By John Daverio
In Crossing Paths, John Daverio explores the connections among paintings and existence within the works of 3 giants of musical romanticism. Drawing on modern serious idea and a large choice of nineteenth-century resources, he considers issues together with Schubert and Schumann's uncanny skill to rouse reminiscence in track, the meant cryptographic practices of Schumann and Brahms, and the attract of the Hungarian Gypsy kind for Brahms and others within the Schumann circle. This booklet bargains a clean viewpoint at the song of those composers, together with a finished dialogue of the nineteenth century perform of cryptography, a debunking of the parable that Schumann and Brahms planted codes for "Clara Schumann" all through their works, and a focus to the past due works of Schumann no longer as proof of the composer's descent into insanity yet as thought for his successors. Daverio portrays the book's 3 key avid gamers as musical storytellers, every one in his personal approach simulating the constitution of lived adventure in artistic endeavors. As an intimate research of 3 composers that mixes cultural heritage and literary feedback with deep musicological realizing, Crossing Paths is a wealthy exploration of reminiscence, the new edition of creative culture, and the worth of creative influence.
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Additional resources for Crossing Paths: Schubert, Schumann, and Brahms
B ˙. ˙. ˙. ˙. ˙. ˙. . Œ b œŒ œ. œ. œ. œ b œ œ œ œ. œ. œ. œ œ nœ œ œ & b œœœ œ œ. œ. œ œœ. . . œ œ bœ œ œ œ œ œ œ œ . . œ. œ. œ. œ. œ œ œ œ œ. œ. œ. n œ. œ. œ. œ. œ. œ. œ. ? b œ œ œ œ œœœœœ œ œ œœ b b Œ Œ & b œ œ œ œ œ œ œ œ œ œJ ‰ Œ Œ œœ Œ Œ œ π œ œ œœœœœœœ œ œ J‰Œ Œ Œ œ œ B bb Œ Œ π ? bb ˙ . œ Œ Œ ˙. ˙. ˙. ˙. ˙. œ 127 pizz. b œ˙ œ b œ œ œ œ œ œ œ œ œ œ œ Œ Œ b . & πœ œ œ œ œ œ œ œ œ œ ? bb ∑ Œ Œ ∑ ∑ up only bars: hardly a display of heavenly length. On the contrary, the exposition of Schumann’s finale is just as compact as its -bar counterpart in the first movement of Schubert’s Piano Trio in E flat is discursive.
Sistent ostinato. In the Trio of the Scherzo, Schubert uses the quarter-pluseighths pattern from the first movement as a foil to a suave melody in the cello. Finally, each of the last movement’s principal thematic groups is linked with a discrete rhythmic gesture: three upbeat eighths plus a quarter for the first group, steadily repeated eighths for the second (where Schubert evokes the cimbalon of the gypsy band), and metrically displaced duple groupings ( ) during the course of the closing section.
32 Surely the martial, triplet-driven fanfares of Schubert’s first movement were ringing in his ears when he conceived the buoyant reprise of his own C-major Symphony’s opening movement. At the same time, Schumann’s symphonies in B and C are not his only works in the larger forms that demonstrate a deep awareness of Schubert’s alternative to Beethovenian paradigms, nor was Schubert’s C-major Symphony the only source for Schumann’s understanding of that alternative. Over a decade before his rediscovery of Schubert’s symphony, Schumann became intensely attached to a composition in which the Schubertian world of fresh instrumental colors and heavenly lengths would have been fully revealed to him—which brings us to the Piano Trio in E flat.