Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double Author(s): Christopher Reynolds Reviewed work(s): Source: The Journal of Musicology, Vol. 29, No. 2 (Spring 2012), pp. 191-238 Published by: University of California Press Stable URL: http://www.jstor.org/stable/10.1525/jm.2012.29.2.191 . Accessed: 10/07/2012 14:09 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact
[email protected]. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology. http://www.jstor.org Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double CHristop H er R E Y noL ds For Donald C. Johns Biographers have always recognized the Alto Rhapsody to be one of Brahms’s most personal works; indeed, both the composer and Clara Schumann left several unusually specific com- ments that suggest that this poignant setting of Goethe’s text about a lonely, embittered man had a particular significance for Brahms. Clara 191 wrote in her diary that after her daughter Julie Schumann announced her engagement to an Italian count on 11 July 1869, Brahms suddenly began