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In this title, Walter Frisch provides a sensitive, analytical commentary on Braham's four symphonies as well as a consideration of their place within his oeuvre, within the symphonic repertory of his day, and within the broader musical culture of 19th-century Germany and Austria.
In this title, Walter Frisch provides a sensitive, analytical commentary on Braham's four symphonies as well as a consideration of their place within his oeuvre, within the symphonic repertory of his day, and within the broader musical culture of 19th-century Germany and Austria.
Conducting the Brahms Symphonies by Christopher Dyment Pdf
How did Brahms conduct his four symphonies? What did he want from other conductors when they performed these works, and to which among them did he give his approval? And crucially, are there any stylistic pointers to these performances in early recordings of the symphonies made in the first half of the twentieth century? For the first time, Christopher Dyment provides a comprehensive and in-depth answer to these important issues. Drawing together thestrands of existing research with extensive new material from a wide range of sources - the views of musicians, contemporary journals, memoirs, biographies and other critical literature - Dyment presents a vivid picture of historic performance practice in Brahms's era and the half-century that followed. Here is a remarkable panorama showcasing Brahms himself conducting, together with those conductors whom he heard, among them Levi, Richter, Nikisch, Weingartner and Fritz Steinbach, and their disciples, such as Toscanini, Stokowski, Boult and Fritz Busch. Here, too, are other famed Brahms conductors of the early twentieth century, including Furtwängler and Abendroth, whose connections with the Brahms tradition are closely examined. Dyment then analyses recordings of the symphonies by these conductors and highlights aspects which the composer might well have commended. Finally, Dyment suggests the importanceof his conclusions for those contemporary conductors who are currently attempting to rediscover genuine performance traditions in their own re-creations of the symphonies. This major study is complemented with forty photographs and a frontispiece. It is sure to fascinate musicians, Brahms enthusiasts and those interested in the history of recorded music. CHRISTOPHER DYMENT is author of Felix Weingartner: Recollections and Recordings(Triad Press 1976) and Toscanini in Britain (The Boydell Press 2012). He has published many articles about historic conductors over the last forty years.
"Brahms was a famously complex character: an irascible curmudgeon, and a famously learned composer who took tremendous pride in composing tuneful, expressive melodies of great popular appeal. This accounts at least in part for the enduring esteem that his symphonies enjoy among musicians, scholars, and the listening public alike. This duality between the learned and the popular sides of Brahms' musical personality has made his music as difficult to analyze and discuss as was his singularly complex and mysterious personal life. This book attempts to aid the general listener in bridging the gap between these two seemingly irreconcilable aspects of Brahms' character, aspects that are particularly in evidence, and balanced with particular poise, in his four symphonies. First, author David Hurwitz examines Brahms' place in the German symphonic tradition, his obsessive preoccupation with his place in the grand line of classical composers stretching back to Bach, and proceeding through Haydn, Mozart, Beethoven, and Schumann. Despite his ongoing struggle to master orchestral writing, Hurwitz argues that Brahms did achieve a unique symphonic style, one found nowhere else in his (or anyone else's) works in symphonic form. Finally, each symphony is described from two perspectives: in the most helpful musical context, and then also in movement by movement descriptions of Brahms' expressive argument. Finally, a list of recommended recordings concludes a discussion that shows today's music lovers that the riches contained in these perennially attractive works do not hide beneath the surface, but in fact lie liberally scattered in plain view, just waiting to be savored." --Back cover.
In this elegant book, premier musicologist Reinhold Brinkmann guides us through Brahms's "Second Symphony," examining musical ideas in all their compositional facets and placing them in the context of major trends in the intellectual history of late nineteenth-century Europe.
The Cambridge Companion to Brahms by Michael Musgrave Pdf
This Companion gives a comprehensive view of the German composer Johannes Brahms (1833–97). Twelve specially-commissioned chapters by leading scholars and musicians provide systematic coverage of the composer's life and works. Their essays represent recent research and reflect changing attitudes towards a composer whose public image has long been out-of-date. The first part of the book contains three chapters on Brahms's early life in Hamburg and on the middle and later years in Vienna. The central section considers the musical works in all genres, while the last part of the book offers personal accounts and responses from a conductor (Roger Norrington), a composer (Hugh Wood), and an editor of Brahms's original manuscripts (Robert Pascall). The volume as a whole is an important addition to Brahms scholarship and provides indispensable information for all students and enthusiasts of Brahms's music.
Author : Julius Harrison Publisher : Da Capo Press, Incorporated Page : 336 pages File Size : 47,5 Mb Release : 1971-01-21 Category : Music ISBN : UOM:39015015019527
The German Symphony between Beethoven and Brahms by Christopher Fifield Pdf
It was Carl Dahlhaus who coined the phrase ’dead time’ to describe the state of the symphony between Schumann and Brahms. Christopher Fifield argues that many of the symphonies dismissed by Dahlhaus made worthy contributions to the genre. He traces the root of the problem further back to Beethoven’s ninth symphony, a work which then proceeded to intimidate symphonists who followed in its composer's footsteps, including Schubert, Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor’s intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.
Complete symphonies for solo piano by Johannes Brahms Pdf
Schumann declared that it was Brahms' destiny to create orchestral works. Although it took the composer fifteen years to finish and present his first symphony, Brahms was quickly hailed as the successor to Beethoven. These transcriptions of the great Romantic classicist's symphonies for piano offer powerful statements of his symphonic style.Affordable and authoritative, this treasury of Brahms' works will enchant intermediate and advanced pianists. It features: Symphony No. 1 in C Minor, Op. 68 Symphony No. 2 in D Major, Op. 73 Symphony No. 3 in F Major, Op. 90 Symphony No. 4 in E Minor, Op. 98
Brahms and the Challenge of the Symphony by Raymond Knapp Pdf
Brahms's symphonies represent one of the most important bodies of work to come from the second half of the nineteenth century, when many of the difficult issues that have confronted composers and scholars in our own century were formulated. As the other arts at that time were turning away from romanticism, musicwaswitnessing an extended confrontation between two attitudes that had been fundamental to musical romanticism in the preceding generations: that music was on the one hand profoundly expressive and, on the other, essentially self-sufficient. Wagner set the terms for the conflict at mid-century, proclaiming the ina quacy of "absolute" music and arguing that Beethoven's Ninth Symphony ended thesymphonic tradition with its demonstration that musical expressivity ultimately stems from an innate dependency on "the word." Wagner's arguments were followed, in short order, by Liszt's appropriation of thesymphonic genre to programmatic ends (with Wagner's eventual, if guarded, approval); Hanslick's Vom Musikalisch Schonen, with its influential argument for the self-sufficiency of music; and the appearance of Schumann's article "Neue Bahnen," which vested the future of music solely in the person of the young, virtually unknown Johannes Brahms, who was heralded as the awaited savior of a valued but languishing tradition
Symphony no. 1 in C minor, op. 68 by Johannes Brahms Pdf
Faced with the daunting legacy of Beethoven's symphonic works, Johannes Brahms (1833 1897) took twenty years to shape his first symphony a masterpiece that premiered in 1876 to great critical acclaim. The expansive Symphony No. 1 in C Minor perfectly displays Brahms's ability to organize a variety of moods into a coherent whole. The dramatic tension and somber coloring of the first movement are balanced by two central movements of charming lyrical relief; and the finale, with its grand main theme and famous horn solo (inspired by a shepherd's horn call), is considered one of the great movements in the orchestral literature. The symphony is published here in full score, with bar-numbered movements. Ideal for study in the classroom, at home, or in the concert hall, this affordable, high-quality, convenient sized volume will be the edition of choice for music students and music lovers alike."
