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Despite the incredible diversity in Brahms's scherzo-type movements, there has been no comprehensive consideration of this aspect of his oeuvre. Professor Ryan McClelland provides an in-depth study of these movements that also contributes significantly to an understanding of Brahms's compositional language and his creative dialogue with musical traditions. McClelland especially highlights the role of rhythmic-metric design in Brahms's music and its relationship to expressive meaning. In Brahms's scherzo-type movements, McClelland traces transformations of primary thematic material, demonstrating how the relationship of the initial music to its subsequent versions creates a musical narrative that provides structural coherence and generates expressive meaning. McClelland's interpretations of the expressive implications of Brahms's fascinatingly intricate musical structures frequently engage issues directly relevant to performance. This illuminating book will appeal to music theorists, musicologists working on nineteenth-century instrumental music and performers.
Scherzo, Op. 4 by Johannes Brahms,Joseph Banowetz Pdf
The earliest surviving original composition of Johannes Brahms, Scherzo, Op. 4 in E-flat minor, was composed in 1851 when Brahms was only 18 years old. This brilliant scherzo, with its two trios and a coda, remains one of Brahms’s larger solo piano works. Internationally renowned concert pianist Joseph Banowetz edited this work with a special insight as one of his teachers, Carl Friedberg, studied with Clara Schumann, a close friend of Brahms.
Michael Musgrave presents a contemporary view of Brahms 150 years after his birth, seeing him not simply as the "conservative" figure so often stressed in the past, but as one who creatively reinterpreted a wider range of historical elements than any composer of his time. Brahms absorbed his studies directly into his music making and composition and in so doing helped to evolve not merely a personal language which was regarded as progressive and sometimes difficult by a range of contemporaries and successors, but also helped to establish an ethos of historical reference which anticipates the twentieth century. The Music of Brahms concentrates on the music, with Brahms's life discussed briefly in the introduction. The works are considered in four phases according to genre, with an emphasis on connection and on the development and elaboration of a unified language. The list of works includes recent discoveries and a calendar outlines the pattern of his musical life, including relevant information concerning performances.
"Brahms's Violin Sonatas: Style, Structure, and Performance is a companion volume to Joel Lester's award-winning 1999 study Bach's Works for Solo Violin: Style, Structure, and Performance. Using a minimum of technical language and with annotated musical examples illustrating almost every point, Brahms's Violin Sonatas explores three masterpieces of the concert repertoire in a book designed for performers and music scholars alike. A major focus is how much can be learned by carefully reading Brahms's artistically nuanced musical notation, and by understanding Brahms's style-especially his music's deep connections to Classical-Era harmony, phrasing, and form while at the same time using late-19th-century harmonies, dissonances, and thematic evolutions, along with the contrapuntal textures that imbues all his works with a uniquely "Brahmsian" sound. Lester also explores how these works relate to important events in Brahms's life. Practical and concrete suggestions on performance arise from many of these discussions, calling performers' and analysts' attention to both technical and interpretive matters. Lester's aim is to inspire readers to explore their own individual approaches to Brahms's music, balancing what they find in the music to how they balance today's performance and interpretive styles with the ways that Brahms himself and his contemporaries might have played and experienced his creations"--
Johannes Brahms, Free But Alone by Constantin Floros Pdf
Johannes Brahms was until now widely regarded as the archetype of the «absolute musician». Based on new research, the study shows how close autobiographic and poetic elements are in fact linked to his oeuvre. Like Robert Schumann, Brahms subscribed to an aesthetic of «poetic» music. In many of his compositions he got his inspiration from personal experiences, poems or images, as is shown by hitherto unpublished documents, letters, and diary entries, as well as from close analyses of individual works. Brahms's personality, too, is seen in a new way. He adopted Joseph Joachim's motto «Frei, aber einsam», «Free but Alone». The tonal code F - A - E, the musical symbol of this, recurs frequently in his works. Not least, the English version of the book, originally published in German in 1997, includes four additional chapters that investigate novel aspects by dealing in detail with the First Symphony, the German Requiem, Nänie and the Four Serious Songs. The American Brahms Society stressed the importance of the study for all those who want to come to know the unknown Brahms.
A Student's Guide to AS Music for the Edexcel Specification by Paul Terry Pdf
This guide to AS level music includes: ideas on how to integrate skills in understanding music with work in performing/composing; questions that students can use to check their understanding; summaries of the full specifications; and coverage of all the set works prescribed for the areas of study.
Author : Peter H. Smith Publisher : Indiana University Press Page : 336 pages File Size : 51,6 Mb Release : 2005-07-07 Category : Music ISBN : 9780253023551
Expressive Forms in Brahms's Instrumental Music by Peter H. Smith Pdf
"This book is a substantial and timely contribution to Brahms studies. Its strategy is to focus on a single critical work, the C-Minor Piano Quartet, analyzing and interpreting it in great detail, but also using it as a stepping-stone to connect it to other central Brahms works in order to reach a new understanding of the composer’s technical language and expressive intent. It is an original and worthy contribution on the music of a major composer." —Patrick McCreless Expressive Forms in Brahms’s Instrumental Music integrates a wide variety of analytical methods into a broader study of theoretical approaches, using a single work by Brahms as a case study. On the basis of his findings, Smith considers how Brahms’s approach in this piano quartet informs analyses of similar works by Brahms as well as by Beethoven and Mozart. Musical Meaning and Interpretation—Robert S. Hatten, editor
This publication includes piano works by Johannes Brahms from Opus 76. Titles: * No. 1, Capriccio * No. 2, Capriccio * No. 3, Intermezzo * No. 4, Intermezzo * No. 5, Capriccio * No. 6, Intermezzo * No. 7, Intermezzo * No. 8, Capriccio Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.
The Creative Worlds of Joseph Joachim by Styra Avins,Beatrix Borchard,Kimberly Crow Pdf
Examines Joseph Joachim's vital legacy through a range of philological, philosophical and critical approaches.Joseph Joachim (1831-1907), violinist, composer, teacher, and founding director of Berlin's Royal Academy of Music, was one of the most eminent and influential musicians of the long nineteenth century. Born in a tiny Jewish community on the Austro-Hungarian border, he rose to a position of unsurpassed prominence in European cultural life. This timely collection of essays explores important yet little-known aspects of Joachim's life and art. Studies of his Jewish background, early assimilation into Christian society, Felix Mendelssohn's mentorship, and the influence of Hungarian vernacular music on the formation of his musical style elucidate the roots of Joachim's identity. The later chapters focus on his personal and creative responses to the contentious and rapidly evolving cultural milieu in which he lived: his choice of instruments as his musical "voice," his performances as sites of (re)enchantment in the modern age, his pathbreaking British career, his calling and sway as a quartet player, his pedagogical legacy, his influence on the establishment of the musical canon, and several of his most distinctive and original compositions. With a wide variety of approaches-analytical, philological, archival, philosophical, and critical-this collection will prove enlightening to scholars, performers, and others interested in this brilliant artist and the musical aesthetics, culture, and styles of his time.ent in the modern age, his pathbreaking British career, his calling and sway as a quartet player, his pedagogical legacy, his influence on the establishment of the musical canon, and several of his most distinctive and original compositions. With a wide variety of approaches-analytical, philological, archival, philosophical, and critical-this collection will prove enlightening to scholars, performers, and others interested in this brilliant artist and the musical aesthetics, culture, and styles of his time.ent in the modern age, his pathbreaking British career, his calling and sway as a quartet player, his pedagogical legacy, his influence on the establishment of the musical canon, and several of his most distinctive and original compositions. With a wide variety of approaches-analytical, philological, archival, philosophical, and critical-this collection will prove enlightening to scholars, performers, and others interested in this brilliant artist and the musical aesthetics, culture, and styles of his time.ent in the modern age, his pathbreaking British career, his calling and sway as a quartet player, his pedagogical legacy, his influence on the establishment of the musical canon, and several of his most distinctive and original compositions. With a wide variety of approaches-analytical, philological, archival, philosophical, and critical-this collection will prove enlightening to scholars, performers, and others interested in this brilliant artist and the musical aesthetics, culture, and styles of his time.
