Max Klinger
Einundvierzig Stiche / Radierungen und Steinzeichnungen zu Compositionen von Johannes Brahms. Max Klinger, Rad.-Opus XII

Brahms-Phantasie, 41 engravings/etchings and lithographs on compositions by Johannes Brahms, Max Klinger engraving opus XII
Johannes Brahms

Max Klinger, Brahmsphantasie, The Abduction of Prometheus
The Abduction of Prometheus (pl.24)

Max Klinger, Brahmsphantasie, Harmonies
Harmonies (pl.1)

Max Klinger, Brahmsphanasie, Evocation
Evocation (pl.19)

Max Klinger, Brahmsphantasie, Border With Forest, Border with Forest Lake (pl. 10); The Cold Hand (pl.11)
Border With Forest Lake (pl. 10); The Cold Hand (pl.11)

Hamburg, 2017. 44 x 35 cm, 37, 32 pp. Beautiful high resolution facsimile of the Leipzig, 1894 edition in the original folio format. 41 spectacular illustrations by Max Klinger (1857-1920), German symbolist painter. Issued by the Brahms-Gesellschaft Hamburg to honor Renate and Kurt Hofmanns' lifetime dedication to Brahms scholarship. The musical contents consist of a selection of 6 Brahms songs—op. 72,1, 49,3, 49,1, 86,2, 94,5—and the piano-vocal arrangement of Schicksalslied op.54. Commentary (Ger) by Jan Brachmann & Joachim Kossmann. 
Bibliophile edition of 500 numbered copies. Hardbound (commentary softbound); w/slipcase. $140

Klinger's first attempts as an engraver met with scepticism on Brahms part, but as he read the Brahmsphantasie, the composer wrote to Klinger: ‟I can see the music… without my knowing it, your drawings transport me; as I contemplate them, it seems the music continues to resonate in the infinite and thus expresses all I meant, more clearly than music alone could and at the same time with the same amount of mystery and anticipation. Sometimes I envy you the power of being so clear with your pen. Sometimes I feel happy that I am not. But finally I must think that any art is the same and expresses itself through the same language” (Musée d'Orsay)

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