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1
Moseley, Roger. "Reforming Johannes: Brahms, Kreisler Junior and the Piano Trio in B, Op. 8." Journal of the Royal Musical Association 132, no. 2 (2007): 252–305. http://dx.doi.org/10.1093/jrma/fkm004.
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A comparison of the 1854 and 1891 versions of the Piano Trio in B, op. 8, explores how musical allusion can be interpreted to convey Johannes Brahms's attitudes to critics, friends, other composers and his own past. The young Brahms's attachment to E. T. A. Hoffmann's literary alter ego Johannes Kreisler helps explain the extent to which the music of others makes itself heard in the first version of the trio. Changing standards of criticism affected the nature and scope of Brahms's revision, which expunged perceived allusions; the older Brahms's more detached compositional approach shared elements with Heinrich Schenker's analytical perspective. There are also parallels between Brahms's excisions and the surgical innovations of his friend and musical ally Theodor Billroth. Both Brahms and Billroth were engaged with the removal of foreign bodies in order to preserve organic integrity, but traces of others – and of the past – persist throughout the revised trio.
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Horne, William. "Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms." Nineteenth-Century Music Review 18, no. 2 (January 22, 2021): 241–68. http://dx.doi.org/10.1017/s1479409820000269.
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Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.
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Sumner Lott, Marie. "At the Intersection of Public and Private Musical Life: Brahms's Op. 51 String Quartets." Journal of the Royal Musical Association 137, no. 2 (2012): 243–305. http://dx.doi.org/10.1080/02690403.2012.717468.
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AbstractBrahms's dedication of his op. 51 string quartets (1873) to the surgeon Theodor Billroth provides a window into Brahms's musico-political views in the 1870s that has hitherto been unexplored by music scholars. Analysis of correspondence, performance traditions and the scores of these two quartets demonstrates that Brahms chose to align himself and his works with the learned connoisseurs of the domestic chamber-music-making tradition, represented by Billroth and his frequent musical soirées. Brahms's music also shows the influence of Joseph Joachim, his oldest and dearest friend and Europe's premier chamber musician. Brahms's compositional choices in these two works combine public and private musical styles, to offer a touching memorial to earlier composers and friends, and to provide a teachable moment for the musical public.
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Sodonis, Chloë. "Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire." Musical Offerings 12, no. 1 (2021): 25–37. http://dx.doi.org/10.15385/jmo.2021.12.1.3.
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The purpose of this research is to explore the elements in Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40, that contribute to its unique position in the vast and revered library of chamber music. These include Brahms's use of folksong, five-measure phrases, a variation on sonata form, developing variation, emotional elements, and unique instrumentation. The German folk song, Es soll sich ja keiner mit der Liebe abgeben is almost identical to the opening fourth movement theme of the horn trio. Brahms incorporates portions of this melody throughout all four movements of his horn trio which demonstrates an internal unity and cohesive use of folksong that contribute to his work’s individuality. This is one of many examples of Brahms’s attention to detail and use of surprising elements that allow his horn trio to stand out among thousands of other works. Through studying portions of Brahms’s Trio for Piano, Violin, and Horn in E-flat Major, op. 40., analyzing distinctive qualities of this work, and comparing these elements to those of other chamber works of the time, one can conclude that this piece has a unique place in the chamber music repertoire.
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Karnes, Kevin C. "Another Look at Critical Partisanship in the Viennese fin de sièècle: Schenker's Reviews of Brahms's Vocal Music, 1891-92." 19th-Century Music 26, no. 1 (2002): 73–93. http://dx.doi.org/10.1525/ncm.2002.26.1.73.
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In 1891-92 Heinrich Schenker published a pair of analytical reviews of new vocal collections by Johannes Brahms, the songs, op. 107, and the choral pieces, op.104. In these essays, Schenker sought not only to provide a critique of the works in question, but also to counter a prevailing perception amoung critics that Brahms's late style as a whole is both emotionally tepid and difficult to understand. In order to elucidate the structure and significance of Brahms's music for his readers, Schenker relies on a hermeneutic approach, alternately considering what he characterizes as "objective" and "subjective" modes of description. Schenker's observations are often provocative, and at times reveal his indebtedness to conceptions of musical structure and meaning that are distinctly Wagnerian. In this way, Schenker's reviews are revealing of the complexities not only of his own intellectual history but also of the critical discourse in which he worked, as they call into question a commonly held belief that musicians and writers were sharply divided in their adherence to either Brahm's music or Wagner's aesthetic ideals at the turn of the century. In spite of their provocative nature, Schenker's reviews were received enthusiastically by several prominent members of his community, including some who considered themselves to be partisans in the critical debate. This fact reminds us that, critical politcs aside, there were many musicians and writers during this time who did not believe that Brahm's music was antithetical to Wagner's aesthetics. Rather, they considered both manifestations of a common ideal of musical expressiveness.
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Mutch, Caleb. "Canons and Contestable Cadences in Brahms's Op. 118 No. 4." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 143–52. http://dx.doi.org/10.11116/mta.8.1.7.
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Brahms's F minor Intermezzo, Op. 118 No. 4 prominently employs the fusty compositional technique of strict canon at the octave. Yet Brahms embeds this canon in music that is anything but fusty: as I demonstrate, unexpected features abound in the textures, dissonance treatment, modulatory schemes, and motives with which Brahms girds the canon. The movement's approach to cadences is also remarkable. The presence of a continuous canon automatically precludes all voices coming to rest simultaneously, but Brahms further attenuates the piece's cadences. Most notably, in this movement Brahms avoids traditional authentic-cadence closure entirely, writing not a single cadential progression from a root-position C major chord to a root-position F chord. Instead, I argue that Brahms effects tonal closure by using the augmented sixth chord, which supplants the dominant's usual function. He does this most obviously by repeating the augmented sixth sonority in prominent positions within the ternary form's final A section. I also show that Brahms artfully foreshadows this chord's importance in the initial A section, where he successively tonicizes each member of that harmony.
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Frisch, Walter. "The Snake Bites Its Tail: Cyclic Processes in Brahms's Third String Quartet, op. 67." Journal of Musicology 22, no. 1 (2005): 154–72. http://dx.doi.org/10.1525/jm.2005.22.1.154.
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Brahms's Third String Quartet, op. 67 in Bb Major, represents one of his greatest efforts in cyclical form, but has been neglected in the analytical and critical literature, which has focused on the Third Symphony, the Schicksalslied, and the German Requiem. Brahms's cyclic techniques fall between the procedures of Beethoven, who aims for thematic unity or coherence across a work, and French composers at the end of the 19th century, who use extensive, intricate thematic transformation to bind a piece. Brahms designs the finale of his Bb Quartet, a theme and variations, to evolve toward the reappearance of the main thematic material of the first movement. In the coda of the finale, the themes of the two outer movements are superimposed in ways that reveal their latent kinship.
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Reynolds, Christopher. "Brahms Rhapsodizing: The Alto Rhapsody and Its Expressive Double." Journal of Musicology 29, no. 2 (2012): 191–238. http://dx.doi.org/10.1525/jm.2012.29.2.191.
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This article presents two new hypotheses about Brahms's Alto Rhapsody, op. 53 (1869), a work Brahms referred to as his “bridal song.” Consulting a range of nineteenth-century sources, I explore the implications of rhapsody as a genre for this composition and argue that they include the classical convention of rhapsody as a poetic cento, or Stoppelgedicht. Centos, poems made up of quotations from earlier works, were often written for important events such as weddings; examples include the Cento nuptialis, which was discussed, among others, by August Wilhelm Ambros in his Geschichte der Musik (1864). Brahms's musical sources include Wagner's Tristan und Isolde and several works based on Goethe's Faust, including, especially, Liszt's Faust–Symphonie. My second hypothesis is that Brahms likely composed his Schicksalslied, op. 54, as a companion piece to the Alto Rhapsody. The two pieces respond to each other through several shared musical and textual correspondences. They deal in paired ways with the division between mortal suffering and otherworldly grace, and they embrace conventions and characters from antiquity. Invoking a concept proposed by Lawrence Kramer, I interpret these works as “expressive doubles” of each other. My investigation suggests that Brahms probably began work on the Rhapsody at least a year earlier than previously thought.
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Beller-McKenna, Daniel. "Imagination and Memory: Inter-movement Thematic Recall in Beethoven and Brahms." Nineteenth-Century Music Review 18, no. 2 (January 22, 2021): 283–308. http://dx.doi.org/10.1017/s1479409820000294.
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Like several of his predecessors, Brahms reintroduces themes from one movement into a later one in several of his instrumental works. Historical circumstances and changing historical consciousness affected a composer's use of thematic recall. For Beethoven (per Elaine Sisman) recalling an earlier theme provided the creative stimulus to move forward to the end of a piece, in accordance with the linear concept of history that defined Beethoven's Enlightenment world view. Brahms's use of inter-movement thematic recall often expresses a more wistful and melancholy view of the past and focuses on the ability of recall to provide a dramatic narrative. In his earliest use of cyclical return, the Op. 5 Piano Sonata (1853), the Andante second movement is echoed and transformed by the ‘Ruckblick’ fourth movement, as Brahms plays on the poetic inscription of the former movement to raise the specter of lost love and mortality. In a more complex web of thematic recall, the op. 78 Violin Sonata (1878) combines allusions to a pre-existing pair of interrelated songs from his Op. 59 with a newly composed, recurring instrumental theme to create a multi-layered, somber character in the piece. Both of those works draw on an earlier, romantic sense of yearning for return. Near the end of his career, however, the quiet emergence and eventual dissipation of opening material at the close of the Op. 115 Clarinet Quintet (1891) reflects Brahms's awareness of his place at the end of an artistic tradition, and thereby conveys a post-Romantic conception of history.
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McClelland, Ryan. "Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos." Articles 26, no. 1 (December 7, 2012): 123–47. http://dx.doi.org/10.7202/1013246ar.
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The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, and resolves them convincingly near the end of the scherzo.
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Daverio, John. "The "Wechsel der Töne" in Brahms's "Schicksalslied"." Journal of the American Musicological Society 46, no. 1 (1993): 84–113. http://dx.doi.org/10.2307/831806.
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The nature of musical meaning in Brahms's Schicksalslied, op. 54, a setting of an interpolated lyric from Friedrich Hölderlin's epistolary novel Hyperion, has long puzzled students of the composer's works. Brahms's apparent contradiction of the message of the poem in an ethereal orchestral postlude is here considered in the light of Hölderlin's own poetic theory of "alternating tones" toward the end of demonstrating the composer's adherence to the spirit, if not the letter, of the poet's work. The Schicksalslied is further interpreted as the last instance of the Erlebnislyrik (lyric of personal experience) within Brahms's output, and hence as a telling prelude to the symphonic essays of the 1870s and 1880s.
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HIRSCH, MARJORIE. "The Spiral Journey Back Home: Brahms's ““Heimweh”” Lieder." Journal of Musicology 22, no. 3 (2005): 454–89. http://dx.doi.org/10.1525/jm.2005.22.3.454.
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ABSTRACT Considering Brahms's ““Heimweh”” Lieder (op. 63 nos. 7––9) together rather than individually is indispensable to their interpretation. In each song, Brahms conveys the protagonist's longing for lost childhood by introducing the folklike qualities of Kinderlieder within the frame of a Kunstlied. The expression of nostalgia also takes places across the minicycle as a whole. The recurrence and transformation of musical patterns and motifs enhances the retrospective nature of the three songs, which seem to reflect on childhood from successively greater temporal distances. Despite the overt despondency of the poetic speaker in each text, the musical settings together convey a positive message: Death is a welcome refuge from life's afflictions. In offering this consolation, Brahms draws upon the Romantic concept of Heimweh, including its characteristic spiral-like pattern of expression, but tempers it in accordance with the scaled-back artistic goals of the post-Romantic period.
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Howell, Tim. "Brahms, Kierkegaard and Repetition: Three Intermezzi." Nineteenth-Century Music Review 10, no. 1 (June 2013): 101–17. http://dx.doi.org/10.1017/s1479409813000050.
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Schoenberg's ideas about ‘Brahms the progressive’ involve the close study of the composer's use of ‘developing variation’ technique, yet Brahms's music also contains a high incidence of repetition. In 1843, the Danish philosopher Søren Kierkegaard published a book called Repetition under the pseudonym, ‘Constantin Constantius’. As an encryption of his underlying philosophy, this pseudonym encapsulates both the constant nature of repetition – and its more subtle element of change. Thus stasis and dynamism, similarity and difference, are equally (and visibly) represented here. Kierkegaard's ideas find resonance within the late Brahms piano miniatures (for instance in the Drei Intermezzi, op. 117) where highly compressed formal structures exhibit differing kinds of repetitive processes. The temporal quality of repetition – the fact that experiencing the ‘same’ thing can only occur later on in time – makes this device more dynamic than it may at first appear. Such a view of repetition sits alongside Schoenberg's notion of ‘developing variation’ – the endless reshaping of a basic shape – but although they may have underlying connections, each is articulated in a different way. Studies of developing variation in Brahms are confined to pitch structures, interval patterns and rhythmic shapes, whereas considerations of repetition need to embrace issues of temporality, narrative and motion. Drawing upon Kierkegaard's philosophical distinction between re-experiencing something, rather than experiencing it again, allows repetition to become a catalyst for change. It may help to explain the expressive expansiveness of Brahms's structurally controlled late piano works.
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BERRY, PAUL. "Old Love: Johannes Brahms, Clara Schumann, and the Poetics of Musical Memory." Journal of Musicology 24, no. 1 (January 1, 2007): 72–111. http://dx.doi.org/10.1525/jm.2007.24.1.72.
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ABSTRACT In September 1871, Johannes Brahms presented Clara Schumann with an untitled work in F## minor for solo piano, which he later revised and published as the Capriccio, op. 76/1. Surviving correspondence demonstrates Clara's intimate familiarity with the work throughout the 1870s. In May 1876, two years before releasing manuscripts of the Capriccio among his wider circle, Brahms composed the song Alte Liebe (Old Love) to a poem by Carl Candidus; he immediately sent an autograph to the baritone Julius Stockhausen, along with instructions to sing it to Clara, whom he proclaimed the best person to hear it. Examination of the music against the backdrop of its origins and the circumstances of its initial performance reveals that Brahms deliberately incorporated echoes of the Capriccio into Alte Liebe and points to ways in which those echoes might have influenced Clara's understanding of the song and its text. A broad array of music-analytic and documentary evidence (including the newly rediscovered autograph of Alte Liebe) permits detailed investigation of the interpretive perspective that Brahms's compositional choices encouraged from a listener with Clara's unique musical memories and manner of interacting with chamber music. Imaginatively reconstructing her encounter with Alte Liebe yields fresh insights into Brahms's compositional practice in the private genres of song and small-scale chamber music, a rich new historical context in which to ground the study of allusion in his works, and a rare opportunity to explore the musical and personal dynamics of his closest friendship.
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Brodbeck, David. "Primo Schubert, Secondo Schumann: Brahms's Four-Hand Waltzes, Op. 39." Journal of Musicology 7, no. 1 (January 1, 1989): 58–80. http://dx.doi.org/10.2307/763620.
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Brodbeck, David. "Primo Schubert, Secondo Schumann: Brahms's Four-Hand Waltzes, Op. 39." Journal of Musicology 7, no. 1 (January 1989): 58–80. http://dx.doi.org/10.1525/jm.1989.7.1.03a00040.
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Behan, Adam. "Large‐Scale Structure, Performance and Brahms's Op. 119 No. 2." Music Analysis 40, no. 1 (March 2021): 104–30. http://dx.doi.org/10.1111/musa.12164.
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Vaillancourt, Michael. "Brahms's ““Sinfonie-Serenade”” and the Politics of Genre." Journal of Musicology 26, no. 3 (2009): 379–403. http://dx.doi.org/10.1525/jm.2009.26.3.379.
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Abstract Brahms's First Serenade, op. 11, has played a relatively minor role in scholarly accounts of Brahms's stylistic development, which often depict the work as a tentative step toward the composer's ““first maturity”” or as one of several failed attempts to create a symphony. By contrast, the earliest reviewers of the Serenade heard the piece as a crucial turning point in his career, and they interpreted his choice of genre as a bold statement in the emerging debate on the future course of German music. In this view, the genre of the orchestral serenade forged a link with an idealized Viennese classicism, thereby representing a denial of the ideals of Franz Brendel's ““New German”” school. By reading Brahms's Serenade in terms of genre, we can begin to assess the qualities that informed its contemporary reception. Approaching genre as an interpretive mode allows us to understand the composer's provocative juxtaposition of numerous topics of discourse——the symphonic, the pastoral, the sublime, as well as the reinterpretation of specific classical gestures——as a key to the musical meaning of the piece. Brahms's extensive references to music by Mozart, Haydn, and Beethoven go beyond simple allusion to embrace the reinterpretation of compositional techniques that situate the piece within the tradition of instrumental Nachtmusik. Heard through genre, the Serenade thus emerges as a pointed response to mid nineteenth-century theories of radical modernism.
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Boyd, Clifton. "Metrical Ambiguity in the Scherzo of Brahms's String Sextet, Op. 18." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 41–60. http://dx.doi.org/10.11116/mta.8.1.2.
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This article explores the metrical and hypermetrical ambiguities present in the Scherzo of Brahms's String Sextet in B♭ major, Op. 18 (1859–60). Drawing upon Lerdahl and Jackendoff's metrical preference rules, Mirka's parallel multiple-analysis model, and Ito's fractional notation, I argue that each hearing of material from the opening phrase (at the beginning, during its first repeat, after the Trio, etc.) affords the possibility of a different hypermetrical experience. Furthermore, rather than the metrical structure becoming increasingly clear over time, there are a number of hypermetrical irregularities that can lead listeners to question their previous interpretations. The article concludes with suggestions on how chamber ensembles can utilize metrical analyses of this movement to inform their performances and create varied listening experiences.
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Bottge, Karen. "Brahms's "Wiegenlied" and the Maternal Voice." 19th-Century Music 28, no. 3 (2005): 185–213. http://dx.doi.org/10.1525/ncm.2005.28.3.185.
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Brahms's familiar "Wiegenlied" op. 49, no. 4 (1868) is emblematic of numerous nineteenth-century compositions that sonorously enact idealized images of the mother and child. Its back and forth harmonic movement imitates the phenomenal sensation of rocking, and its interlocking syncopations support and interact with the emotive declamation of the singer's voice. Because its musical features are so easily accessible, the "Wiegenlied" has escaped music-analytical attention, its deceptive simplicity seemingly transparent to our music-theoretical gaze. Yet, certain aspects of this music render our familiar analytical or critical strategies inadequate for explaining the intuitions we have about it, aspects that suggest tracing their connections within a broader cultural and musical context. My discussion of the lullaby draws from a number of cultural theorists--among them Friedrich Kittler, Michel Chion, Gilles DeLeuze, Flix Guattari, and Theodor W. Adorno--to theorize the power of the mother's voice (la voix maternelle) in forming lifelong vocal and musical connections. I provide a close reading of Alexander Baumann's "S'is Anderscht" (1842), the Austrian vocal duet that inspired Brahms's composition of the lullaby, and a critical comparison of it with the lullaby. Finally, after uncovering latent etymological sources of several key words in the lullaby's text, I offer a hermeneutic re-reading of the poem, one that ultimately undermines our casual assumptions of this simple childhood song.
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Horne, William. "Brahms's Op. 10 Ballades and His Blätter aus dem Tagebuch eines Musikers." Journal of Musicology 15, no. 1 (January 1, 1997): 98–115. http://dx.doi.org/10.2307/763905.
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Horne, William. "Brahms's Op. 10 Ballades and His Blatter aus dem Tagebuch eines Musikers." Journal of Musicology 15, no. 1 (January 1997): 98–115. http://dx.doi.org/10.1525/jm.1997.15.1.03a00050.
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Venn, Edward. "Manchester, RNCM: Robin Holloway's String Quartet, op. 97." Tempo 58, no. 228 (April 2004): 64–66. http://dx.doi.org/10.1017/s0040298204270152.
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The world première of Robin Holloway's String Quartet, given by the Endellion Quartet at the RNCM on 13 October 2003, came in the midst of a number of concerts around the country marking the composer's 60th birthday. (Let us not forget, too, Claridge Press's publication of Holloway's writings, also coinciding with this anniversary.) Clever programming between Haydn's quartet op. 76 no. 4 and Brahms's op. 51 no. 2, enabled one to appreciate Holloway's first essay in this genre in the context (on the one hand) of a composer for whom the string quartet was seemingly an effortless medium, and (on the other) of a composer on whom the quartet tradition weighed heavily. For Holloway too, the string quartet proved problematic, and almost unassailable – his highly biographical programme-note revealed an initial inability to engage with ‘this most hallowed of the classic media, with its incomparably rich literature’. This inhibition threatened to stifle work altogether, for it was only a final attempt in August 2003, after three ‘sterile years’ of trying, that Holloway found a way through the problems the string quartet posed him.
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TERRIGNO, LORETTA. "Tonal Problems as Agents of Narrative in Brahms's Unbewegte laue Luft , Op. 57 No. 8." Music Analysis 36, no. 3 (September 25, 2017): 350–71. http://dx.doi.org/10.1111/musa.12100.
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Beller-McKenna, Daniel. "How "deutsch" a Requiem? Absolute Music, Universality, and the Reception of Brahms's "Ein deutsches Requiem," op. 45." 19th-Century Music 22, no. 1 (1998): 3–19. http://dx.doi.org/10.2307/746789.
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Beller-McKenna, Daniel. "How "deutsch" a Requiem? Absolute Music, Universality, and the Reception of Brahms's "Ein deutsches Requiem," op. 45." 19th-Century Music 22, no. 1 (July 1998): 3–19. http://dx.doi.org/10.1525/ncm.1998.22.1.02a00010.
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Braus, Ira. "Brahms's "Liebe und Frühling II", Op. 3, No. 3: A New Path to the Artwork of the Future?" 19th-Century Music 10, no. 2 (1986): 135–56. http://dx.doi.org/10.2307/746640.
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Braus, Ira. "Brahms's "Liebe und Fruhling II", Op. 3, No. 3: A New Path to the Artwork of the Future?" 19th-Century Music 10, no. 2 (October 1986): 135–56. http://dx.doi.org/10.1525/ncm.1986.10.2.02a00030.
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Todd, R. Larry. "Late Brahms, Ancient Modes." Nineteenth-Century Music Review 15, no. 3 (June 26, 2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.
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History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.
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Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.
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Background. The problematics associated with the personal and creative relationships between Johannes Brahms and Robert Schumann, as well as the nature of their reflection in art, have been worrying the minds of researchers for more than a century and a half. One of significant, but little-studied aspects is the embodiment of Schumann’s images and associations in the four-handed piano works by J. Brahms. The article objective is revealing of the semantic specifics of the reflection of Robert Schumann creativity in the Variations by Johannes Brahms on the Theme by R. Schumann, op. 23. The study methodology determined by its objectives is integrative and based on the combination of general scientific approaches and musicological methods. The leading methods of research are the semantic, compositional-dramaturgic and genre-stylistic analyses. Results. Acquaintance with Robert and Clara Schumann (soon transformed into a romantic friendship) was a landmark, turning point in the life and work of J. Brahms. It was R. Schumann, who at some time first called young Chopin a “genius” and who also predicted to Brahms – at that time (in 1853) to almost no-known young musician – a great future in his latest article “New Ways” (after long literary silence), where the appearance of new genius solemnly proclaimed. The long hours of companionship of Brahms with Robert and Clara Schumann were filled of conjoint piano playing, very often – in four hands. Addiction to the four-handed duet playing was vividly reflected in the creativity of both, Schumann and Brahms. Creativity of J. Brahms is one of the highest peaks in the history of the genre of a four-handed piano duet. A special place among Brahms’ piano four-handed duets is occupied by the only major cyclical composition – the Variations on the Theme of R. Schumann op. 23 in E Flat Major, 1861. Variations op. 23 were written by the composer for the joint four-handed performance by Clara and Julia Schumann – the wife and the daughter of R. Schumann. The author dedicated his composition to Julie Schumann, with whom he was secretly in love at that time. The theme of variations is the melody, which was the last in the creative fate of R. Schumann. This theme was presented to Schumann in his night visions by the spirits of Schubert and Mendelssohn; the composer managed only to write down the theme and begin to develop it on February 27, 1854, on the eve of the tragic attack of madness, which led him to the hospital in Endenich. Brahms’s ethical and aesthetic task was to preserve for humanity the last musical thought of the genius and perpetuate his memory, creating an artistic monument to his great friend and mentor. Brahms’ idea is connected with the composer’s philosophical thoughts about death and immortality, about the meaning of being and the greatness of the creative spirit. This idea is even more highlighted due to the genre synthesis of the “strict tune” of the choral and the mourning march “in memory of a hero”. The level of associativity of each of these genre spheres is extremely high. It includes a huge range of musical and artistic phenomena The significant associative semantic layer of music of Variations is connected, of course, with Robert Schumann’s creativity. Brahms most deeply penetrates into the world of musical thinking of Schumann, turning to the favorite Schumann’s principle of free variation. The embodiment of this idea becomes both the tonal plan of the cycle, and the peculiarities of the genre characteristic of individual variations, and the psychological accuracy of specific figurative decisions, and the logical unity of the artistic whole with emphasizing of semantic significance of private details. In Schumann style, Brahms wrote the first four variations of op. 23. (Strictly speaking, the very idea of a “musical portrait” of a friend and like-minded person comes from the Schumann’s “Carnival” and “Kreisleriana”). Tonalities in the Variations get the semantic importance: E flat major as friendly and bright and E flat minor as intensely passionate. The tonal sphere “E flat major – E flat minor” for Brahms is the symbol of unity of the sublime and earthly, bright and gloomy, tragically passionate and calmly contemplative, it is a kind of image of the Universe, the Macrocosm that created by the individual musical thinking of the composer. The features of philosophical programmaticity of generalized type inherent in the Brahms conception predetermined the peculiarities of the figurative dramaturgy of Op. 23, reflecting the development and interaction of the main emotional-semantic lines of the cycle – lyrical, sublime tragic, fantastic, heroic and triumphal. The circle of the figurative development of the cycle is closed by the Schumann’s theme, creating an intonational-thematic and semantic arch framing the entire composition. The main theme of the Variations acquires here – as a result of a long and tragic dramatic way – features of a lyrical epitaph, a farewell word: “Exegi monumentum” – «I erected the monument»… Conclusions. In general, the music of Variations by J. Brahms on the Theme by R. Schumann is striking in its moral and philosophical depth, the power of artistic and ethical influence, emotional and figurative abundance and significance, compositional completeness and clarity of the dramatic solution. Variations on the theme by R. Schumann are a unique musical monument to the genius of Robert Schumann, created by the genius Johannes Brahms in honor and eternal memory to his great friend and teacher in the name of Music, Friendship and Love.
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Seskir, Sezi. "Musical Topoi in Brahms’s 7 Fantasien, Op. 116." Journal of Musicological Research 39, no. 2-3 (June 4, 2020): 99–121. http://dx.doi.org/10.1080/01411896.2020.1754731.
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Venn, Edward. "Thomas Adès and the Spectres of Brahms." Journal of the Royal Musical Association 140, no. 1 (2015): 163–212. http://dx.doi.org/10.1080/02690403.2015.1008867.
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AbstractThe appearance of a ghost in Alfred Brendel's poem ‘Brahms II’, set by Thomas Adès for baritone and orchestra in 2001, is not the first time Brahms the composer has been discussed with reference to the supernatural. In order to provide a hermeneutic interpretation of Adès's Brahms, op. 21, and an explanation of why Brahms continues to haunt composers of the twentieth and twenty-first centuries, this article draws on Derrida's notion of hauntology, exploring notions of the uncanny, late Brahms and Schoenberg's ‘Brahms the Progressive’.
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MURPHY, SCOTT. "On Metre in the Rondo of Brahmss Op. 25." Music Analysis 26, no. 3 (October 2007): 323–53. http://dx.doi.org/10.1111/j.1468-2249.2008.00261.x.
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Anderson, Martin. "Adolf Busch." Tempo 60, no. 235 (January 2006): 40–42. http://dx.doi.org/10.1017/s0040298206280045.
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ADOLF BUSCH String Sextet in G, op. 40. BRAHMS String Sextet No. 1 in B flat major, op. 18. Kölner Streichsextett. Raumklang/Marc Aurel Edition CMN 006.ADOLF BUSCH: Quartet in One Movement in B minor, op. 29. KAMINSKI: String Quartet in F major. SCHULHOFF: String Quartet No. 1. ULLMANN: String Quartet No. 3. Casal Quartet. Telos Music Records TLS 111.ADOLF BUSCH: Organ Works. Ludger Lohmann (organ). Motette CD 13101.
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Шлифштейн, Наталия Семёновна. "Notes on Sonata Cycle of Cross-Cutting Development in Brahms' Chamber Music." Музыкальная академия, no. 1(773) (March 31, 2021): 156–69. http://dx.doi.org/10.34690/136.
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Развитие искусства, по словам Пастернака, подчиняется закону притяжения. Один из многочисленных примеров этому - бетховенская идея цикла сквозного развития, мимо которой не прошел ни один из последующих композиторов: от Шопена (Соната b-moLL) до Брукнера и Малера. Значительное место в этом процессе принадлежит Брамсу. В публикуемых «Заметках...» на примере шести различных по составу и времени написания камерно-инструментальных ансамблей композитора - фортепианных трио op. 8 (вторая редакция) и op. 40, струнных квартетов op. 51 и op. 67, Кларнетового квинтета op. 115 - обнаруживается разнообразие воплощений этой идеи: в одном случае ключевым моментом образования сквозной структуры цикла оказывается взаимодействие тональностей - одноименных и параллельных; в другом - взаимодействие метроритмов; и, наконец, импульс к построению сквозной композиции цикла может исходить от лаконичной темы, наделенной функцией эпиграфа. Перефразируя известную мысль Асафьева, можно сказать: идея одна, а форм ее претворения множество. The deveLopment of art, according to Pasternak, obeys the Law of attraction. One of the various exampLes is the idea of the cross-cutting deveLopment cycLe by Beethoven; none of the Later composers from Chopin (Sonata b flat minor) to Bruckner and MahLer passed by this idea. Brahms occupies a significant pLace in this process. One can discover a variety of embodiments of the idea in this articLe on the exampLe of six chamber and instrumentaL ensembLes of the composer, different by number of instruments and time of writing: piano trios op. 8 (2 version) and op. 40, string quartets op. 51 and op. 67, CLarinet Quintet op. 115. In one case, the interaction of keys - paraLLeL and reLative ones-is the centerpiece of the formation of the cross-cutting cycLe structure. In another case, the point is the interaction of metre-rhythms. And finaLLy, the impuLse to the buiLding of the cross-cutting cycLe composition can come from a concise theme endowed with the function of the epigraph. To paraphrase an idea of Asafiev, it can be stated that the idea is the same, but the forms of embodiments are muLtipLe.
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Bazelak, Miłosz. "The Musical Rhetoric of the Baroque on the Example of Johannes Brahms’ Psalm XIII Op. 27." Kwartalnik Młodych Muzykologów UJ 39, no. 4 (2018): 41–57. http://dx.doi.org/10.4467/23537094kmmuj.18.043.9744.
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Uhde, Katharina. "Of ‘Psychological Music’, Ciphers and Daguerreotypes: Joseph Joachim’sAbendglockenOp. 5 No. 2 (1853)." Nineteenth-Century Music Review 12, no. 2 (September 22, 2015): 227–52. http://dx.doi.org/10.1017/s1479409815000312.
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If as a performer and Brahms’s close collaborator Joachim promoted the music of Bach, Beethoven and Brahms, a process relatively unsympathetic to programme music of theNeudeutsche Schule, as a composer Joachim’s works do not display such an aesthetic stance. His own music, which he dubbed ‘psychological’, was intended to ‘detectandsave’, that is faithfully to perceive and record his emotions. As part of this process, Joachim’sAbendglocken, the second of theDrei Stücke, Op. 5, for violin and piano (1853), betrays a striking use of ciphers, taking Robert Schumann’s musical word games to a heightened level and using notational signs such as double bars as framing devices that suggest an intriguing link to the daguerreotypes of early photography.‘Psychological music’ describes a compositional approach Joachim pursued in the 1850s, when positivism began clashing with the existing idealist philosophy, as demonstrated in the emergence of empirical psychology from philosophy and metaphysics. Enrolled in philosophy at Göttingen University in 1853, Joachim would have encountered psychology from a pre-empirical, phenomenological perspective, which may have initiated his ‘psychological music’. The dedicatee ofAbendglockenand the constant subject of his thoughts – and arguably of his music – was Gisela von Arnim (1827–1889), daughter of Bettina von Arnim, with whom he was romantically involved and whose encrypted name – G♯–E–A – provides a valuable key to understandingAbendglockenin particular, and Joachim’s psychological music in general. This article considers the autobiographical, philosophical and cultural influences on Joachim to interpret ‘psychological music’ as it played out inAbendglocken.
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Fellinger, Imogen. "Brahms' Sonate für Pianoforte und Violine op. 78." Die Musikforschung 18, no. 1 (September 21, 2021): 11–24. http://dx.doi.org/10.52412/mf.1965.h1.2306.
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SNARRENBERG, ROBERT. "Linear and Linguistic Syntax in Brahms'sO Kühler Wald, Op. 72 No. 3." Music Analysis 36, no. 3 (August 30, 2017): 372–83. http://dx.doi.org/10.1111/musa.12101.
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Rohringer, Stefan. "Zu Johannes Brahms’ Intermezzo h-Moll op. 119/1." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 10, no. 1 (2013): 79–145. http://dx.doi.org/10.31751/707.
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Bohlman, Philip V. "Herder's Nineteenth Century." Nineteenth-Century Music Review 7, no. 1 (June 2010): 3–21. http://dx.doi.org/10.1017/s1479409800001129.
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I begin this essay epigrammatically with song, with a single song that came to tell an historical tale of the nineteenth century (Fig. 1, p. 3). We know this single song in many versions, though it is perhaps the second version that most musicians and scholars of the nineteenth century, more accustomed to playing or hearing the keyboard music of Johannes Brahms than singing Child ballads, know best (Ex. 1). In the Brahms setting, the first of his op. 10 Balladen for solo piano, it may perhaps no longer be a song at all, for its narrative has been stripped of words.
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Glöckner, Andreas. "Eine Abschrift der Kantate BWV 150 als Quelle für Brahms' e-Moll-Sinfonie op. 98." Bach-Jahrbuch 83 (March 13, 2018): 181–84. http://dx.doi.org/10.13141/bjb.v19971846.
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Im Februar 1874 sandte Philipp Spitta eine Partiturabschrift von Bachs Kantate BWV 150 Nach dir, Herr, verlanget mich an Johannes Brahms nach Wien. In seinem Begleitschreiben verwies der damals noch in Sondershausen tätige Gymnasiallehrer den Brieffreund auf die außergewöhnliche Form der Chaconne im Schlußchor des Werkes. Bekanntlich hat Brahms das Chaconne-Thema dieses Chors ("Meine Tage in dem Leide") dem im Sommer 1885 komponierten Finale seiner 4. Sinfonie in e-Moll op. 98 zugrundegelegt, und wir dürfen davon ausgehen, daß die Entstehung des Finalsatzes mit der von Spitta elf Jahre zuvor erhaltenen Kantatenabschrift in unmittelbarer Beziehung steht. (Autor, Quelle: Bibliographie des Musikschrifttums online)
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Kämper, Dietrich. "geistliche Musik außerhalb des "Cultus"." Die Musikforschung 60, no. 3 (September 22, 2021): 214–29. http://dx.doi.org/10.52412/mf.2007.h3.539.
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Die Uraufführung des Deutschen Requiems von Brahms 1868 bestärkte Spitta in seiner Überzeugung, dass es eine Kirchenmusik im eigentlichen Sinne nicht mehr gebe. Als Bruch unter dem Eindruck des Brahms-Requiems 1869 sein altes Projekt einer doppelchörigen Messe wieder aufgriff, riet ihm Spitta, sich mutig zu einer geistlichen Musik außerhalb des Cultus zu bekennen und auf die vollständige Vertonung des Messetextes zu verzichten. Begleitet von einem umfangreichen Briefwechsel zwischen Spitta und Bruch, der tiefe Einblicke in die Werkstatt des Komponisten vermittelt, entstand so das Kyrie, Sanctus und Agnus dei op 35, eines der bedeutendsten Werke des in Köln geborenen Komponisten.
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Wirayudha, Asep Hidayat. "The Secret of Brahms Cellos Sonata No. 1 Op. 38 and Shostakovich Cello Sonata Op. 40." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 35. http://dx.doi.org/10.24821/ijcas.v3i2.1843.
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This study aims to find a technique solution behind the Far interval and Octave interval in Brahms Cello sonata no.1 opus 38 and Shostakovich cello sonata op. 40 through literature and Discography approach. The fingering problems may poses special difficulties to any cellists. According to the author’s assessment, there are two problems that warrant special attentions of the cellist. Both intervals may cause serious problems on the performance of short fingers cellists. The size of the fingerboard on the cello as compared to other string instruments are longer, resulting in harder difficulties regarding obtaining tone (Stowell, 1999). From the results of the Far Interval and Octave Interval and active involvement of the researchers, the results show that, what is shown that every cellist are anatomically different. The fingers of the cellists are naturally very flexible. It cannot be converted to another cellists. So flexibly that it is possible to overcome the problem in a simple and convenient.
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Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (March 1, 2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.
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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the same conceptions: rhapsodic melody with closing cadenza and a fermata. The final return of the Adagio establishes a cyclic unity. The first performance of the sonata in 1910 with string quartets by Kodály and Bartók founded the beginning of modern music in Hungary. Also the Sonatina, originally the 3rd part of Sonata, published in 1922, has a Lento-introduction with rhapsodic-like parts wich begins a process-like evolution of composition. A relationship with the special features of the Sonata for Cello and Piano in the history of the genre includes also works by Debussy (1915) and Hindemith (1919).
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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.
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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the work is based on the author's dialogue with outstanding compositions for violin of the XIXth and XXth centuries: concertos by Beethoven (D-dur Op. 77), Brahms (D-dur Op. 35), Tchaikovsky (D-dur Op. 1), Prokofiev (No. 19 D-dur Op. 24) and Berg ("To the Memory of an Angel"). Herewith, the key role in the composition is given to Paganini's Caprice for solo violin (No. 1 a-moll Op. XNUMX), which is treated as a universal lexical model. In the process of reinterpretation, masterpieces receive a new original reading and become part of modernity.
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Torkewitz, Dieter. "‚entwickelte Zeit'. Zum Intermezzo op. 116, IV von Johannes Brahms." Die Musikforschung 32, no. 2 (September 22, 2021): 135–40. http://dx.doi.org/10.52412/mf.1979.h2.1728.
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Mayr, Desirée, and Carlos Almada. "Use of Linkage Technique in Johannes Brahms’ op. 78 and Leopoldo Miguéz’s op.14 Violin Sonatas." Opus 22, no. 2 (December 2016): 429–49. http://dx.doi.org/10.20504/opus2016b2216.
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Bazelak, Miłosz. "Retoryka muzyczna baroku na przykładzie Psalmu XIII op. 27 Johannesa Brahmsa." Kwartalnik Młodych Muzykologów UJ 39 (4) (December 2018): 39–54. http://dx.doi.org/10.4467/23537094kmmuj.18.038.9739.
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Hwang, Soondo. "Zemlinsky's Clarinet Trio D-Minor op. 3: Crossing Brahms and Schoenberg." Music Theory Forum 25, no. 1 (June 30, 2018): 33–73. http://dx.doi.org/10.15571/mtf.2018.25.1.33.
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