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Part IV - Society and Culture

Published online by Cambridge University Press:  15 May 2019

Natasha Loges
Royal College of Music, London
Katy Hamilton
Royal College of Music, London
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We begin our consideration of Brahms’s politics and religion with the great historical turn that occurred in the centre of Europe in the year 1870. With the decisive German military defeat of France and proclamation of King Wilhelm I of Prussia as German Emperor, the German Question was at last given its definitive Prussian-dominated Smaller German solution. Brahms probably would have preferred a Larger German solution that included Austria, Prussia’s traditional rival for leadership in the loosely bound German Confederation that was established by the Congress of Vienna following Napoleon’s final defeat in 1815. But what mattered most was that Germany had at last emerged from its political impotence to become a nation-state possessed of power and influence in the world commensurate with its long-recognised achievements in the cultural sphere.

Brahms in Context , pp. 257 - 304
Publisher: Cambridge University Press
Print publication year: 2019

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Further Reading

Beller-McKenna, D., Brahms and the German Spirit (Cambridge, MA and London: Harvard University Press, 2004)Google Scholar
Blackbourn, D., History of Germany 1780–1918: The Long Nineteenth Century, 2nd edn (Malden, MA: Blackwell, 2003)Google Scholar
Brodbeck, D., Defining Deutschtum: Political Ideology, German Identity, and Music-Critical Discourse in Liberal Vienna (New York: Oxford University Press, 2014)Google Scholar
Minor, R., Choral Fantasies: Music, Festivity, and Nationhood in Nineteenth-Century Germany (Cambridge: Cambridge University Press, 2012)Google Scholar
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Further Reading

Bozarth, G., ‘Brahms’s Lieder Inventory of 1859–60 and Other Documents of his Life and Work’, Fontes Artis Musicae 30/3 (July–September 1983), 98117Google Scholar
Geiringer, K., ‘Brahms as a Reader and Collector’, trans. M. D. Herter Norton, Musical Quarterly 19/2 (April 1933), 158–68, reprinted in K. Geiringer, Brahms: His Life and Work, 3rd edn (New York: Da Capo, 1982), 369–79Google Scholar
Heuberger, R., Erinnerungen an Johannes Brahms, 2nd edn (Tutzing: Hans Schneider, 1976)Google Scholar
Hofmann, K., Die Bibliothek von Johannes Brahms: Bücher-und Musikalienverzeichnis (Hamburg: Wagner, 1974)Google Scholar
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Further Reading

Beller-McKenna, D., ‘Brahms on Schopenhauer: The Vier ernste Gesänge, op. 121, and Late Nineteenth-Century Pessimism’, in Brodbeck, D. (ed.), Brahms Studies 1 (Lincoln: University of Nebraska, 1994), 170–88Google Scholar
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Grimes, N., Brahms’s Elegies: The Poetics of Loss in Nineteenth-Century German Culture (Cambridge: Cambridge University Press, 2019)Google Scholar
Grimes, N., ‘German Liberalism, Nationalism, and Humanism in Hanslick’s Writings on Brahms’, in Grimes, N., Donovan, S. and Marx, W. (eds.), Rethinking Hanslick: Music, Formalism, and Expression (Rochester: University of Rochester Press, 2013), 160–84Google Scholar
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Further Reading

Botstein, L., ‘Brahms and Nineteenth-Century Painting’, 19th-Century Music 14/2 (Autumn 1990), 154–68Google Scholar
Brinkmann, R., ‘Zeitgenossen: Johannes Brahms und die Maler Feuerbach, Böcklin, Klinger und Menzel’, in Krummacher, F., Struck, M. et al (eds.), Johannes Brahms. Quellen – Text – Rezeption – Interpretation (Munich: Henle, 1999), 7194Google Scholar
Hofmann, K., Die Bibliothek von Johannes Brahms: Bücher- und Musikalienverzeichnis (Hamburg: Karl Dieter Wagner, 1974)Google Scholar
Malin, Y., ‘“Alte Liebe” and the Birds of Spring: Text, Music, and Image in Max Klinger’s Brahms Fantasy’, in Platt, H. and Smith, P. (eds.), Expressive Intersections in Brahms: Essays in Analysis and Meaning (Indiana University Press, 2012), 5379Google Scholar
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Papanilkolaou, E., ‘Brahms, Böcklin and the Gesang der Parzen’, Music in Art 30/1–2 (Spring–Fall 2005), 154–65Google Scholar
Vaughan, W., German Romantic Painting (New Haven: Yale University Press, 1994)Google Scholar

Further Reading

Botstein, L., ‘Time and Memory: Concert Life, Science, and Music in Brahms’s Vienna’, in Frisch, W. and Karnes, K. C. (eds.), Brahms and His World, 2nd edn (Princeton: Princeton University Press, 2009), 325Google Scholar
Hiebert, E., The Helmholtz Legacy in Physiological Acoustics (New York: Springer, 2014)Google Scholar
Horvith, J. and Horvith, S. E., Edison, Musicians and the Phonograph: A Century in Retrospect (Santa Barbara, CA: Praeger, 1987)Google Scholar
Hui, A., The Psychophysical Ear: Musical Experiments, Experimental Sounds, 1840–1910 (Cambridge, MA: MIT Press, 2013)Google Scholar
Jackson, M. W., Harmonious Triads: Physicists, Musicians, and Instrument Makers in Nineteenth-Century Germany (Cambridge, MA: MIT Press, 2006)Google Scholar
Smith, C. and Wise, M. N., Energy and Empire: A Biographical Sketch of Kelvin (New York: Cambridge University Press, 1989)Google Scholar
Steege, B., Helmholtz and the Modern Listener (New York: Cambridge University Press, 2012)Google Scholar
Sterne, J., The Audible Past: Cultural Origins of Sound Reproduction (Rayleigh/Durham, NC: Duke University Press, 2003)Google Scholar

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