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Davidsbündlertänze, Op. 6, No. 02 (2nd Edition, ) | Sheet Music Now
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Davidsbündlertänze, Op. 6, No. 02 (2nd Edition, 1850) Sheet Music by Robert Schumann
Mahler: Symphony No. Chandos CHSA Bach: Lutheran Masses, Vol. Haydn: London Symphonies Vol. Scriabin: Symphony No. Parker, "Music and the Grand Style," - As Rogers stipulates, "the accomplishment of the great man He hoists himself from left to right and up and down; at last he raises himself firmly on his arms, with his legs high in the air, and a final leap lands him below in the midst of the admiring crowd of children.
We Schumanns were the children, and the young man was Johannes Brahms. Schumann, Erinnerungen, 13 - 14, in Moseley, "Reforming Johannes," As Kahn recalls, Brahms quickly retorted that, "he too had accomplished considerable things in tree climbing Indeed, performances that successfully communicate Brahms's manly and athletic physical prowess are those described as healthy, robust, martial, agile; or with innuendo-laden terms such as deep, virile, strong, vigorous, thrusting and penetrating.
Moments of tenderness and levity are to be noble and sportive rather than sweet and frivolous, while passages requiring sheer brute physical strength are to be executed easily, dignifiedly, and with acrobatic finesse. Arthur Rubinstein plays it with remarkable vigour. He brings out the rhythmic urge unmistakably, thereby helping the player-pianist over the difficulties of the cross- rhythms The work unquestionably displays the composer at the height of his powers.
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Extreme rubatos stop no. Ohlsson also has a The first three had a delicious, Chopinesque grace, delicate but never unmanly, and the Rhapsody sauntered forward with martial assurance. As one contemporaneous observer notes, "travels and adventure and a love of Nature [have], in many great cases, proved powerful incentives to the geniuses of composers. Brahms was far ahead and, missing the way found himself on the edge of a quarry down which he Rogers, "Genius and Health, A Dithermarscher is a person from Dithmarschen: a marshy windswept district in the northerly state of Schleswig-Holstein, Germany.
Schumann: Complete Piano Works, Vol. 12
As evidenced by Widmann's invocation of the term Dithmarscher, Brahms's outdoorsy-ness was often allied to powerful notions about the German soil, volk and nationalism. As Schauffler asserts, "Brahms' [sic] music is as healthy, sound, unpretentious, and vitally near the soil as the folk-tunes from which so much of it derives This was especially true of Max J.
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As Adler asserts, "Brahms kept faith with himself, never straining for external effect, ending as he began, a German down to the ground. Parker observes, having "approached the West and breath[ed] its intellectual air, [Russian composers are] like the Chinaman who wears his native garb, but lends it piquancy by adding one or two European garments. For example, he describes Germany as "the musical school mistress One gives, the other receives. Only with difficulty would one hear They speak to all people, to the folk. In Brahms's music, conversely, the characteristics of his lineage, of his race Interestingly, Niemann's more extensive differentiation of Brahms from Schumann draws on themes of race as well as gender: Brahms's character-differentiation from Schumann is easiest to grasp from a racial standpoint.
As a Niederdeutscher, Brahms took on Schumann's heavy, serious, melancholy side That which was Saxon in the charming disposition of Schumann, the smoothly folk-like, naive and happy character of his sunniest themes showed itself from the beginning So in general the woman supported Schumann, the man supported Brahms.
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While I'm inclined to agree with Daniel Beller-McKenna who points out that "supposing nationality as a predictive element for character and behaviour [did] not necessarily carry the extremely negative connotations we are Walter Niemann, Die Musik, 32, 43 and , in Beller-McKenna, "Brahms the German," , , and footnote 14 on page Niederdeutsch or 'Low German,' according to Beller- McKenna, is used here to evoke "the supposed original Germanic tribe of Northwestern Germany on which some ultra-nationalist writers at the turn of the century pinned their belief in a pure blooded and culturally superior Teutonic past.
In his discussion of the 'escapism' of recent scholarship on interwar music, where "the concept of purity Geiringer's discussion of Brahms as 'a guardian of German musical traditions' in the German edition was also omitted in the English version. Unbeknownst to many performers however, many of the more widely applied aesthetic categories of Brahmsian corporeal control modesty, power, stamina, athleticism, outdoorsy-ness, vitality, health, masculinity were fundamentally implicated in late-Romantic discussions of the composer's racial heritage.
In the future it could be fruitful to explore how German-ness might have sounded to the likes of free-thinking turn-of-the-century Viennese liberals such as Brahms and Kalbeck: men for whom the concept may actually have been translated into musical acts closer to the 'deeply inward, impetuously fantastic, charming, smoothly folk-like, sunnily naive and feminine' spirit evidenced by Niemann's description of Schumann's music - and by the recordings of Brahms and his female pupils, for that matter.
According to Joseph N. Straus, a composer's 'late style' can include elements of nostalgia, concision and authorial belatedness: themes that are indeed explored at length in Brahms scholarship, and usually to underline his superior mental fitness. However if Straus is right that late style works also represent "impaired bodies or minds and their failure to function in a normal way," then perhaps it is no wonder that such themes are notably absent with respect to a composer whose canonic identity seems deliberately constructed to repel questions of illness and disability.
Indeed, just as Robert Schumann implied that Brahms sprung fully-armed like Minerva into the German musical consciousness, so too are we to believe that he exits with his mind and body firmly intact: a theme reinforced throughout nineteenth- and early-twentieth-century discussions of his classicism and genius. Goethe's phrase "the classic is the hale man, the romantic the sick man" is found throughout such accounts - often with the explicit implication that Brahms's genius was a symptom of his superior physical health and vice versa.
In the following excerpt Rogers summarizes many of the themes already explored in this section, while hinting perhaps at the rarity of Brahms's mens sana in corpore sano in late-Romantic musical circles: In Brahms, however, we have a being who wholly refutes the theory that genius is allied to disease At sixty he took long tramps in the Alps He was prepared at Michael Saffle and Jeffrey R.
The lone survey mentioning Brahms is A. He knocks into the proverbial cocked hat the idea that genius inhabits an unsound brain and crazy body. Unhealthy stuff. I feel the same powerless frigidity that doctor would feel in making himself try to put life back into the dissected corpse. Emphasis is mine. Leopold Spitzer and Isabella Sommer, 2 vols. Vienna, , i, 65, in Moseley, "Reforming Johannes," But when it comes to breathing life and soul into the corpse, he lacks the necessary serum.
He is merely a skilled surgeon. Moseley argues that just as Billroth pioneered the removal of carcinomas, so too does Brahms rid the early version of his Op. In for example, critic Adolf Schubring scathingly points out Op. Indeed, the dialectical metanarrative of Brahms's evolution from lovesick Romantic to hale and hearty Classic, and its lurking Procrustean subtext of mind-body control, would never have been possible had he not distanced himself from these youthful intersections of madness and disease. Kreisler jun. He is also known to have kept a collection of literary quotes whimsically titled, 'Young Kreisler's Little Treasure Chest.
In Callots Manier, themes of dual personalities may have resonated with Brahms's duelling poetic and formalist urges, as he writes to Clara in "I often quarrel with myself — that is, Kreisler and Brahms quarrel with one another. This time But I often wanted to weep bitterly…for whenever I touched the keyboard They intend nothing less than to drive spectators out of the real world, where they feel really comfortable, and…to torment them with all possible emotions and passions highly dangerous to their health.
Just as Rogers asserted that 'idleness and introspection were ruinous to health,' whilst under the spell of the fantastically brooding reveries of their early poeticism, Brahms and Kreisler experience the ceaseless sounds of 'ghostly voices'; a state of 'endless buzzing wildly around in vague, endless spaces'; a 'fixed notion of insanity'; and they find themselves psychologically fragmented and confused. As they move towards controlled coherence in their respective artistic practices, each escapes the comorbidity of insanity and Romanticism as represented by Berlioz, and the added threat of corporeal disintegration should one's mental affliction go unresolved, as exemplified by Schumann.
Like the autobiographical intersections between Berlioz's monomaniacal 'distracted condition of the mind' and those of his protagonist in the Symphonie Fantastique, the 'ghostly voices' and 'lurking insanity' experienced by Kreisler are remarkably similar to the ceaseless aural hallucinations Schumann suffered as a result of his poisoned syphilitic body. Like Schumann, Wolf is also reported to have experienced symptoms such as aural hallucinations and insanity before attempting a drowning suicide of his own. Straus asserts that in Schubert's historical context, the debilitating psychological and physical impairments of syphilis would have endowed him with a culturally stigmatized, non-normative body.
The devastating psychological and physical effects of such an incurable and stigmatized disease leads Straus to assert Edward T. As Schumann's syphilis was both degenerative and incurable, the resolution of Brahms's promissory note was blocked, causing his mentor's culturally- stigmatized and non-normative body to unravel to ultimately destructive and tragic consequences. Schumann's poetic Romanticism, his vivid musico-literary fixation on the characters of Eusebius and Florestan, and his contraction of a sexually-transmitted disease also evoke Cone's discussion of the effect of vice on 'sensitive personalities,' and Esquirol's definition of those most at risk for developing monomania: 'persons endowed with a brilliant, warm and vivid imagination; minds of a meditative and exclusive cast.
As a result, the metanarrative of his transition from the threatened disability of his early lovesick Romanticism to the restored health of his hale and hearty later Classicism is successfully resolved. As Walker observes: "When Schumann broods, he is only too often inclined to wander: when Brahms strikes a more or less similar vein of thought…he is sternly concise in design.
Davidsbündlertänze, Op. 6, No. 02 (2nd Edition, 1850) Sheet Music by Robert Schumann
Indeed, few pianists of the Schumann-Brahms circle 'played' Brahmsian structure in the ways we've come to expect, even when faced with the cool logic of Brahms's more structurally coherent later works. Only a handful of contemporaneous commentators ever explicitly reference their desire to purge Schumann from Brahms's canonic body, preferring instead to focus their dialectical energies on the musical practices of the New Germans.
While Deiters asserts that some of Brahms's later works "indicate a temporary relapse into the intense subjectivity" of his early Schumannism; Harding remarks that, "these dreadful tendencies were eventually controlled by the chastening influence of [Brahms's] massive intellect. Langley seems in wholehearted agreement when he states that, "the greatest mistake made about Brahms is that he is ever held up as a follower of Schumann," and "let me say how thoroughly pleased I was to hear Dr.