Skip to main content Accessibility help
×
Home
Hostname: page-component-55597f9d44-l69ms Total loading time: 1.209 Render date: 2022-08-12T22:33:03.889Z Has data issue: true Feature Flags: { "shouldUseShareProductTool": true, "shouldUseHypothesis": true, "isUnsiloEnabled": true, "useRatesEcommerce": false, "useNewApi": true } hasContentIssue true

Part III - Performance and Publishing

Published online by Cambridge University Press:  15 May 2019

Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
Get access

Summary

Throughout his lifetime, Brahms accompanied dozens of singers in a variety of settings, ranging from huge public halls to his friends’ homes, and conducted many others in choirs. Some of those working relationships were one-offs, arising from the widespread practice of including a set of piano-accompanied songs within most concerts and the expediency and cost-effectiveness of using local talent. Others were deep, enduring partnerships; the timbres and interpretative approaches of those singers are surely ingrained in his vocal music. Overall, Brahms’s singers were generally not part of the international operatic elite associated with Verdi, Bizet and Massenet. Figures like Julius Stockhausen (1826–1906) and Raimund von Zur-Mühlen (1854–1931) were almost exclusively concert singers and, later on, teachers. Most hailed from German-speaking territories, reflecting Brahms’s own concert career.

Type
Chapter
Information
Brahms in Context , pp. 185 - 256
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

von Balassa, O., Die Brahmsfreundin Ottilie Ebner (Vienna: F. Bondy, 1933)Google Scholar
Borchard, B., ‘Amalie Joachim und die gesungene Geschichte des deutschen Liedes’, Archiv für Musikwissenschaft 58/4 (2001), 265–99CrossRefGoogle Scholar
Bozarth, G., Johannes Brahms & George Henschel: An Enduring Friendship (Sterling Heights, Mich.: Harmonie Park Press, 2008)Google Scholar
Ebert, W., ‘Die von Hermine Spies gesungenen Brahms-Lieder’, Brahms-Studien 11 (1997), 7381Google Scholar
Ehrlich, A., Berühmte Sängerinnen der Vergangenheit und Gegenwart (Leipzig: A.H. Payne, 1896)Google Scholar
Gaiser-Reich, G., Gustav Walter 1834–1910: Wiener Hofopernsänger und Liederfürst (Tutzing: Hans Schneider, 2011)Google Scholar
Mason, D., ‘The Teaching (and Learning) of Singing’, in Potter, J. (ed.), The Cambridge Companion to Singing (Cambridge: Cambridge University Press, 2000), 204–20Google Scholar
Wirth, J., Julius Stockhausen, der Sänger des deutschen Liedes: nach Dokumenten seiner Zeit dargestellt (Frankfurt: Englert & Schlosser, 1927)Google Scholar
von Zur-Mühlen, D., Der Sänger Raimund von zur-Mühlen (Hanover-Döhren: Harro von Hirschheydt, 1969)Google Scholar
Brahms, J., Johannes Brahms im Briefwechsel mit Franz Wüllner, ed. Wolff, E. (Tutzing: Hans Schneider, 1974)Google Scholar
Draheim, J. and Jahn, G. (eds.), Otto Dessoff (1835–1892) Ein Dirigent, Komponist und Weggefährte von Johannes Brahms (Munich: Katzbichler, 2001)Google Scholar
Dyment, C., Conducting the Brahms Symphonies: From Brahms to Boult (Woodbridge: Boydell Press, 2016)Google Scholar
Fifield, C., Hans Richter (Woodbridge: Boydell Press, 2016)Google Scholar
Hinrichsen, H. J., Musikalische Interpretation: Hans von Bülow (Stuttgart: Franz Steiner, 1999)Google Scholar
Musgrave, M. and Sherman, B. (eds.), Performing Brahms: Early Evidence of Performing Style (Cambridge: Cambridge University Press, 2003)Google Scholar
Obert, S. and Schmidt, M (eds.), Im Mass der Moderne: Felix Weingartner – Dirigent, Komponist, Autor, Reisender (Basel: Schwabe, 2009)Google Scholar
Walker, A., Hans von Bülow: A Life and Times (Oxford and New York: Oxford University Press, 2010)Google Scholar
Bozarth, G., ‘Fanny Davies and Brahms’s Late Chamber Music’, in Musgrave, M. and Sherman, B. (eds.), Performing Brahms: Early Evidence of Performing Style (Cambridge: Cambridge University Press, 2003), 170219Google Scholar
Crutchfield, W., ‘Brahms, by Those Who Knew Him’, Opus 2/5 (August 1986), 1221 and 60Google Scholar
Davies, F., ‘Some Personal Recollections of Brahms as Pianist and Interpreter’ in the article ‘Brahms’, in Cobbett’s Cyclopedia Survey of Chamber Music, 2 vols. (Oxford: Oxford University Press, 1929. repr. with additional material, 1963), vol. 1, 182Google Scholar
Greene, H. P., ‘Leonard Borwick. Some Personal Recollections’, Music and Letters 7/1 (1926), 17CrossRefGoogle Scholar
Northrop Moore, J., Notes to Pupils of Clara Schumann, Pearl. Gemm CDS 9904–9
Borchard, B., Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte (Vienna: Böhlau, 2005, rpt. 2007).
Eshbach, R., ‘Der Geigerkönig: Joseph Joachim as a Performer’, Die Tonkunst 1/3 (July 2007), 205–17Google Scholar
Eshbach, R., Joseph Joachim – Biography and Research, https://josephjoachim.com
Eshbach, R., ‘Joachim’s Youth – Joachim’s Jewishness’, Musical Quarterly 94/4 (2011), 548–92CrossRefGoogle Scholar
Goltz, M. and Müller, H., Der Brahms-Klarinettist Richard Mühlfeld/Richard Mühlfeld Brahms’ Clarinetist, trans. M. Lemmel (Balve: Artivo, 2007)Google Scholar
Leistra-Jones, K., ‘Staging Authenticity: Joachim, Brahms, and the Politics of Werktreue Performance’, Journal of the American Musicological Society 66/2 (Summer 2013), 397436Google Scholar
Leistra-Jones, K., ‘Improvisational Idyll: Joachim’s ‘Presence’ and Brahms’s Violin Concerto, op. 77’, 19th-Century Music 38/3 (Spring 2015), 243–71Google Scholar
Wilson, R., ‘Style and Interpretation in the Nineteenth‐Century German Violin School with Particular Reference to the Three Sonatas for Pianoforte and Violin by Johannes Brahms’, PhD dissertation, University of Sydney, Sydney Conservatorium of Music (2015)Google Scholar
Baines, A., Woodwind Instruments and Their History (London: Faber & Faber, 1967)Google Scholar
Brown, C. et al., Performing Practices in Johannes Brahms’s Chamber Music (Kassel: Bärenreiter, 2015)Google Scholar
Carse, A., The Orchestra from Beethoven to Berlioz (Cambridge: W. Heffer and Sons, 1948)Google Scholar
Carse, A., Musical Wind Instruments (London: Macmillan, 1939)Google Scholar
Herbert, T. and Wallace, J. (eds.), The Cambridge Companion to Brass Instruments (Cambridge: Cambridge University Press, 1997)CrossRefGoogle Scholar
Lawson, C., The Cambridge Companion to the Orchestra (Cambridge: Cambridge University Press, 2003)CrossRefGoogle Scholar
Macdonald, H., Berlioz’s Orchestration Treatise: A Translation and Commentary (Cambridge: Cambridge University Press, 2002)Google Scholar
University of Leeds Collection of Historical Annotated String Edition website: http://mhm.hud.ac.uk/chase/
Biba, O., ‘Die Simrocks – Verleger für Beethoven wie für Brahms’, in Ottendorff-Simrock, W. (ed.), Das Haus Simrock. Beiträge zur Geschichte einer kulturtragenden Familie des Rheinlandes, rev. ed. I. Bodsch (Bonn: Stadtmuseum Bonn, 2003), 5768Google Scholar
Bozarth, G., ‘Brahms and the Breitkopf & Härtel Affair’, The Music Review 55/3 (August 1994), 202–13Google Scholar
Bozarth, G. (ed.), The Brahms-Keller Correspondence (Lincoln and London: University of Nebraska Press, 1996)Google Scholar
Hofmann, R., ‘Vier Briefe des Verlages J. Rieter-Biedermann an Johannes Brahms’, in Struck, M. (ed.), Johannes Brahms: Ein deutsches Requiem – Stichvorlage des Klavierauszuges (Kiel: Kulturstiftung der Länder, 1994), 1326Google Scholar
Hofmann, K., ‘Zu den Beziehungen zwischen Johannes Brahms und Fritz Simrock’, 32 Stichvorlagen von Werken Johannes Brahms, (Kiel: Kulturstiftung der Länder, 1995), 716Google Scholar
Joelson-Strohbach, H., ‘Vom Winterthurer Musikverleger Jakob Melchior Rieter-Biedermann’, Librarium: Zeitschrift der Schweizerischen Bibliophilen-Gesellschaft 34 (1991), 5166Google Scholar
Kirsch, K., Von der Stichvorlage zum Erstdruck. Zur Bedeutung von Vorabzügen bei Johannes Brahms (Kassel: Bärenreiter, 2013)Google Scholar
Lawford-Hinrichsen, I.. Music Publishing and Patronage: C. F. Peters: 1800 to the Holocaust (Kenton: Edition Press, 2000)Google Scholar
Schmitz, P., Johannes Brahms und der Leipziger Musikverlag Breitkopf & Härtel (Göttingen: V & R Unipress, 2009)Google Scholar
Stephenson, K. (ed.), Johannes Brahms und Fritz Simrock – Weg einer Freundschaft. Briefe des Verlegers an den Komponisten (Hamburg: J. J. Augustin, 1961)Google Scholar
Struck, M., ‘Vom Einfall zum Werk – Produktionsprozesse, Notate, Werkgestalt(en)’, in Brahms Handbuch, 171–98
Sulzer, P., ‘13 neu aufgefundene Postkarten und ein Brief von Johannes Brahms an Jakob Melchior Rieter-Biedermann’, Brahms-Studien 6 (1985), 3160Google Scholar
Van Orden, K., Music and the Cultures of Print (New York: Garland, 2000)Google Scholar
Gerhartl, S., ‘“Vogelfrei” – Die österreichische Lösung der Urheberrechtsfrage in der 2. Hälfte des 19. Jahrhunderts oder Warum es Österreich unterließ, seine Autoren zu schützen’, PhD dissertation, Vienna University (1995)
Kawohl, F. (2008), ‘Commentary on the Leipzig Music Publishers’ Union against Piracy (1830)’, in Bently, L. and Kretschmer, M. (eds.) Primary Sources on Copyright (1450–1900), www.copyrighthistory.orgGoogle Scholar
Kawohl, F. (2008) ‘Commentary on the Prussian Copyright Act (1837)’, in Bently, L. and Kretschmer, M. (eds.) Primary Sources on Copyright (1450–1900), www.copyrighthistory.orgGoogle Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×