Mezzotints in Modern Music: Brahms, Tschaïkowsky, Chopin, Richard Strauss, Liszt and Wagner(Kobo/電子書)

The death of Johannes Brahms in 1897 removed from the sparsely settled land of music the last of the immortals; the one whom Bülow justly ranked with Bach and Beethoven; the one upon whom Schumann lavished both praise and prophecy. Not by any wrench of the imagination can we conjure the name of Antonin Dvorák, despite his delightful gift of saying naïve and Slavic things; not by any excess of sentiment can we dower Italy’s grand old man Verdi with the title, nor yet France’s favorite son, Saint-Saëns; not any one nor all of these three varying talents can be compared to the great, virile man who died in Vienna, the city of his preference but not of his birth. When the printed list of Brahms’ achievements in song, sonata, symphony and choral works of vast proportions is placed before you, amazement at the slow, patient, extraordinary fertility and versatility of the man seizes upon you. It is not alone that he wrote four symphonies of surpassing merit, two piano concertos, a violin concerto, a double concerto for violin and violoncello, songs, piano pieces, great set compositions like the Song of Destiny and the German Requiem, duos, trios, quartets, quintets, sextets, sestets, all manner of combinations for wood, for wind, for strings and voices; it is the sum total of high excellence, the stern, unyielding adherence to ideals sometimes almost frostily unhuman—in a word, the logical, consistent and philosophic bent of the man’s mind—that forces your homage. For half a century he pursued the beautiful in its most elusive and difficult form; pursued it when the fashions of the hour, day and year mocked at such wholesale, undeviating devotion, when form was called old-fashioned, sobriety voted dull, and the footlights had invaded music’s realm and menaced it in its very stronghold—the symphony. When a complete life of Johannes Brahms is written, this trait of fidelity, this marvellous spiritual obstinacy of the man will be lovingly dealt with. There seems to be a notion abroad that because Brahms refused to challenge current tendencies in art and literature he held himself aloof, was remote from humanity, was a bonze of art, a Brahmin, and not a bard chanting its full-blooded wants and woes with full throat. Nothing could be wider of the truth. Brahms’ music throbs with humanity; with the rich red blood of mankind. He was the greatest contrapuntist after Bach, the greatest architectonist after Beethoven, but in his songs he was as simple, as manly, as tender as Robert Burns. His topmost peaks are tremendously remote, and glitter and gleam in an atmosphere almost too thin for dwellers of the plains; but how intimate, how full of charm, of graciousness are the happy moments in his chamber music! It is not rashly premature for us to assign to Brahms a place among the immortals. Coming after the last of the most belated romanticists, untouched by the fever for the theatre, a realist with great imagination, both a classicist and a romanticist, he led music back in her proper channels by showing that a phenomenal sense of form and a mastery of polyphony second only to Bach are not incompatible with progress, with the faculty of uttering new things in a new way. Brahms is not a reactionary any more than is Richard Wagner. Neither of these men found what he needed, so one harked back to Gluck and the Greeks, the other to Bach and Beethoven. Consider the massiveness of Brahms’ tonal architecture; consider those structures erected after years of toil; regard the man’s enormous fertility of ideas; enormous patience in developing them; consider the ease with which he moves shackled by the most difficult forms—not assumed for the mere sake of the difficult, but because it was the only form in which he could successfully express himself—consider the leavening genius, the active geniality of the man, which militates against pedantry, the dryness of scholasticism and the mere arithmetical music of the kapellmeister; consider the powerful, emotional and intellectual brain of this composer, and then realize that all great works in art are the arduous victories of great minds over great imaginations! Brahms ever consciously schooled his imagination.

Kobo 電子書 購買注意事項如下:

(一)如果您是第一次購買Kobo電子書的顧客，請依以下兩種購買方式擇一進行綁定：

1.PChome 24h 網頁版(https://24h.pchome.com.tw/)：結帳後至顧客中心，確認訂單狀態，若為確認中，請稍候五分鐘，待訂單狀態變為訂單成立後，點選明細，在訂單資訊中點選〔內容〕，在彈跳視窗後點選〔去兌換〕，即可前往Kobo官網執行綁定及登入流程。

我的訂單/顧客中心 >訂單查詢> 訂單編號> 點選明細 > 訂單資訊 點選〔內容〕>彈跳視窗 點選〔去兌換〕即可前往Kobo官網執行綁定及登入流程。

2.PChome APP版：結帳後至顧客中心，確認訂單狀態，若為確認中，請稍候五分鐘，待訂單狀態變為訂單成立後，點選明細，在訂單資訊中點選[序號/軟體下載]，並在彈跳視窗出現後點選〔下載連結〕，即可前往Kobo官網執行綁定及登入流程。

顧客中心> 訂單查詢> 訂單編號> 點選明細 > 訂單資訊 點選 [序號/軟體下載] >彈跳視窗 點選〔下載連結〕即可前往Kobo官網執行綁定及登入流程。

*進入Kobo官網後的綁定流程請參考如下：

（使用Kobo主帳號 登入/註冊）
1. 當您在PChome 24h 網頁版(https://24h.pchome.com.tw/)/PChome APP版，購買確認後，並依步驟跳轉到Kobo官網時，下滑點選〔更多登錄選項〕，由〔PChome〕後點選進入，同意後登入，並可以註冊Kobo主帳號進行綁定，完成後，所購買的書籍即會出現在Kobo APP/Kobo 閱讀器/Kobo官網內的我的書籍。

（使用快速登入：FACEBOOK、GOOGLE、APPLE帳號登入）
2. 當您在PChome 24h 網頁版(https://24h.pchome.com.tw/)/PChome APP版，購買確認後，並依指示跳轉到Kobo官網時，點選〔FACEBOOK、GOOGLE、APPLE帳號登入〕擇一登入，同意後登入，並可以註冊Kobo主帳號進行綁定，完成後，所購買的書籍即會出現在Kobo APP/Kobo 閱讀器/Kobo官網內的我的書籍。

(二)如果您是已經完成PChome與Kobo帳號綁定程序，非第一次購買Kobo電子書的顧客

1.PChome 24h 網頁版(https://24h.pchome.com.tw/)：結帳後至顧客中心，確認訂單狀態，若為確認中，請稍候五分鐘，待訂單狀態變為訂單成立後，點選明細，在訂單資訊中點選〔內容〕，在彈跳視窗後點選〔去兌換〕，所購買的書籍即會出現在Kobo APP/Kobo 閱讀器/Kobo官網內的我的書籍。

2.PChome APP版：結帳後至顧客中心，確認訂單狀態，若為確認中，請稍候五分鐘，待訂單狀態變為訂單成立後，點選明細，在訂單資訊中點選[序號/軟體下載]，並在彈跳視窗出現後點選〔下載連結〕，所購買的書籍即會出現在Kobo APP/Kobo 閱讀器/Kobo官網內的我的書籍。

- 退換貨:依樂天Kobo官方規範為準

- 僅能由 閱讀器以外 的裝置做會員帳號綁定

- 請注意，帳號綁定後：

* Kobo會更新您的帳戶詳細資料

* 您將能在Kobo APP/Kobo 閱讀器/Kobo官網中查看所有書籍

* 帳號綁定後，您可以使用任一帳戶登入 Kobo

* 完成第一次串接時，請登出所有裝置，約等待5分鐘後再登入即可查看您的書籍

* 重新登入後，原帳戶中的書籍如有畫線註記和收藏將有遺失的可能。登出前，請務必先行拍照備份

* 若您有任何相關疑問請至Kobo官方網站 https://help.kobo.com/hc/zh-tw 並到頁面最下方點選“聯繫我們”