In Crossing Paths, John Daverio explores the connections between art and life in the works of three giants of musical romanticism. Drawing on contemporary critical theory and a wide variety of nineteenth-century sources, he considers topics including Schubert and Schumann's uncanny ability to evoke memory in music, the supposed cryptographic practices of Schumann and Brahms, and the allure of the Hungarian Gypsy style for Brahms and others in the Schumann circle. The book offers a fresh perspective on the music of these composers, including a comprehensive discussion of the 19th century practice of cryptography, a debunking of the myth that Schumann and Brahms planted codes for "Clara Schumann" throughout their works, and attention to the late works of Schumann not as evidence of the composer's descent into madness but as inspiration for his successors. Daverio portrays the book's three key players as musical storytellers, each in his own way simulating the structure of lived experience in works of art. As an intimate study of three composers that combines cultural history and literary criticism with deep musicological understanding, Crossing Paths is a rich exploration of memory, the re-creation of artistic tradition, and the value of artistic influence.
Crossing Paths : Schubert, Schumann, and Brahms
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Book Description
Editorial Reviews
Review
"Crossing Paths not only brings into clear focus often shadowy musical and aesthetic connections between three major Romantic composers; it is also an invaluable compendium of decades of work by many scholars. In mapping these wide-ranging territories, John Daverio tirelessly crossed and brilliantly bridged historical, musical, and disciplinary boundaries; his work will resound and keep his name alive for many years to come."--Music & Letters
"John Daverio has left much in this ambitious book that will endure, either because it is read, accepted, and recounted, or because in sparking disagreement, he stimulates us to progress along new paths of our own."--Journal of the American Musicological Society
About the Author
John Daverio is Professor of Music, Director ad interim, and Chairman of the Musicology Department of the School of Music at Boston University.
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Most Helpful Customer Reviews
12 of 12 people found the following review helpful:
4.0 out of 5 stars
Great topic, but know your music theory!,
By
This review is from: Crossing Paths: Schubert, Schumann, and Brahms (Hardcover)
Crossing Paths deals with the confluence of three of the greatest composers of the nineteenth century, and the influence they had on each other. The interactions are absolutely fascinating. I am a decent amateur pianist and know a moderate amount of music theory. In places, this book went past my level of understanding. Nonetheless, I could glean the broad outlines, and was still able to appreciate the combined influences evident in the music of these three composers. The discussion of whether or not Brahms and Robert Schumann used code in the music to honor Clara was interesting. A lot of time was spent on the musical relationship between Brahms and the Hungarian violinist Joachim--not part of the title, but certainly another important "crossing path". However, if one does not have a pretty solid background in musicology and music theory, I would be somewhat hesitant to recommend the book. If you have such a background, and love Romantic music, you will likely enjoy it very much.
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Great book. Mistakes in the musical examples.,
This review is from: Crossing Paths: Schubert, Schumann, and Brahms (Hardcover)
What a great book this is. Serious research, interesting cross-referencing, and many other great qualities. I have found a few errors in the musical examples. I hope someone already communicated with OUP regarding this, but there are wrong notes, and even wrong clefs(!) in some of the examples.
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Inside This Book
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First Sentence:
JOHANNES BRAHMS was infamous for his rather sharp tongue. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
style hongrois, cipher pieces, breakthrough theme, gypsy idiom, musical ciphers, frei aber einsam, concertante works, cipher wheel, orchestral exposition, putative system, piano quartet, musical letters, plaintext letters, piano trio, cipher table, gypsy fiddler, gypsy style, joseph joachim, motto theme, die jugend, head motive, developing variation, cipher system, double cycle, outer disk Key Phrases - Capitalized Phrases (CAPs): (learn more)
First Symphony, Clara Schumann, C-major Symphony, Robert Schumann, Jean Paul, Piano Quintet, Third Symphony, Second Symphony, Dein Bildniss, First Piano Concerto, Fourth Symphony, Neue Zeitschrift, String Quintet, Eichendorff Liederkreis, F-minor Impromptu, Brahms's Requiem, D-minor Piano Concerto, Franz Schubert, Nordisches Lied, String Sextet, Albert Dietrich, Clara Wieck, Johannes Brahms, Third Piano Sonata, Buchs Jesus Sirach New!
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Front Cover | Table of Contents | First Pages | Index | Surprise Me!
JOHANNES BRAHMS was infamous for his rather sharp tongue. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
style hongrois, cipher pieces, breakthrough theme, gypsy idiom, musical ciphers, frei aber einsam, concertante works, cipher wheel, orchestral exposition, putative system, piano quartet, musical letters, plaintext letters, piano trio, cipher table, gypsy fiddler, gypsy style, joseph joachim, motto theme, die jugend, head motive, developing variation, cipher system, double cycle, outer disk Key Phrases - Capitalized Phrases (CAPs): (learn more)
First Symphony, Clara Schumann, C-major Symphony, Robert Schumann, Jean Paul, Piano Quintet, Third Symphony, Second Symphony, Dein Bildniss, First Piano Concerto, Fourth Symphony, Neue Zeitschrift, String Quintet, Eichendorff Liederkreis, F-minor Impromptu, Brahms's Requiem, D-minor Piano Concerto, Franz Schubert, Nordisches Lied, String Sextet, Albert Dietrich, Clara Wieck, Johannes Brahms, Third Piano Sonata, Buchs Jesus Sirach New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Surprise Me!
Citations (learn more)
This book cites 88
books:
See all 88 books this book cites
4
books
cite this book:
- Piano Concerto by Robert Schumann on 21 pages
- Brahms Studies, Volume 2 by Brahms Studies on 8 pages
- Walter Benjamin: Selected Writings, Volume 1: 1913-1926 by Walter Benjamin on 7 pages
- Johannes Brahms: A Biography by Jan Swafford on 6 pages
- The Music of Brahms (Clarendon Paperbacks) by Michael Musgrave on 6 pages
See all 88 books this book cites
- Music as Thought: Listening to the Symphony in the Age of Beethoven by Mark Evan Bonds in Back Matter (1), and Back Matter (2)
- Nineteenth-Century Chamber Music (Routledge Studies in Musical Genres) by Stephen Hefling in Front Matter, and page 240
- Robert Schumann and the Development of the Piano Concerto by Claudia Macdonald in Back Matter
- The Cambridge Companion to Mozart (Cambridge Companions to Music) by Simon P. Keefe in Table of Contents
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