Artículos de revistas: "Brahms, Johannes, Music theory"

1

Exner, R. y Hans Mayer. "Ein Denkmal für Johannes Brahms: Versuche über Musik und Literatur". World Literature Today 59, n.º 1 (1985): 90. http://dx.doi.org/10.2307/40140641.

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2

Newbould, Brian. "RECORDINGS: Johannes Brahms". Early Music XX, n.º 2 (mayo de 1992): 366. http://dx.doi.org/10.1093/earlyj/xx.2.366.

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3

KAHN, ROBERT. "Recollections of Johannes Brahms". Musical Quarterly 74, n.º 4 (1990): 601–9. http://dx.doi.org/10.1093/mq/74.4.601.

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4

Ehrhardt, Damien, Hans von Bülow, Hans-Joachim Hinrichsen y Hans von Bulow. "Die Briefe an Johannes Brahms". Revue de musicologie 82, n.º 1 (1996): 192. http://dx.doi.org/10.2307/947213.

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5

Musgrave, Michael. "Review: Johannes Brahms: Life and Letters". Music and Letters 83, n.º 2 (1 de mayo de 2002): 307–13. http://dx.doi.org/10.1093/ml/83.2.307.

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6

Petersen, Peter. "Über das "Triumphlied“ von Johannes Brahms". Die Musikforschung 52, n.º 4 (22 de septiembre de 2021): 462–66. http://dx.doi.org/10.52412/mf.1999.h4.911.

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Mit Bezug auf die strittige Textstelle aus der Apokalypse 19,2 ("daß er die große Hure verurtheilet hat") wird nachgewiesen, dass Johannes Brahms ein prosodisch korrektes Instrumentalthema entworfen und durchgeführt und dabei die sprachliche Fassung der Bibeln vor 1870 verwendet hat. Die alte Auffassung, dass das Hauptthema des 1. Satzes eine Variation der Hymne <Heil Dir im Siegerkranz> ist, kann bestätigt werden, weil die beiden Melodien im auch sonst von Brahms verwendeten Tripla-Verhältnis stehen.

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7

Doherty, Brian. "The Organ Music of Johannes Brahms (review)". Notes 64, n.º 3 (2008): 502–5. http://dx.doi.org/10.1353/not.2008.0015.

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8

Geiringer, Karl y Margit L. McCorkle. "Johannes Brahms: Thematisch-bibliographisches Werkverzeichnis". Notes 42, n.º 2 (diciembre de 1985): 289. http://dx.doi.org/10.2307/897428.

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9

Knapp, Raymond, Styra Avins y Josef Eisinger. "Johannes Brahms: Life and Letters". Notes 55, n.º 4 (junio de 1999): 910. http://dx.doi.org/10.2307/899600.

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10

Pacun, David. "The Variations of Johannes Brahms (review)". Notes 62, n.º 2 (2005): 401–3. http://dx.doi.org/10.1353/not.2005.0144.

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11

Struck, Michael. "Johannes Brahms' kompositorische Arbeit im Spiegel von Kopistenabschriften". Archiv für Musikwissenschaft 54, n.º 1 (1997): 1. http://dx.doi.org/10.2307/931153.

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12

Neubacher, Jürgen. "neuer Quellenfund zur Mitarbeit Johannes Brahms' an Friedrich Chrysanders Ausgabe von Händels „Italienischen Duetten und Trios“ (1870)". Die Musikforschung 51, n.º 2 (22 de septiembre de 2021): 210–15. http://dx.doi.org/10.52412/mf.1998.h2.936.

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Ein bislang unbekanntes, acht Notenseiten umfassendes Autograph von Johannes Brahms ist in der Staats- und Universitätsbibliothek Hamburg entdeckt worden. Es ist Teil der bisher nur durch den Druck bekannten Generalbaßaussetzung, die Brahms 1870 für die Edition der <Italienischen Duette> von Georg Friedrich Händel im Rahmen der Händel-Gesamtausgabe angefertigt hatte. Bei dem Vergleich zwischen Brahms' Niederschrift mit der Druckfassung zeigt sich, daß der Herausgeber Friedrich Chrysander einige Eingriffe in den Brahmsschen Notentext vorgenommen hat.

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13

Pascall, Robert y Michael Struck. "Kampf in der Werkstatt - Kampf um die Werkstatt". Die Musikforschung 56, n.º 4 (22 de septiembre de 2021): 382–90. http://dx.doi.org/10.52412/mf.2003.h4.732.

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Die 1877 entstandene Symphonie D-Dur von Johannes Brahms entstand in bemerkenswert kurzer Zeit und wird von vielen für ein eher pastoral-idyllisches Werk gehalten. Gerade weil Brahms im Streben nach einer dauerhaften Musik alles zu verbergen suchte, was diesem Ideal noch nicht entsprach - also Skizzen und Entwürfe -, ist es eine Forderung an die Edition, solche Prozesse sichtbar zu machen. bms online (Schöner, Oliver)

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14

Velten, Klaus. "Entwicklungsdenken und Zeiterfahrung in der Musik von Johannes Brahms". Die Musikforschung 34, n.º 1 (22 de septiembre de 2021): 56–59. http://dx.doi.org/10.52412/mf.1981.h1.1627.

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15

Desai, Boman. "The Boy Brahms". 19th-Century Music 27, n.º 2 (2003): 132–36. http://dx.doi.org/10.1525/ncm.2003.27.2.132.

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During the late twentieth century, the veracity of a particular aspect of Johannes Brahms's boyhood came under challenge. Had he played the piano in Hamburg's dockside bars as many of his biographers had recorded, or had he not? The two sides of the story were debated in the spring 2001 issue of 19th-Century Music. Jan Swafford, Brahms's definitive biographer in English, provided the case for the status quo, citing all the known instances of times when Brahms himself had mentioned the story to friends and biographers. Styra Avins, a translator of many of Brahms's heretofore untranslated letters into English, provided evidence to the contrary by saying all the friends and biographers were mistaken. Swafford's inventory of sources is complete, but there remained more to be said. In "The Boy Brahms" I have attempted to show how Avins's evidence is strictly circumstantial and speculative. At this remove from the incidents in question it can be nothing more. I have attempted to refute the conclusions she has drawn from the young Brahms's handwriting, the testimony of neighbors, and the laws governing attendance in the bars, among other things. I have also attempted to show inconsistencies in Avins's arguments that throw into question her thesis and support the veracity of the original story.

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16

Brodbeck, David. "Johannes Brahms Thematisch-Bibliographisches Werkverzeichnis . Margit L. McCorkle , Ernst Herttrich ." Journal of the American Musicological Society 42, n.º 2 (julio de 1989): 418–31. http://dx.doi.org/10.1525/jams.1989.42.2.03a00070.

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17

Sietz, Reinhold. "Johannes Brahms und Theodor Kirchner: Mit ungedruckten Briefen Th. Kirchners". Die Musikforschung 13, n.º 4 (21 de septiembre de 2021): 396–404. http://dx.doi.org/10.52412/mf.1960.h4.2491.

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18

Haas, Frithjof. "Erstfassung des langsamen Satzes der ersten Sinfonie von Johannes Brahms". Die Musikforschung 36, n.º 4 (22 de septiembre de 2021): 200–211. http://dx.doi.org/10.52412/mf.1983.h4.1571.

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19

Struck, Michael. "Revisionsbedürftig: Zur gedruckten Korrespondenz von Johannes Brahms und Clara Schumann". Die Musikforschung 41, n.º 3 (22 de septiembre de 2021): 235–41. http://dx.doi.org/10.52412/mf.1988.h3.1361.

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20

Torkewitz, Dieter. "‚entwickelte Zeit'. Zum Intermezzo op. 116, IV von Johannes Brahms". Die Musikforschung 32, n.º 2 (22 de septiembre de 2021): 135–40. http://dx.doi.org/10.52412/mf.1979.h2.1728.

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21

Behr, Johannes. "Franz Schuberts 20 Ländler D 366 / D 814 - nicht bearbeitet von Johannes Brahms". Die Musikforschung 64, n.º 4 (22 de septiembre de 2021): 358–67. http://dx.doi.org/10.52412/mf.2011.h4.215.

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Im Jahr 1869 erschienen bei J.P. Gotthard in Wien 20 nachgelassene Ländler Franz Schuberts in zwei separaten Ausgaben für Klavier zu zwei bzw. zu vier Händen. Vier der zweihändigen und 16 der vierhändigen publizierten Ländler sind fremde Arrangements. Es lässt sich zeigen, dass diese Bearbeitungen nicht von Johannes Brahms stammen wie bisher angenommen, sondern vom Verleger J. P. Gotthard für die von ihm veröffentlichten Editionen angefertigt wurden. Im Jahr 1934 gab Georg Kinsky elf der im Original zweihändigen Ländler (D 366/1-6, 8-10, 12, 13) in vierhändigen, mit Gotthards Fassungen nicht identischen Bearbeitungen heraus, die er ebenfalls Brahms zuschrieb. Diese könnten von Hermann Levi stammen. bms online (Cornelia Schöntube)

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22

BERRY, PAUL. "Old Love: Johannes Brahms, Clara Schumann, and the Poetics of Musical Memory". Journal of Musicology 24, n.º 1 (1 de enero de 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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23

Bohlman, Philip V. "Herder's Nineteenth Century". Nineteenth-Century Music Review 7, n.º 1 (junio de 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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24

Kelly, Elaine. "Evolution versus Authenticity: Johannes Brahms, Robert Franz, and Continuo Practice in the Late Nineteenth Century". 19th-Century Music 30, n.º 2 (2006): 182–204. http://dx.doi.org/10.1525/ncm.2006.30.2.182.

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The early-music revival provoked much heated debate in the second half of the nineteenth century. The leading scholars of the era, Philipp Spitta and Friedrich Chrysander were keen to encourage performances and editions of early music that presented it in the spirit in which it was conceived. This approach met with vociferous opposition from Robert Franz and his supporters, who embraced a Darwinian aesthetic. Although committed to reviving the past, Franz believed that the tastes of nineteenth-century listeners had become too sophisticated to enjoy early music in its original state and modernized it accordingly. The source of the most heated debates was the issue of continuo realization, a topic in which Brahms, through his performing and arranging activities, had a vested interest. Franz, who dismissed the musicologists as artistic philistines, found a difficult adversary in Brahms. Brahms's scholarly inclinations have been well documented, and predictably, his approach to reviving Baroque music reflected a high level of historical awareness. He was, however, first and foremost a creative musician, and as a consequence, aesthetic issues were paramount in his performances and publications. Considerable tensions arose between Franz, and Brahms, and Chrysander, which are explored here in relation to the latter's editions of Handel's Italian duets and trios. The difficulties surrounding continuo practice were not confined to opposition from Franz; even among musicologists there was much disagreement about how the music should be performed. Brahms's approach to continuo realization is considered in this context.

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25

McManus, Laurie. "Prostitutes, Trauma, and (Auto-)Biographical Narratives: Revisiting Brahms at the Fin de Siècle". 19th-Century Music 42, n.º 3 (2019): 225–48. http://dx.doi.org/10.1525/ncm.2019.42.3.225.

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Unlike Wagner, Mahler, or Schoenberg, Johannes Brahms is often absent from discussions of Viennese fin-de-siècle psychological theories and their intersections with musical culture. The privileged context depicting an aging Brahms resistant to new trends in politics and the arts discourages the notion that he would have known and been influenced by any such developments in the developing field of psychology or psychological arts. As a case study exploring Brahms’s potential engagement in these areas, this article reexamines the contested “legend” of Brahms playing piano in dive bars as an adolescent, not to determine its veracity, but in part to reveal how this motif functions in two different narrative models of Brahms biographies to about 1933. In the first model, the composer emerges spotless from the trials of a low-income childhood; in the second, however, he remains scarred by the unhealthy sexual climate of the bars. I argue that cultural-intellectual contexts in fin-de-siècle Vienna influenced Brahms’s attempts to shape his biographical narratives and that both models could have originated with Brahms himself. From Paolo Mantegazza’s sexology treatises to Hermann Bahr’s scandalous plays, the Viennese reading public was confronted with both scientific and literary material that conflated psychology, sexuality, and personal identity, while other artists such as Max Klinger sought to explore the unconscious motivations behind behaviors. In this context, we may reevaluate anecdotal evidence in which Brahms accords his adult problems to a traumatic childhood experience of playing piano in dangerous establishments: it suggests that Brahms could have taken part in fin-de-siècle trends of self-analysis and psychologized autobiography.

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26

Gellen, Adam. "Eduard Reményis Jugendjahre und seine Beziehungen zu Johannes Brahms — Eine biographische Skizze". Studia Musicologica 49, n.º 3-4 (1 de septiembre de 2008): 295–319. http://dx.doi.org/10.1556/smus.49.2008.3-4.5.

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Available information on the life of Eduard Reményi (c1829–1898) in the Hungarian, most notably, however, in the international literature turns out to be surprisingly poor, contradictory and inaccurate in view of the music-historical relevance of this Hungarian-Jewish violin virtuoso. For the study at hand, numerous original source documents associated with Reményi (baptismal register, police reports and other official documents, autographs, as well as newspaper articles) have been analysed and evaluated, most of them for the first time. This enabled the author to correct a number of common misconceptions concerning the biography of this musician shrouded in legend while still alive, and to verify or reject several previous hypotheses. The main focal points of the study lay on Reményi’s participation in the Hungarian War of Liberation against Austria (1848/49), the first years of his subsequent exile and on the circumstances of his first encounter with the young Johannes Brahms in Hamburg. On grounds of compelling evidence it was possible to narrow down the period in which the two musicians established their personal relations to January, 1853. At the same time, proof of Reményi’s earlier Hamburg sojourns — in the autumn of 1849, in the winter of 1850/51, and then again since November 1852 — has been provided.

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27

Avins, S. "Johannes Brahms and George Henschel: An Enduring Friendship. By George S. Bozarth." Music and Letters 92, n.º 1 (1 de febrero de 2011): 144–47. http://dx.doi.org/10.1093/ml/gcq061.

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28

Brodbeck, David. "Review: Johannes Brahms Thematisch-Bibliographisches Werkverzeichnis by Margit L. McCorkle, Ernst Herttrich". Journal of the American Musicological Society 42, n.º 2 (1989): 418–31. http://dx.doi.org/10.2307/831663.

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29

Moseley, Roger. "Reforming Johannes: Brahms, Kreisler Junior and the Piano Trio in B, Op. 8". Journal of the Royal Musical Association 132, n.º 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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30

Beller-McKenna, Daniel. "Distance and Disembodiment: Harps, Horns, and the Requiem Idea in Schumann and Brahms". Journal of Musicology 22, n.º 1 (2005): 47–89. http://dx.doi.org/10.1525/jm.2005.22.1.47.

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In his final book, Crossing Paths, John Daverio identified a common "Requiem Idea" in the music of Robert Schumann and Johannes Brahms. Both composers, Daverio argued, focused more on the survivors of the deceased than on the souls of the dead, and on consolation rather then grieving. Whereas works by Schumann and Brahms that represent Daverio's Requiem Idea take many forms and fall into various genres, a considerable number of these pieces are united by their use (literally or figuratively) of two distinctly romantic instruments-primarily the harp and secondarily the horn, instruments which Daverio labelled "emblems of distance and disembodiment." Borrowing on both the Osssianic/ bardic tradition of the late 18th century and on the spiritually tinged associations of the harp among German Romantics, Schumann, and later Brahms, used this instrument to convey separation and mediation between the dead and the living, the underlying paradigm that informs the consolatory nature of the Requiem Idea. Frequently allied with the harp in such situations is the horn, which carries its own associations with distance and thereby separation.

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31

Dedel, Peter J. D. y Detlef Kraus. "Johannes Brahms als Klavierkomponist: Wege und Hinweise zu seiner Klaviermusik". Notes 43, n.º 2 (diciembre de 1986): 308. http://dx.doi.org/10.2307/897383.

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32

Notley, Margaret y Thomas Quigley. "Johannes Brahms: An Annotated Bibliography of the Literature Through 1982". Notes 50, n.º 2 (diciembre de 1993): 577. http://dx.doi.org/10.2307/898464.

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33

Platt, Heather. "Review: Johannes Brahms: An Annotated Bibliography of the Literature from 1982 to 1996 with an Appendix on Brahms and the Internet". Music and Letters 83, n.º 4 (1 de noviembre de 2002): 638–41. http://dx.doi.org/10.1093/ml/83.4.638.

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34

Brinkmann, Reinhold, Johannes Brahms y Vincenz Lachner. "Die "heitre Sinfonie" und der "schwer melancholische Mensch". Johannes Brahms antwortet Vincenz Lachner". Archiv für Musikwissenschaft 46, n.º 4 (1989): 294. http://dx.doi.org/10.2307/930543.

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35

Auerbach, B. "Tiered Polyphony and Its Determinative Role in the Piano Music of Johannes Brahms". Journal of Music Theory 52, n.º 2 (1 de septiembre de 2008): 273–320. http://dx.doi.org/10.1215/00222909-2009-018.

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36

Kelly, Elaine. "An Unexpected Champion of François Couperin: Johannes Brahms and the ‘Pièces de Clavecin’". Music and Letters 85, n.º 4 (1 de noviembre de 2004): 576–601. http://dx.doi.org/10.1093/ml/85.4.576.

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37

Hancock, Virginia. "Review: The Brahms Notebooks: The Little Treasure Chest of the Young Kreisler. Quotations from Poets, Philosophers, and Artists Gathered by Johannes Brahms". Music and Letters 86, n.º 1 (1 de febrero de 2005): 149. http://dx.doi.org/10.1093/ml/gci020.

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Giesbrecht, Sabine. "Gründerzeitliche Festkultur - die "Bismarckhymne" von Karl Reinthaler und ihre Beziehung zum "Triumphlied" von Johannes Brahms". Die Musikforschung 52, n.º 1 (22 de septiembre de 2021): 70–88. http://dx.doi.org/10.52412/mf.1999.h1.876.

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Johannes Brahms' <Triumphlied> und die davon beeinflusste <Bismarckhymne> Karl Reinthalers sind nationale Festmusiken und mit dem politischen Wirken Otto von Bismarcks eng verbunden. Die <Bismarckhymne> verdankt ihre Existenz einem Dortmunder Preisausschreiben. Vaterländisch gesonnene Patrioten sprachen damit ihren Dank aus, dass der Reichskanzler 1874 einem Attentat entging. Der politische Kontext der Kaiserzeit ging jeweils in die wirkungsvoll konzipierten Werkstrukturen ein. Choralzitate verweisen auf die religiöse Überhöhung des Sujets und markieren einen in Preußen verbreiteten Kulturprotestantismus. Instrumentation, Satztechnik und Texte, die die Reichsgründer verherrlichen, verbinden sich mit einem zeittypischen Monumentalismus.

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Cadwallader, Allen. "Foreground Motivic Ambiguity: Its Clarification at Middleground Levels in Selected Late Piano Pieces of Johannes Brahms". Music Analysis 7, n.º 1 (marzo de 1988): 59. http://dx.doi.org/10.2307/939247.

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Platt, Heather. "Barbara Owen, The Organ Music of Johannes Brahms (Oxford: Oxford University Press, 2007). xii + 184pp. £21.99". Nineteenth-Century Music Review 6, n.º 1 (junio de 2009): 94–97. http://dx.doi.org/10.1017/s1479409800002925.

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41

Bozarth, George S. y Wiltrud Martin. "Johannes Brahms und die Liedersammlungen von David Gregor Corner, Karl Severin Meister und Friedrich Wilhelm Arnold". Die Musikforschung 36, n.º 4 (22 de septiembre de 2021): 177–99. http://dx.doi.org/10.52412/mf.1983.h4.1570.

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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms". Aspects of Historical Musicology 16, n.º 16 (15 de septiembre de 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.

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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.

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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, n.º 2 (22 de enero de 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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Neill, Sarah Elaine. "Brahms Johannes. Albumblatt für Klavier. Edited by Christopher Hogwood. Bärenreiter 9606. (Kassel, Basel, London, New York, Prague: Bärenreiter, 2012), v + 4pp., € 4,95. - Brahms Johannes. Walzer Op. 39. Edited by Christian Köhn. Bärenreiter 9602. (Series Bärenreiter Urtext, 2011), vii + 20pp., € 7,00. - Brahms Johannes. Walzer Op. 39, Leichte Ausgabe. Edited by Christian Köhn. Bärenreiter 9603. (Series Bärenreiter Urtext, 2011), ix + 18pp., € 7,00. - Brahms Johannes. Zwei Lieder für Männerstimmen a cappella. Edited by Helmut Lauterwasser. Chor-Bibliothek 5321. (Weisbaden, Leipzig, Paris: Breitkopf & Härtel, 2010), 8pp., € 2,30." Nineteenth-Century Music Review 10, n.º 1 (junio de 2013): 198–201. http://dx.doi.org/10.1017/s147940981300013x.

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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, n.º 17 (15 de septiembre de 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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Sodonis, Chloë. "Johannes Brahms’s Horn Trio and Its Unique Place in the Chamber Music Repertoire". Musical Offerings 12, n.º 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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Ribeiro, Estela y Carlos Eduardo Thomaz. "A Whole Brain EEG Analysis of Musicianship". Music Perception 37, n.º 1 (1 de septiembre de 2019): 42–56. http://dx.doi.org/10.1525/mp.2019.37.1.42.

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The neural activation patterns provoked in response to music listening can reveal whether a subject did or did not receive music training. In the current exploratory study, we have approached this two-group (musicians and nonmusicians) classification problem through a computational framework composed of the following steps: Acoustic features extraction; Acoustic features selection; Trigger selection; EEG signal processing; and Multivariate statistical analysis. We are particularly interested in analyzing the brain data on a global level, considering its activity registered in electroencephalogram (EEG) signals on a given time instant. Our experiment's results—with 26 volunteers (13 musicians and 13 nonmusicians) who listened the classical music Hungarian Dance No. 5 from Johannes Brahms—have shown that is possible to linearly differentiate musicians and nonmusicians with classification accuracies that range from 69.2% (test set) to 93.8% (training set), despite the limited sample sizes available. Additionally, given the whole brain vector navigation method described and implemented here, our results suggest that it is possible to highlight the most expressive and discriminant changes in the participants brain activity patterns depending on the acoustic feature extracted from the audio.

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Storch, Christian. "Musik und Theater in der Badekultur um 1800". Die Musikforschung 67, n.º 2 (22 de septiembre de 2021): 154–74. http://dx.doi.org/10.52412/mf.2014.h2.73.

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Zwar haben Besuche von "großen" Künstlern wie Ludwig van Beethoven in Teplice, Franz Schubert in Bad Gastein oder Johannes Brahms und Anton Bruckner in Bad Ischl bereits die Aufmerksamkeit punktuell auf Badeorte gelenkt. Die vermeintliche geografisch wie kulturell periphere Lage gerade kleinerer Badeorte und deren kaum dokumentierte und aufgearbeitete Musik- und Theatergeschichte haben jedoch dazu beigetragen, eine Beachtung, Rekonstruktion, Analyse und Einordnung in die allgemeine Musikgeschichte zu unterlassen. Am Beispiel des Comödienhauses (heute Kurtheater) im Kurort Bad Liebenstein im ehemaligen Herzogtum Sachsen-Meiningen wird dieser Forschungslücke begegnet, es werden außerdem weitere Anreize geliefert, sich Badeorten als musikhistorischem Sujet intensiver zu widmen. Dabei stehen folgende Fragestellungen im Vordergrund: 1. Für welche musikalischen und theatralischen Aktivitäten wurde das Gebäude genutzt und welchen kulturellen Stellenwert nahm es innerhalb des Kurbetriebes ein, vor allem in Bezug auf die Publikumsstruktur? 2. Wie gestaltete sich das Repertoire in der ersten Saison und welche Vergleichsmomente zu den kulturellen Zentren der Zeit lassen sich hieraus ablesen? 3. Kann man aus dem Repertoire ein bäderspezifisches Theater- und Musikleben deduzieren? 4. Welche Rolle spielte, stellvertretend für zahlreiche Kurtheater deutschlandweit, das Comödienhaus in Liebenstein für die Rezeptionsgeschichte von Oper und Schauspiel im ländlichen Raum um 1800?

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Ng, Samuel Y. "Johannes Brahms, The Piano Trios Christian Tetzlaff vln, Tanja Tetzlaff vc, Lars Vogt pf Ondine 1271-2D, 2015 (2 CDs: 83 minutes), $19". Nineteenth-Century Music Review 16, n.º 01 (5 de diciembre de 2017): 128–32. http://dx.doi.org/10.1017/s1479409817000623.

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Hwang, Soondo. "Integrated Music Listening: Conceptions of opposites and relativity in Hauptmanns Music Theory and Brahms s Compositions". Korean Society of Culture and Convergence 41, n.º 2 (30 de abril de 2019): 175–214. http://dx.doi.org/10.33645/cnc.2019.04.41.2.175.

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