. 311.
7. Gottlieb-Billroth, Billroth und Brahms im Briefwechsel, p. 421.
8. Joachim and Moser, Briefe von und an Joseph Joachim, vol. 3, p. 315.
9. Imogen Fellinger, ed., KlÄnge um Brahms: Erinnerungen von Richard Fellinger (Mürzzuschlag:österreichische Johannes Brahms-Gesellschaft, 1997), p. 58.
10. Max Kalbeck, Johannes Brahms, vol. 4, pp. 62-63, 65, 68.
11. Karl Geiringer, Brahms: His Life and Work, 3rd ed., in collaboration with Irene Geiringer (New York: Da Capo, 1982), pp. 263, 265.
12. Hans Gál, Johannes Brahms: His Work and His Personality, trans. Joseph Stein (New York: Knopf, 1963), p. 129.
13. Jan Swafford, Johannes Brahms: A Biography (New York: Knopf, 1997), p. 542.
14. Geiringer, Brahms, p. 263.
15. MacDonald, Brahms, p. 322.
16. Michael Musgrave, The Music of Brahms (London: Routledge and Kegan Paul, 1985), p. 235.
17. Hans Engel, Das Instrumentalkonzert: Eine musikgeschichtliche Darstellung, vol. 2 (Leipzig: Breitkopf und HÄrtel, 1971, 1974), pp. 419-21.
18. Constantin Floros, Johannes Brahms: "Frei aber einsam"-ein Leben für eine poetische Musik (Zurich:Arche, 1997), p. 65.
19. Geiringer, Brahms, p. 263.
20. Günter Hartmann, "Vorbereitende Untersuchungen zur Analyse von Brahms' Doppelkonzert a-moll op. 102," in Reinmar Emans and Matthias Wcndt, eds., BeitrÄge zur Geschichte des Konzerts: Festschrift Siegfried Kross zum 60. Geburtstag (Bonn: Gudrun Schröder, 1990), pp. 278-81.
21. John Horton, Brahms Orchestral Music (London: BBC, 1968), p. 62.
22. Peter Jost, "'Gewissermassen ein Versöhnungswerk': Doppelkonzert A-moll, op. 102," in Renata Ulm, ed., Johannes Brahms: Das Symphonische Werk-Entstehung, Deutung, Wirkung (Kassel: BÄrenreiter, 1996), p. 173.
23. MacDonald, Brahms, p. 321.
24. Simon McVeigh, "Brahms's Favourite Concerto,"Strad 105 (April 1994), p. 347.
25. Musgrave, The Music of Brahms, p. 235.
26. Swafford, Johannes Brahms, pp. 540-41.
27. Concerto Conversations (Cambridge, Massachusetts: Harvard University Press, 1999), p. 43.
28. Floros, Johannes Brahms, p. 65-66.
29. Jost, "'Gewissermassen ein Versöhnungswerk,'" p. 173.
30. Musgrave, The Music of Brahms, p. 225.
31. Swafford, Johannes Brahms, pp. 540-41.
32. David Epstein, "Concerto in A Minor for Violin and Violoncello ["Double"Concerto], Opus 102," in Leon Botstein, ed., The Compleat Brahms (New York: Norton, 1999), p. 56.
33. Christian Martin Schmidt, Johannes Brahms und seine Zeit (Laaber: Laaber- Verlag, 1983), p. 77.
34. MacDonald, Brahms, p. 322.
35. Heuberger, Erinnerungen, p. 93.
36. David Brodbeck, ed., Brahms Studies, vol. 1 (Lincoln: University of Nebraska Press, 1994), pp. 127-29.
37. Styra Avins, "Brahms the Cellist," Newsletter of the Violoncello Society (Summer 1992), pp. 1-5.
38. Engel, Das Instrumentalkonzert, vol. 2, p. 415.
39. Kalbeck, Brahms, vol. 4, p. 33.
40. Friedrich Bernhard Hausmann, "Brahms und Hausmann," Brahms Studien 7 (1987), p. 29.
41. Boris Schwarz, "Joseph Joachim and the Genesis of Brahms's Violin Concerto," Musical Quarterly 69 (1983), p. 508.
42. Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989), pp. 135-37.
43. Robert Schumann, "Das Clavier-Concert," NZfM 10 (4 January 1839), pp. 5-6.
44. Kerman, Concerto Conversations, p. 72.
45. Linda Correll Roesner, "Brahms's Editions of Schumann," in George Bozarth, ed., Brahms Studies: Analytical and Historical Perspectives (Oxford: Clarendon, 1990), p. 251.
46. Michael Struck, Robert Schumann: Violinkonzert d-Moll (WoO 23) (Munich:Wilhelm Fink, 1988), p. 19.
47. Michael Struck, Die umstrittenen spÄten Instrumentalwerke Schumanns (Hamburg: Wagner, 1984), pp. 251-252.
48. Richard von Perger and Robert Hirschfeld, eds., Geschichte der K. K. Gesellschaft der Musikfreunde in Wien, vol. 2:1870-1912 p. 305.
49. Eduard Hanslick, "Joseph Joachim" (1861), in Henry Pleasants, trans. and ed., Hanslick's Music Criticisms (New York: Dover, 1988), p. 80.
50. Struck, Robert Schumann, p. 19.
51. Thomas Brawley, "The Instrumental Works of Robert Volkmann (1815-1883)," Ph.D. diss., Northwestern University, 1975, pp. 13-14.
52. Brawley, "Instrumental Works," pp. 18-21, 218.
53. Kerman, Concerto Conversations, pp. 52-58.
54. Atti del Convegno Internazionale della Accademia Nazionale dei Lincei: Schumann, Brahms e l'Italia (Rome, 2001), pp. 41-58.
55. Kurt Hofmann, Die Bibliothek von Johannes Brahms: Bücher- und Musikalienverzeichnis (Hamburg: Wagner, 1974), p. 160.
56. Berthold Litzmann, ed., Letters of Clara Schumann and Johannes Brahms 1853-1896, vol. 2 (New York: Longmans, 1927), p. 188.
57. Joachim and Moser, Briefe von und an Joseph Joachim, vol. 3, pp. 406-7.
58. Tovey, Essays in Musical Analysis, vol. 3: Concertos, p. 110.
59. Joan Chissell, "The Symphonie Concerto: Schumann, Brahms and Dvorák," in Robert Layton, ed., A Companion to the Concerto (New York: Schirmer, 1988), p. 168.
60. Horton, Brahms Orchestral Music, p. 64.
61. Jost, "'Gewissermassen ein Versöhnungswerk,'" p. 178.
62. MacDonald, Brahms, p. 322.
63. Swafford, Johannes Brahms, pp. 540-41.
64. Renate and Kurt Hofmann, Johannes Brahms Zeittafel zu Leben und Werk (Tutzing: Schneider, 1983), pp. 12, 14.
65. Max Kalbeck, Johannes Brahms, vol. 1, p. 59.
66. Siegfried Kross, Johannes Brahms: Versuch einer kritischen Dokumentar- Biographie (Bonn: Bouvier, 1997), pp. 64-65.
67. Andrew F. Burghardt, Borderland: A Historical and Geographical Study of Burgenland, Austria (Madison: University of Wisconsin Press, 1962), pp. 3-5, 266-67.
68. Jonathan Bellman, "Toward a Lexicon for the Style Hongrois," Journal of Musicology 9/2 (1991), p. 214.
69. Jonathan Bellman, "The Hungarian Gypsies and the Poetics of Exclusion," in Jonathan Bellman, ed., The Exotic in Western Europe (Boston: Northeastern University Press, 1998), pp. 96-98, 103.
70. Jonathan Bellman, The Style Hongrois in the Music of Western Europe (Boston:Northeastern University Press, 1993), p. 202.
71. Bellman, "The Hungarian Gypsies," p. 100.
72. Bellman, The Style Hongrois, pp. 93-130
73. Bellman, The Style Hongrois, pp. 102-4.
74. Bellman, "Toward a Lexicon," p. 221.
75. Bellman, "Toward a Lexicon," p. 215.
76. Bellman, The Style Hongrois, p. 124.
77. Hugo Riemann, "Einige seltsame Noten bei Brahms und anderen," in PrÄludien und Studien: Gesammelte AufsÄtze zur Aesthetik, Theorie und Geschichte der Musik, vol. 3 (Leipzig: H. Seemann Nachfolger, 1901), pp. 109-111.
78. Schwarz, "Joseph Joachim and the Genesis," p. 506.
79. Schwarz, "Joseph Joachim and the Genesis," pp. 513-14, 522-23.
80. Bernstein's Virtuosity of the Nineteenth Century: Performing Music and Language in Heine, Liszt, and Baudelaire (Stanford:Stanford University Press, 1998), p. 102.
81. Gottlieb-Billroth, Billroth und Brahms im Briefwechsel, p. 390.
82. Eduard Hanslick, "Neue GesÄnge von Brahms" (1888), in Musikalisches und Litterarisches (Der "Modernen Oper" V. Thal) Kritiken und Schilderungen, 2nd ed. (Berlin: Allgemeiner Verein für Deutsche Litteratur, 1889), p. 146.
83. Gottlieb-Billroth, Billroth und Brahms im Briefwechsel, p. 427.
84. Hanslick, Aus dem Tagebuche, p. 266.
85. Hanslick, "Neue GesÄnge," pp. 146-47, 149.
86. Hanslick, Aus dem Tagebuche, p. 266.
87. Gottlieb-Billroth, Billroth und Brahms im Briefwechsel, p. 421.
88. Hanslick, "Joseph Joachim," in Hanslick's Music Criticisms, trans. and ed. Henry Pleasants (New York: Dover, 1988).p. 79.
89. Carl Schorske, Fin-de-siècle Vienna: Politics and Culture (New York: Vintage, 1981), p. 117.
90. Notley, "Brahms as Liberal," pp. 117-23.
91. Peter Gay "Aimez-vous Brahms? Polarities in Modernism," in Freud, Jews, and Other Germans: Masters and Victims in Modernist Culture (Oxford: Oxford University Press, 1978), pp. 247-51.
92. Robert Musil, "Mind and Experience," in Precision and Soul: Essays and Addresses, ed. and trans. Burton Pike and David S. Luft (Chicago: University of Chicago Press, 1990), p. 142.
93. Robert Musil, The Man without Qualities, trans. Sophie Wilkins (New York: Knopf, 1995), p. 272.
94. Johannes Brahms, Des jungen Kreislers SchatzkÄstlein: Aussprüche von Dichtern, Philosophen und Künstlern, zusammengetragen durch Johannes Brahms, ed. Karl Krebs (Berlin: Verlag der Deutschen Brahmsgesellschaft m. b. h., 1909), pp. 57-59.
95. Max Kalbeck, Johannes Brahms vol. 1, p. 114.
96. Brodbeck, "Brahms-Joachim Counterpoint Exchange," pp. 30-80, passim.
97. Kalbeck, Brahms, vol. 1, p. 98.
98. Constantin Floros, Johannes Brahms: "Frei aber einsam"-ein Leben für eine poetische Musik (Zurich: Arche, 1997), PP. 62-63, 65-66.
99. Günter Hartmann, "Vorbereitende Untersuchungen zur Analyse von Brahms' Doppelkonzert a-moll op. 102," in Reinmar Emans and Matthias Wendt, eds., BeitrÄge zur Geschichte des Konzerts: Festschrift Siegfried Kross zum 60. Geburtstag (Bonn: Gudrun Schröder, 1990), pp. 276-77, 286-92.
100. Peter Jost, "'Gewissermassen ein Versöhnungswerk': Doppelkonzert A-moll, op. 102," in Renata Ulm, ed., Johannes Brahms: Das Symphonische Werk-Entstehung, Deutung, Wirkung (Kassel: BÄrenreiter, 1996), p. 173.
101. Jan Swafford, Johannes Brahms: A Biography (New York: Knopf, 1997), pp. 540-41.
102. A. Peter Brown, "Brahms' Third Symphony and the New German School," Journal of Musicology 2 (1983), p. 436.
103. David Brodbeck, Brahms: Symphony No. 1 (Cambridge: Cambridge University Press, 1997), pp. 40-41.
104. Malcolm MacDonald, Brahms (New York: Schirmer, 1990), p. 226.
105. Michael Musgrave, Music of Brahms (London: Routledge and Kegan Paul, 1985), p. 140.
106. Dillon Partner, "Brahms, Song Quotation and Secret Programs," 19th Century Music 19-2 (1995), pp. 185-86.
107. Eric Sams, "Brahms and His Clara Themes," Musical Times 112 (1971), p. 432.
108. James Webster, "The C Sharp Minor Version of Brahms's Op. 60," Musical Times 121 (1980), pp. 89-93.
109. Kalbeck, Brahms, vol. 1, p. 232.
110. Kalbeck, Brahms vol. 1, p. 331.
111. Eric Sams, "Brahms and His Musical Love Letters," Musical Times 112 (1971), pp. 329-30.
112. George Bozarth, "Brahms's First Piano Concerto, Op. 15: Genesis and Meaning," in Reinmar Emans and Matthias Wendt, eds., BeitrÄge zur Geschichte des Konzerts:Festschrift Siegfried Kross zum 60. Geburtstag (Bonn: Gundrum Schröder, 1990), p. 218.
113. Brodbeck, "Brahms-Joachim Counterpoint Exchange," pp. 73-75.
114. Siegfried Kross, Johannes Brahms: Versuch einer kritischen Dokumentar-Biographie (Bonn: Bouvier, 1997), p. 241.
115. Bodo Bischoff "Das Bach-Bild Robert Schumanns," in Michael Heinemann and Hans-Joachim Hinrichsen, eds., Bach und die Nachwelt. Vol. 1: 1750-1850 (Laaber:Laaber-Verlag, 1997), pp. 469-72.
116. Brodbeck, "Brahms-Joachim Counterpoint Exchange," p. 30.
117. Joachim and Moser, Briefe von und an Joseph Joachim, vol. 1, p. 356.
118. Berthold Litzmann, Clara Schumann: Ein Künstlerleben, vol. 2 (Leipzig:Breitkopf und HÄrtel, 1925), p. 412.
119. Max Kalbeck, Johannes Brahms, vol. 2, p. 157.
120. Kross, Johannes Brahms, p. 446.
121. Nancy B. Reich, "Clara Schumann and Johannes Brahms," in Walter Frisch, ed., Brahms and His World (Princeton: Princeton University Press, 1990), pp. 37-47.
122. Walter Benjamin, "The Storyteller: Reflections on the Works of Nikolai Leskov" (1936), in Illuminations: Essays and Reflections, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969), p. 83.
123. Walter Benjamin, "Experience and Poverty" (1933), in Walter Benjamin: Selected Writings, vol. 2: 1927-1934, trans. Rodney Livingstone and others, ed. Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1999), p. 732.
124. Walter Benjamin, "On Some Motifs in Baudelaire" (1939), in Illuminations, p. 159.
125. Benjamin, "The Storyteller," p. 98.
126. Benjamin, "The Storyteller," pp. 86-90.
127. R. Larry Todd, "Mendelssohn's Ossianic Manner, with a New Source-On Lena's Gloomy Heath," in Jon W. Finson and R. Larry Todd, eds., Mendelssohn and Schumann: Essays on Their Music and Its Context (Durham: Duke University Press, 1984), pp. 137-60.
128. Benjamin, "The Storyteller," p. 92.
129. Florence May, The Life of Johannes Brahms, vol. 2, 2nd rev. ed. (London: Reeves, ca. 1948), p. 638.
130. "Neue Bahnen," NZfM 39 (28 October 1853), p. 253.
131. Gustav Jenner, Johannes Brahms als Mensch, Lehrer und Künstler (Marburg:Elwert, 1930), p. 75.
132. Johannes Brahms, Des jungen Kreislers SchatzkÄstlein: Aussprüche von Dichtern, Philosophen und Künstlern, zusammengetragen durch Johannes Brahms, ed. Karl Krebs (Berlin: Verlag der Deutschen Brahmsgesellschaft m. b. h., 1909), p. 57 (excerpt no. 230).
133. Wulf Konoid, Felix Mendelssohn-Bartholdy und seine Zeit (Laaber:Laaber-Verlag, 1984), p. 140.
134. Richard Heuberger, Erinnerungen an Johannes Brahms: Tagebuchnotizen aus den Jahren 1875 bis 1897, ed. Kurt Hofmann (Tutzing: Schneider, 1971), p. 94.
135. Gustav Jenner, "Johannes Brahms as Man, Teacher, and Artist," trans. Susan Gillespie, in Walter Frisch, ed., Brahms and His World (Princeton: Princeton University Press, 1990), p. 197.
136. Michael Musgrave, Brahms: A German Requiem (Cambridge: Cambridge University Press, 1996), p. 62.
137. Marie Luise Maintz, Franz Schubert in der Rezeption Robert Schumanns (Kassel:BÄrenreiter, 1995).
138. James Webster, "Schubert's Sonata Form and Brahms's 'First Maturity'," 19th Century Music 2 (1978), pp. 18-37, 3 (1979), PP. 52-71.
139. Christopher Wintle, "The 'Sceptred Pall': Brahms's Progressive Harmony," in Michael Musgrave, ed., Brahms 2: Biographical, Documentary and Analytical Studies (Cambridge: Cambridge University Press, 1987), pp. 197-222.
140. Constantin Floros, Brahms und Bruckner: Studien zur musikalischen Exegetik (Wiesbaden: Breitkopf und HÄrtel, 1980), pp. 115-30.
141. Johannes Brahms: "Frei aber einsam"-ein Leben für eine poetische Musik (Zurich: Arche, 1997), pp. 145-82.
142. Siegfried Kross, "Brahms und Schumann," Brahms Studien 4 (1981), pp. 27-29.
143. Reinhold Brinkmann, Late Idyll: The Second Symphony of Johannes Brahms, trans. Peter Palmer (Cambridge, Massachusetts: Harvard University Press, 1995.
144. David Brodbeck, Brahms: Symphony No. 1 (Cambridge: Cambridge University Press, 1997), pp. 40-50, 72-73.
145. Walter Frisch, Brahms and the Principle of Developing Variation (Berkeley:University of California Press, 1984), pp. 91-92.
146. Harald Krebs, Fantasy Pieces:Florestan, Eusebius and Metrical Dissonance (New York: Oxford University Press, 1999), pp. 219-24.
147. E. M. Forster, "The Raison d'etre of Criticism in the Arts" (1947), in Two Cheers for Democracy (San Diego: Harcourt Brace, 1979), p. 116.
148. Harold Bloom, The Anxiety of Influence-a Theory of Poetry (London: Oxford University Press, 1973), p. 5.
149. Kevin Korsyn, "Towards a New Poetics of Musical Influence," Music Analysis 10/1-2 (1991), pp. 3-72.
150. Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony (Cambridge, Massachusetts: Harvard University Press, 1996)
151. Joseph Straus, Remaking the Past: Musical Modernism and the Influence of the Tonal Tradition (Cambridge, Massachusetts: Harvard University Press, 1990).
152. Richard Taruskin, "Revising Revision" (review of Korsyn, "Towards a New Poetics of Musical Influence," and Straus, Remaking the Past), JAMS 46 (1993), p. 114.
153. Martin Scherzinger, "The 'New Poetics' of Musical Influence: A Response to Kevin Korsyn," Music Analysis 13/2-3 (1994), p. 305.
154. David Brodbeck, "Brahms's Mendelssohn," in Brodbeck, Brahms Studies, vol. 2, pp. 209-31.
155. Kenneth Hull,'Allusive Irony in Brahms's Fourth Symphony, in Brodbeck, Brahms Studies, vol. 2, pp. 135-68.
156. "Brahms the Allusive: Extracompositional Reference in the Instrumental Music of Johannes Brahms," Ph.D. dissertation, Princeton University, 1989.
157. Raymond Knapp, "Brahms and the Anxiety of Allusion," Journal of Musicological Research 18/1 (1998), pp. 1-30.
158. Brahms and the Challenge of the Symphonic Tradition (Stuyvesant, New York:Pendragon, 1997), pp. 81-141.
159. Raymond Knapp, "Utopian Agendas: Variation, Allusion, and Referential Meaning in Brahms's Symphonies," in Brahms Studies, Volume 3, ed. David Brodbeck (Lincoln and London: University of Nebraska Press, 2001), pp. 129-89.
160. Brodbeck, "Brahms's Mendelssohn," p. 227.
161. Charles Rosen, "Brahms: Classicism and the Inspiration of Awkwardness," in Critical Entertainments: Music Old and New (Cambridge, Massachusetts: Harvard University Press, 2000), p. 195.
162. T. S. Eliot, "Tradition and the Individual Talent," in Frank Kermode, ed., Selected Prose of T. S. Eliot (New York: Harcourt Brace Jovanovich, 1975), p. 40.
163. Friedrich Schlegel, AthenÄum Fragments, no. 53, translation slightly modified, in Friedrich Schlegel's Lucinde and the Fragments, trans. Peter Firchow (Minneapolis:University of Minnesota Press, 1971), p. 167.
164. Walter Benjamin, "The Storyteller: Reflections on the Works of Nikolai Leskov" (1936), in Illuminations: Essays and Reflections, ed. Hannah Arendt, trans. Harry Zohn (New York: Schocken, 1969), pp. 83-109.
165. Walter Benjamin, "Literary History and the Study of Literature" (1931), in Walter Benjamin: Selected Writings, vol. 2:1927-1934, trans. Rodney Livingstone and others, ed. Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge, Massachusetts:The Belknap Press of Harvard University Press, 1999), p. 464.
166. David Brodbeck, "Brahms's Schubert," American Brahms Society Newsletter 15/1 (1997), p. 1.
167. Brian Newbould, "Schubert," in D. Kern Holoman, ed., The Nineteenth-Century Symphony (New York: Schirmer, 1997), p. 15.
168. Alex Ross, "Great Soul," New Yorker (3 February 1997), p. 78.
169. Georg Eismann, Schumann: Ein Quellenwerk über sein Leben und Schaffen, vol. 1 (Leipzig: Breitkopf und HÄrtel, 1956), p. 44.
170. Martin Schoppe, ed., Robert Schumann-selbstbiographische Notizen-Faksimile (Zwickau: Robert-Schumann-Gesellschaft, n.d.). One of four similar manuscripts now at the Robert-Schumann-Haus in Zwickau, this autobiographical sketch probably dates from 1840, when Schumann was assembling application materials for a doctorate from the University of Jena.
171. Clara Schumann, ed., Jugendbriefe von Robert Schumann, 2nd ed. (Leipzig: Breitkopf und HÄrtel, 1886), p. 82.
172. Marie Luise Maintz, Franz Schubert in der Rezeption Robert Schumanns (Kassel:BÄrenreiter, 1995).
173. Eismann, Schumann, vol. 1, p. 44.
174. Newbould, "Schubert," p. 11.
175. Thomas Denny, "Too Long? Too Loose? and Too Light? Critical Thoughts about Schubert's Mature Finales," Studies in Music 23 (1989), pp. 25, 48.
176. "Und diese himmlische LÄnge der Symphonie, wie ein dicker Roman in vier BÄnden etwa von Jean Paul, der auch niemals endigen kann und aus den besten Gründen zwar, um auch den Leser hinterher nachschaffen zu lassen." NZfM 12 (1840), p. 82.
177. Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony (Cambridge, Massachusetts: Harvard University Press, 1996), p. 116.
178. Newbould, "Schubert," p. 11.
179. Bonds, After Beethoven, p. 117.
180. Robert Schumann: Herald of a "New Poetic Age" (New York: Oxford University Press, 1997), p. 319.
181. Stephen E. Hefling and David S. Tartakoff "Schubert's Chamber Music," in Stephen E. Hefting, ed., Nineteenth-Century Chamber Music (New York: Schirmer, 1998), p. 109.
182. Brian Newbould, Schubert: The Music and the Man (London: Victor Gollancz, 1997), pp. 369-70.
183. Newbould, Schubert, p. 371.
184. Richard Cohn, "As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert," 19th Century Music 22/3 (1999), pp. 213-32.
185. Donald Francis Tovey "Tonality in Schubert" (1928), in The Main Stream of Music and Other Essays (Cleveland: Meridian, 1959), p. 159.
186. Cohn, "As Wonderful as Star Clusters," p. 215.
187. Patrick McCreless, "A Candidate for the Canon? A New Look at Schubert's Fantasie in C major for Violin and Piano," 19th Century Music 20/3 (1997), pp. 205-30.
188. Newbould, Schubert, p. 370.
189. Newbould, Schubert, pp. 370-71.
190. Carl Dahlhaus, "Sonata Form in Schubert: The First Movement of the G-Major String Quartet, Op. 161 (D. 887)," trans. Thilo Reinhard, in Walter Frisch, ed., Schubert:Critical and Analytical Studies (Lincoln: University of Nebraska Press, 1986), pp. 1-12.
191. Nicholas Temperley in "Schumann and the Cipher-Letters and Comments," Musical Times 106 (1965), pp. 767-68.
192. George Bozarth, "Brahms's First Piano Concerto, Op. 15: Genesis and Meaning," in Reinmar Emans and Matthias Wendt, eds., BeitrÄge zur Geschichte des Konzerts: Festschrift Siegfried Kross zum 60. Geburtstag (Bonn: Gundrum Schröder, 1990), p. 218, note 39.
193. Charles Rosen, "Secret Codes-Caspar David Friedrich, Robert Schumann," in Romantic Poets, Critics, and Other Madmen (Cambridge, Massachusetts: Harvard University Press, 1998), pp. 93-95.
194. Robert Schumann: Herald of a "New Poetic Age" (New York: Oxford University Press, 1997), p. 159.
195. David Brodbeck, "The Brahms-Joachim Counterpoint Exchange; or Robert, Clara, and 'the Best Harmony between Jos. and Joh.,'" in David Brodbeck, ed., Brahms Studies, vol. 1, (Lincoln: University of Nebraska Press, 1994), pp. 69-70.
196. Brahms: Symphony No. 1 (Cambridge: Cambridge University Press, 1997), pp. 39-41.
197. A. Peter Brown, "Brahms' Third Symphony and the New German School," Journal of Musicology 2 (1983), p. 436.
198. Raymond Knapp, Brahms and the Challenge of the Symphonic Tradition (Stuyvesant, New York: Pendragon, 1997), p. 82.
199. Malcolm MacDonald, Brahms (New York: Schirmer, 1990), p. 226.
200. Michael Musgrave, "Brahms's First Symphony: Thematic Coherence and Its Secret Origin," Music Analysis 2/2 (1983), p. 128.
201. The Music of Brahms (London: Routledge and Kegan Paul, 1985), pp. 28, 138-41.
202. Dillon Partner, "Brahms, Song Quotation, and Secret Programs," 19th Century Music 19/2 (1995), pp. 185, 189.
203. Christopher Reynolds, "A Choral Symphony by Brahms?" 19th Century Music 9/1 (1985), pp. 1-2, 7-8, 14-16, 20-22.
204. Elaine R. Sisman, "Brahms and the Variation Canon," 19th Century Music 14 (1990), p. 149.
205. Jan Swafford, Johannes Brahms: A Biography (New York: Knopf, 1997), pp. 123-24.
206. Shawn Rosenheim, The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet (Baltimore:Johns Hopkins University Press, 1997), pp. 253-56.
207. "Cryptography, Musical," in Stanley Sadie, ed., The New Grove Dictionary of Music and Musicians, vol. 5 (London: Macmillan, 1980), p. 80.
208. Eric Sams, "Brahms and His Musical Love Letters," Musical Times 112 (1971), pp. 329-30.
209. "Brahms and His Clara Themes," Musical Times 112 (1971), pp. 432-34.
210. Sams, "Brahms and His Musical Love Letters," p. 329.
211. Sams, "Did Schumann Use Ciphers?" p. 584.
212. Robert Haven Schauffler, Florestan: The Life and Work of Robert Schumann (New York: Holt, 1945), pp. 310-15.
213. Roger Fiske, "A Schumann Mystery," Musical Times 105 (1964), pp. 574-78.
214. Sams, "Did Schumann Use Ciphers?" p. 584.
215. Sams, "Why Florestan and Eusebius?" p. 133.
216. Sams, "Did Schumann Use Ciphers?" p. 586.
217. Fiske, "A Schumann Mystery," pp. 575-77.
218. Sams, "Did Schumann Use Ciphers?" pp. 584-85.
219. Sams, "The Schumann Ciphers," pp. 395-96.
220. Sams, "Did Schumann Use Ciphers?" p. 589.
221. Sams, "Politics, Literature, People in Schumann's Op. 136," pp. 25-27.
222. Sams, "Did Schumann Use Ciphers?" p. 590.
223. Sams, "The Schumann Ciphers," pp. 399-400.
224. Sams, "The Schumann Ciphers," p. 399.
225. Malcolm Boyd, in "Schumann and the Cipher," p. 770.
226. Nancy Reich, Clara Schumann: The Woman and the Artist (Ithaca:Cornell University Press, 1985), p. 200.
227. R. Larry Todd, "On Quotation in Schumann's Music," in R. Larry Todd, ed., Schumann and His World, (Princeton: Princeton University Press, 1994), p. 109.
228. Anna Burton, "Robert Schumann and Clara Wieck: A Creative Partnership," Music and Letters 69 (1988), pp. 213-14.
229. Nicholas Marston, Schumann: Fantasie, Op. 17(Cambridge: Cambridge University Press, 1992), p. 90.
230. Akio Mayeda, Robert Schumanns Weg zur Symphonie (Zurich: Atlantis, 1992), p. 450.
231. Sams, The Songs of Robert Schumann, p. 24.
232. Bernhard Appel, Robert Schumann's "Album für die Jugend" (Zurich: Atlantis, 1998), p. 161.
233. Sams, "Did Schumann Use Ciphers?" p. 585.
234. Sams, "Did Schumann Use Ciphers?" p. 585.
235. Fiske, "A Schumann Mystery," pp. 575-77.
236. Sams, "The Schumann Ciphers," pp. 395-96.
237. Sams, "The Tonal Analogue in Schumann's Music," p. 114.
238. Sams, "The Schumann Ciphers," p. 399.
239. Sams, "A Schumann Primer?" p. 1096.
240. Sams, "The Schumann Ciphers," p. 400.
241. Klüber, Kryptographik, p. 234.
242. Sams, "The Schumann Ciphers," p. 399.
243. Sams, "A Schumann Primer?" p. 1096.
244. Klüber, Kryptographik, p. 217.
245. Sams, "A Schumann Primer?" p. 1096.
246. Sams, "The Schumann Ciphers," p. 396.
247. Brodbeck, Brahms: Symphony No. 1, pp. 40-41.
248. Musgrave, "Brahms's First Symphony," p. 128.
249. Sams, "The Schumann Ciphers," p. 400.
250. Sams, "Did Schumann Use Ciphers?" p. 590.
251. Thomas Phleps, "'In meinen Tönen spreche ich': Biographische Chiffren in Kompositionen von Brahms," in Hanns-Werner Heister, ed., Johannes Brahms oder Die Relativierung der "absoluten Musik" (Hamburg: von Bockel, 1997), p. 209.
252. "Did Schumann Use Ciphers?": "Hat Schumann in seinen Werken Chiffren benutzt?" NZfM 127/6 (1966), pp. 218-24.
253. Swafford, Johannes Brahms, p. 124.
254. Benjamin, "Old Forgotten Children's Books," p. 410.
255. Appel, Robert Schumann's "Album für die Jugend," pp. 73-92.
256. Appel, Robert Schumann's "Album für die Jugend,"; p. 95.
257. Robert Schumann, Klavierbüchlein für Marie: Ein Schumann-Handschrift im Beethoven-Haus Bonn (Bonn:Beethoven-Haus, 1998), pp. 20-31.
258. Dagmar Weise, "Ein bisher verschollenes Manuskript zu Schumanns 'Album für die Jugend,'" in Dagmar Weise, ed., Festschrift Joseph Schmidt-Görg zum 60. Geburtstag (Bonn: Beethoven-Haus, 1957), pp. 383-99.
259. Appel, "'Actually, Taken Directly from Family Life,'" pp. 190, 198.
260. Walter Benjamin, "Notes for a Study of the Beauty of Colored Illustrations in Children's Books-Reflections on Lyser" (1918-21), in Walter Benjamin, vol. 1, p. 264.
261. Appel, "'Actually, Taken Directly from Family Life,'" p. 176.
262. Appel, Robert Schumann's "Album für die Jugend," p. 321.
263. Walter Benjamin, "A Glimpse into the World of Children's Books" (1926), in Walter Benjamin, vol. 1, p. 442.
264. Jean Paul, Werke, vol. 2, ed. Gustav Lohmann (Munich: Carl Hanser, 1959), P. 713.
265. Hector Berlioz, Berlioz: Fantastic Symphony, Norton Critical Score, ed. Edward T. Cone (New York: Norton, 1971), p. 23 (translation slightly modified).
266. Douglas Jarman, "Alban Berg, Wilhelm Fliess and the Secret Programme of the Violin Concerto," Musical Times 124 (1983), pp. 218-23.
267. Berthold Litzmann, ed., Clara Schumann-Johannes Brahms: Briefe aus den Jahren 1853-1896, vol 1 (Leipzig: Breitkopf und HÄrtel, 1927), p. 198.
268. The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1999), p. 688.
269. Walter Benjamin, "Little History of Photography" (1931), in Walter Benjamin, vol. 2, pp. 510, 512.
270. Roland Barthes, "Rasch," in The Responsibility of Forms: Critical Essays on Music, Art, and Representation, trans. Richard Howard (New York: Hill and Wang, 1985), pp. 300, 301-2.
271. Janina Klassen, Clara Wieck-Schumann-Die Virtuosin als Komponisten-Studien zu ihrem Werk, Kieler Studien zur Musikwissenschaft, vol. 37 (Kassel:BÄrenreiter, 1990), p. 99.
272. Nicholas Marston, Schumann: Fantasie, Op. 17 (New York: Cambridge University Press, 1992), pp. 7-8.
273. Nicholas Marston, "'Im Legendenton': Schumann's 'Unsung Voice,'" 19th Century Music 16/3 (1993), p. 238.
274. Berthold Hoeckner, "Schumann and Romantic Distance," Journal of the American Musicological Society 50-1 (1997), p. 121.
275. Hoeckner, "Schumann and Romantic Distance," pp. 105, 109.
276. Hoeckner, "Schumann and Romantic Distance," p. 128.
277. Benjamin, A Berlin Chronicle, p. 597.
278. Benjamin, A Berlin Chronicle, p. 615.
279. Robert and Clara Schumann, Briefe einer Liebe, ed. Hanns-Josef Ortheil (Königstein:AthenÄum, 1982), p. 278.
280. Litzmann, Clara Schumann, vol. 2, p. 151.
281. Nancy Reich, Clara Schumann: The Artist and the Woman, Revised Edition (Ithaca: Cornell University Press, 2001), pp. 233-35.
282. Constantin Floros, Brahms und Bruckner: Studien zur musikalischen Exegetik (Wiesbaden: Breitkopf und HÄrtel, 1980), pp. 119-31.
283. Oliver Neighbour, "Brahms and Schumann: Two Opus Nines and Beyond," 19th Century Music 7/3 (1984), pp. 2, 66-69.
284. Elaine Sisman, "Brahms and the Variation Canon," 19th Century Music 14/2 (1990), pp. 145-49.
285. Benjamin, "Little History of Photography," p. 514.
286. Ingrid Bodsch and Gerd Nauhaus, eds., Clara Schumann 1819-1896: Katalog zur Ausstellung (Bonn: Stadtmuseum Bonn, 1996), p. 226.
287. Barthes, Camera Lucida, p. 93.
288. Karol Berger, "Beethoven and the Aesthetic State," in Mark Evan Bonds, ed., Beethoven Forum 7 (Lincoln: University of Nebraska Press, 1999), pp. 17-44.
289. Robert Schumann, "Der Psychometer," NZfM 1 (26 May 1834), p. 63.
290. Jeffrey Kaliberg, "The Rhetoric of Genre: Chopin's Nocturne in G Minor," 19th Century Music 10 (1988), pp. 239-46.
291. Linda Roesner, "Schumann's 'Parallel' Forms," 19th Century Music 14 (1991), pp. 265-78.
292. Schumann, "Der Psychometer," p. 63.
293. Gülke's Franz Schubert und seine Zeit (Laaber: Laaber-Verlag, 1991), p. 302.
294. Nicholas Marston, Schumann: Fantasie, Op. 17 (Cambridge: Cambridge University Press, 1992), pp. 17, 20-21.
295. Berthold Hoeckner, "Schumann and Romantic Distance," Journal of the American Musicological Society 50/1 (1997), p. 109.
296. Hoeckner, "Schumann and Romantic Distance," pp. 126-31.
297. Edward A. Lippman, "Robert Schumann," in MGG, ed. Friedrich Blume, vol. 12 (Kassel: BÄrenreiter, 1965), cols. 315-16.
298. Walter Frisch, ed., Brahms and His World (Princeton: Princeton University Press, 1990), pp. 103-22.
299. Adolf Schubring, "Schumanniana Nr. 5: Carl Ritter," NZfM 55 (1861), p. 53.
300. David Brodbeck, Brahms: Symphony No. 1 (Cambridge: Cambridge University Press, 1997), p. 83.
301. Constantin Floros, Johannes Brahms: "Frei aber einsam"-ein Leben für eine poetische musik (Zurich: Arche, 1997), p. 53.
302. Max Kalbeck, Johannes Brahms, vol. 1, p. 125.
303. Robert Schumann, "Aufzeichnungen über Mendelssohn," annotated by Heinz-Klaus Metzger and Rainer Riehn, in Musik-Konzepte 14/15: Felix Mendelssohn Bartholdy (Munich:Edition Text + Kritik, 1980), p. 110.
304. Thomas Mann, Joseph and His Brothers, trans. H. T. Lowe-Porter (New York: Knopf, 1986), p. 3.
305. Hugo Wolf, The Music Criticism of Hugo Wolf, trans. and ed. Henry Pleasants (New York: Holmes and Meier, 1978), p. 186.
306. Raymond Knapp, Brahms and the Challenge of the Symphonic Tradition (Stuyvesant, New York: Pendragon, 1997), pp. 97-97.
307. James Webster, "Schubert's Sonata Form and Brahms's First Maturity," 19th Century Music 2 (1978), pp. 18-37, and 3 (1979), pp. 52-71.
308. Heinrich Schenker, Harmony (1906), ed. Oswald Jonas, trans. Elisabeth Mann Borgese (Cambridge, Massachusetts: MIT Press, 1973), pp. 11-12.
309. Smith, "Liquidation, Augmentation," pp. 237, 241-47.
310. Smith, "Brahms and Schenker," p. 103.
311. David Brodbeck, "Brahms's Mendelssohn," in Brahms Studies, vol. 2, pp. 219-21.
312. Frisch, Brahms and the Principle of Developing Variation, pp. 111-13.
313. Arnold Schoenberg, "Bach" (1950), in Style and Idea, p. 397.
314. Fundamentals of Musical Composition (1937-48), ed. Gerald Strang and Leonard Stein (London: Faber and Faber, 1967), p. 85.
315. Severine Neff, "Schoenberg as Theorist: Three Forms of Presentation," in Walter Frisch, ed., Schoenberg and His World (Princeton: Princeton University Press, 1999), pp. 55-84.
316. Elaine Sisman, Mozart: The "Jupiter" Symphony (Cambridge: Cambridge University Press, 1993), pp. 68-79.
317. Giselher Schubert, "Themes and Double Themes: The Problem of the Symphonic in Brahms," 19th Century Music 18 (1994), pp. 15-16.
318. Paul Bekker, Die Sinfonie von Beethoven bis Mahler (Berlin: Schuster and Loeffler, 1918), p. 22.
319. Brodbeck, Brahms: Symphony No. 1, pp. 73-77.
320. James Buhler, "'Breakthrough' as Critique of Form: The Finale of Mahler's First Symphony," 19th Century Music 20/2 (1996), pp. 125-43.
321. Robert Schumann, "Sonaten für das Clavier," NZfM 10 (1839), p. 135.
322. Anthony Newcomb, "Once More between Absolute and Program Music: Schumann's Second Symphony," 19th Century Music 7/3 (1984), pp. 233-50.
323. Michael Musgrave, "Symphony and Symphonic Scenes: Issues of Structure and Context in Schumann's"Rhenish"Symphony," in Craig Ayrey and Mark Everist, eds., Analytical Strategies and Musical Interpretation: Essays on Nineteenthand Twentieth-Century Music (Cambridge: Cambridge University Press, 1996), pp. 120-48.
324. Linda Correll Roesner, "Schumann," in D. Kern Holoman, ed., The Nineteenth- Century Symphony (New York: Schirmer, 1997), pp. 59-67.
325. Brinkmann, Late Idyll, pp. 215-16.
326. Walter Frisch, Brahms: The Four Symphonies (New York: Schirmer Books, 1996), pp. 102, 109.
327. Frisch, Brahms and the Principle of Developing Variation, pp. 129-30, 138, 140-41.
328. Thomas Mann, Doctor Faustus: TheLifeof the German Composer Adrian Leverkühn As Told by a Friend, trans. H. T. Lowe Porter (New York: Vintage, 1971), pp. 489-90.
329. Otto Gottlieb-Billroth, ed., Billroth und Brahms im Briefwechsel (Berlin: Urban, 1935), p. 451.
330. Richard von Perger and Robert Hirschfeld, eds., Geschichte der K. K. Gesellschaft der Musikfreunde in Wien (Vienna: Holzhausen, 1912), pp. 304-5.
331. Daniel Beller-McKenna, "Brahms, the Bible, and Robert Schumann," American Brahms Society Newsletter 13/2 (1995), p. 2.
332. Michael C. Tusa, "Beethoven's 'C-Minor Mood'," in Christopher Reynolds, Lewis Lockwood, and James Webster, eds., Beethoven Forum 2 (Lincoln:University of Nebraska Press, 1993), pp. 1-28.
333. Michael Musgrave, Brahms: A German Requiem (Cambridge: Cambridge University Press, 1996), p. 62.
334. Musgrave, Brahms: A German Requiem, p. 12.
335. Blum, Hundert Jahre Ein deutsches Requiem, pp. 101-4.
336. "Medium and Meaning: New Aspects of the Chamber Music," in Michael Musgrave, ed., The Cambridge Companion to Brahms (Cambridge: Cambridge University Press, 1999), pp. 117-18.
337. Smith, "Brahms and Schenker," p. 99.