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Chapter 22 - Other Instrumentalists

from Part III - Performance and Publishing

Published online by Cambridge University Press:  15 May 2019

By
Heather Platt
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

Throughout his career, Brahms forged significant professional and personal relationships with a variety of instrumentalists, ranging from talented amateurs to highly accomplished professionals. The violinist Joseph Joachim (1831–1907), cellist Robert Hausmann (1852–1909) and clarinettist Richard Mühlfeld (1856–1907) numbered among Brahms’s closest friends. Through their performances and interactions, these men inspired the composer and gave him concrete advice about writing idiomatically for their respective instruments. Because many of their exchanges took place while making music at the homes of friends, we will never know the full extent of the impact that they had on Brahms. Nevertheless, letters, diaries, personal recollections of friends and the few remaining manuscripts revealing Brahms’s creative process, all provide us with a window into the multifaceted nature of their influence.

Keywords

BrahmscontextJoachimviolinMühlfeldclarinetSchumannHausmanncello
Type
Chapter
Information
Brahms in Context , pp. 215 - 226
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Borchard, B., Stimme und Geige: Amalie und Joseph Joachim, Biographie und Interpretationsgeschichte (Vienna: Böhlau, 2005, rpt. 2007).Google ScholarGoogle Scholar
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.comGoogle Scholar
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), 397–436CrossRefGoogle 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

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