Brahms and His World: A Biographical Dictionary

640 Pages·2006·2.989 MB·English

by  Peter Clive

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Brahms and His World
ABiographical Dictionary
Peter Clive
The Scarecrow Press, Inc.
Lanham, Maryland • Toronto • Oxford
2006
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SCARECROWPRESS,INC.
Published in the United States of America
by Scarecrow Press, Inc.
Awholly owned subsidiary of
The Rowman & Littlefield Publishing Group, Inc.
4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706
www.scarecrowpress.com
PO Box 317
Oxford
OX2 9RU, UK
Copyright ©2006 by Peter Clive
All rights reserved. No part of this publication may be reproduced, stored
in a retrieval system, or transmitted in any form or by any means, electronic,
mechanical, photocopying, recording, or otherwise, without the prior permission
of the publisher.
British Library Cataloguing in Publication Information Available
Library of Congress Cataloging-in-Publication Data
Clive, H. P.
Brahms and his world : a biographical dictionary / Peter Clive.
p. cm.
Includes bibliographical references and indexes.
ISBN-13: 978-0-8108-5721-6 (hardcover : alk. paper)
ISBN-10: 0-8108-5721-9 (hardcover : alk. paper)
1. Brahms, Johannes, 1833-1897—Friends and associates. 2. Composers—
Germany—Biography—Dictionaries. I. Title.
ML410.B8C54 2006
780.92—dc22
2005037516
(cid:2)™
The paper used in this publication meets the minimum requirements of
American National Standard for Information Sciences—Permanence of
Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.
Manufactured in the United States of America.
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Contents
Preface v
Acknowledgments vii
Reader’s Notes ix
Chronology xi
THE DICTIONARY 1
Bibliography 519
Index of Brahms’s Works 573
Index of Names 579
About the Author 605
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Preface
This biographical dictionary provides information on more than 430 persons
associated with Johannes Brahms: relatives; friends and acquaintances;
physicians; fellow musicians; composers whom Brahms particularly admired
and in the editions of whose works he was involved; certain conductors, in-
strumentalists, and singers who took part in notable (especially first) per-
formances of his compositions; poets whose texts he set to music; publishers;
artists; and also the rulers of certain German states with whom he had signif-
icant contact. Two articles, “Debussy” and “Wallisch,” though not falling into
any of those categories, are included for special reasons, which should
quickly become evident.
The information has been derived from an extensive consultation of pri-
mary sources, as well as from a critical examination of a very considerable
number of publications. As far as the latter are concerned, a select list of this
printed material is given in the bibliography (but see also the introductory
note to that section).
At the end of most articles some pertinent printed sources (in particular,
publications referred to in the articles or from which quotations are presented)
are cited in abbreviated form, full details being given in the bibliography.
However, in order to avoid constant repetition, no mention is normally made
there of two works that have had to be consulted in almost every case, namely
Max Kalbeck’s (1976) biography of Brahms and Margit L. McCorkle’s
(1984) Johannes Brahms:Thematisch—bibliographisches Werkverzeichnis. .
. . For the same reason, no reference is normally made among the sources
cited to articles in standard encyclopedias on music and on art, such as
Grove’s Dictionary of Music and Musicians, Musik in Geschichte und Gegen-
wart, Riemann’s Musik-Lexikon, Schweizer Musiker-Lexikon, or Thieme and
Becker’s Allgemeines Lexikon der bildenden Künstler von der Antike bis zur
Gegenwart, the Grove Dictionary of Art, and Saur’s Allgemeines Künstler-
lexikon. It may be assumed as a matter of course that due account has been
taken of the relevant articles in those reference works.
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Acknowledgments
Above all, I wish once again to record my profound appreciation for the quite
invaluable assistance provided by Callista Kelly and her colleagues Al
MacLennan, Louise McGreal, Laurie Pollock, Karen Robertson, Robert
Smith, and Christine Taylor of the interlibrary loans section at Carleton Uni-
versity, Ottawa. I would also like to express my particular gratitude to Otto
Biba and Ingrid Fuchs (Gesellschaft der Musikfreunde, Vienna), Renate and
Kurt Hofmann (Lübeck), Hubert Reitterer (Österreichisches Biographisches
Lexikon, Vienna), Michael Struck (Brahms Gesamtausgabe, Kiel), and Stefan
Weymar (Brahms-Institut, Lübeck), whose help and advice have been ex-
tremely valuable. Finally, I wish to record my indebtedness to all the
archivists, librarians, and other staff members of numerous public and private
institutions in Austria, France, Germany, Great Britain, and Hungary, who
have kindly supplied information or have generously helped in other ways;
and also to Gerhard Behrens, G. M. Behrens, James Behrens (all of London),
Paul Filotas (Carleton University, Ottawa), Georgette Gruner (Aix-en-
Provence), Gordon Harris (Stockport, England), Myra Mackay (Royal Scot-
tish Orchestra, Glasgow), Jim Peschek (Uppingham School, Uppingham, Eng-
land), Antje Ruhbaum (Berlin), and Christiane Wiesenfeldt (Lübeck).
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Reader’s Notes
Work numbers are used in the dictionary strictly for the purpose of clarity and
are therefore usually omitted where there is no risk of confusion. Thus, des-
ignations such as “First Symphony” and “Magelone-Lieder” are considered
adequate identification without the addition of the opus numbers, whereas the
latter are clearly necessary in a case like “Piano Quartet op. 60,” since
Brahms wrote two other such quartets.
When a person’s name appears in boldfaced type in an entry of the dic-
tionary, it indicates that he or she is the subject of a separate entry. Only the
first appearance in an entry is bold.
For quotations, unless otherwise indicated, all translations from German
and French are my own.
Ranks of nobility have been rendered by the most closely corresponding
English terms (e.g., Freiherrby Baronand Grafby Count).
ix