Musiktheoretische Implikationen im Briefwechsel zwischen Elisabeth von Herzogenberg und Johannes Brahms

Elisabeth von Herzogenberg’s letters to Johannes Brahms express her deep admiration and devotion to the composer’s work, but she also tentatively formulated criticism, mostly in cases when she was encouraged by Brahms to do so. What were the issues of music-theoretical relevance discussed in this correspondence? Was Elisabeth von Herzogenberg really a discussion partner on equal terms and were her views accepted by the composer? In several of Herzogenberg’s letters detailed analyses of Brahms’ vocal works can be found, especially of his songs with piano accompaniment and his choral compositions. Because of her broad musical experience in these fields, Brahms valued her opinion highly. Elisabeth von Herzogenberg had enjoyed a comprehensive education in musical practice and theory. She was an excellent pianist and singer, had a beautiful voice and was praised for her perceptive skills. Her statements on Brahms’ vocal works, which concern harmonic, melodic and rhythmic aspects, exhibit aesthetical criteria deeply rooted in the Classical-Romantic tradition. Above all she pays attention to a sensitive relationship of poetry and music. She disapproves “visualizing” effects in music, which according to her disturb the integrity of a composition. Herzogenberg noticed the increasing success of Brahms’ works with deep satisfaction and at the same time – in agreement with Brahms – refused to accept Anton Bruckner’s music. This article sheds light on the music-theoretical details discussed in the Brahms-Herzogenberg correspondance in paratactic manner and suggests that their systematic documentation forms a desideratum of Brahms research.