10. It is noteworthy that the last of the Four Serious Songs, Op. 121 (1896), expressing the importance of faith, hope, and love, also begins and ends in E-flat major. This was another farewell by Brahms to his other favourite genre, the song.
11. Quoted by Fanny Davies as Brahms’s response to a question about how to play one of his pieces, in her recollections (1929: 184).
From Florence May, Johannes Brahms, 1:19, cited in Musgrave, 2000:129.
Henschel, Musings and Memoirs, 313-14, cited in Musgrave, 2000: 146.
See note 12.
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Barkan, Hans, ed. and trans. (1957): Johannes Brahms and Theodor Billroth, Letters From a Musical Friendship. Norman: University of Oklahoma Press.
Bozarth, George S., ed. (1990): Brahms Studies: Analytical and Historical Perspectives. Oxford: Clarendon Press.
Burkholder, J. Peter (1984): ‘Brahms and Twentieth-Century Classical Music.’ 19th-Century Music VIII/1, 75-83.
Cadwallader, Allen (1988): ‘Foreground Motivic Ambiguity: Its Clarification at Middleground Levels in Selected Late Piano Pieces of Johannes Brahms.’ Music Analysis 7/1, 59-91.
Cai, Camilla (1986): Brahms’ Short, Late Piano Pieces – Opus Numbers 116-119: a source study, an analysis and performance practice. Dissertation, Boston University.
Cai, Camilla (1989): ‘Brahms’s Pianos and the Performance of His Late Piano Works.’ Performance Practice Review 2/1, 58-72.
Chisse, Joan (1983): Jacket notes to Brahms, Opp. 116, 117, 119. Stephen Kovacevich, Philips.
Cone, Edward T. (1972): ‘Music: A View From Delft.’ In Benjamin Boretz and Edward T. Cone (ed.), Perspectives on Contemporary Music Theory. New York: W. W. Norton & Company Inc.
Cone, Edward T. (1990): ‘Harmonic Congruence in Brahms.’ In George S. Bozarth (ed.), Brahms Studies: Analytical and Historical Perspectives. Oxford: Clarendon Press.
Dahlhaus, Carl (1989): Nineteenth Century Music. Translated by J. Bradford Robinson. Berkeley: University of California Press.