Romantic Background Images Biography
Source (google.com.pk)As Walter has shown, music as the ‘primal language of the soul’ and as the ‘geometrical meeting-point’ of various ‘trans-musical’ ideas was a basic fact of the Romantic universe. So was the experience of an intermingling of musical and extra-musical qualities; so too was the intention that the arts should complement one another.
It has been remarked by Wellek, Blume and others that Wagner was much indebted to the categories of Romantic thinking about music as developed in the critical and imaginative writings of E. T. A. Hoffmann, Novalis, Wackenroder, Tieck and Friedrich Schlegel, as well as in Schelling's philosophy. Knopf and Fries have particularly remarked on the links between the Romantic movement and Wagner's Gesamtkunstwerk, the ‘total work of art’.
In addition the Romantic interpretation of Beethoven's artistic personality and his works was a major stimulus for Wagner. Summing up these exegetical studies as the ‘Romantic image of Beethoven’, Arnold Schmitz has subjected them to critical analysis and has considered their transmission basically from the viewpoint of the history of ideas. In the process, the Romantic layers of the Beethoven image were stripped away to expose important sections of a portrait which is faithful to history. Beethoven no longer resembled a child of nature and a revolutionary, a magician and a priest – attributes created through an inspired act of forgery. A ‘Classical’ Beethoven took the place of the specifically Romantic composer.
I am not talking about his theory. If it were not something so completely secondary, not so wholly a retrospective and superfluous glorification of his own talent, then his creative work would undoubtedly have become just as untenable as the theory: and nobody would have taken it seriously for a moment without the work, which appears to validate it as long as one is sitting in the theatre, but which in fact validates nothing but itself. Has anybody ever seriously believed in this theory, I wonder? … it is true enough: there is not much to be learned about Wagner from Wagner's critical writings.
(Pro and Contra Wagner, p. 47)
Thomas Mann expressed the above views in 1911; later he would qualify them, as in ‘The Sorrows and Grandeur of Richard Wagner’ (1933), addressed above all to the theory of the Gesamtkunstwerk. What fascinated him all his life was the immediate artistic experience of Wagner's compositions, with their significance for his own creative work. The theorist in Wagner was suspect to the author in Mann. While his approach may have been a partial one, Mann still represents the critics of Wagner the theorist, the musical philosopher and aesthetician. Wagner has an undisputed place in a cultural tradition that we acknowledge and reproduce. But even today his theoretical statements are regarded with a certain amount of misgiving and prejudice.
Born in Hamburg, Germany, on May 7, 1833, Brahms was the great master of symphonic and sonata style in the second half of the 19th century. He can be viewed as the protagonist of the Classical tradition of Joseph Haydn, Mozart, and Beethoven.
Widely considered one the 19th century's greatest composers and one of the leading musicians of the Romantic era, Johannes Brahms was born May 7, 1833, in Hamburg, Germany.
He was the second of Johanna Henrika Christiane Nissen and Johann Jakob Brahms' three children. Music was introduced to his life at an early age. His father was a double bassist in the Hamburg Philharmonic Society, and the young Brahms began playing piano at the age of seven.
By the time he was a teenager, Brahms was already an accomplished musician, and he used his talent to earn money at local inns, in brothels and along the city's docks to ease his family's often tight financial conditions.
In 1853 Brahms was introduced to the renowned German composer and music critic Robert Schumann. The two men quickly grew close, with Schumann seeing in his younger friend great hope for the future of music. He dubbed Brahms a genius and praised the "young eagle" publicly in a famous article. The kind words quickly made the young composer a known entity in the music world.
But this music world was also at a crossroads. Modernist composers like Franz Liszt and Richard Wagner, the leading faces of the "New German School" rebuked the more traditional sounds of Schumann. Theirs was a sound predicated on organic structure and harmonic freedom, drawing from literature for its inspiration.
For Schumann and eventually Brahms, this new sound was sheer indulgence and negated the genius of composers like Johann Sebastian Bach and Ludwig van Beethoven.
In 1854 Schumann fell ill. In a sign of his close friendship with his mentor and his family, Brahms assisted Schumann's wife, Clara, with the management of her household affairs. Music historians believe that Brahms soon fell in love with Clara, though she doesn't seem to have reciprocated his admiration. Even after Schumann's death in 1856, the two remained solely friends.
Over the next several years, Brahms held several different posts, including conductor of a women's choir in Hamburg, which he was appointed to in 1859. He also continued to write his own music. His output included "String Sextet in B-flat Major" and "Piano Concerto No. 1 in D Minor."
In the early 1860s Brahms made his first visit to Vienna, and in 1863 he was named director of the Singakademie, a choral group, where he concentrated on historical and modern a cappella works.
Brahms, for the most part, enjoyed steady success in Vienna. By the early 1870s he was principal conductor of the Society of Friends of Music. He also directed the Vienna Philharmonic Orchestra for three seasons.
His own work continued as well. In 1868, following the death of his mother, he finished "A German Requiem," a composition based on Biblical texts and often cited as one of the most important pieces of choral music created in the 19th century.
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