Brahms Beyond Mastery
His Sarabande and Gavotte, and its Recompositions
Seiten
2024
Routledge (Verlag)
978-1-032-93089-3 (ISBN)
Routledge (Verlag)
978-1-032-93089-3 (ISBN)
Among the early works of Johannes Brahms are the neo-baroque Sarabande and Gavotte. These dances have not been properly recognised as constituting a distinct Brahms’ work before now, but manuscript evidence and their performance history indicate that Brahms thought of them as such in the mid-1850s. He later suppressed the dances, using them instead
In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte. These dances have not been properly recognized as constituting a distinct Brahms work before now, but manuscript evidence and their performance history indicate that Brahms and his friends thought of them as such in the mid-1850s, when they became the first music of his performed publicly in Gdansk, Vienna, Budapest and London. He later suppressed the dances, using them instead as a thematic quarry for three chamber music masterpieces, from different stages in his life and in distinctly different ways: the Second String Sextet, the First String Quintet and the Clarinet Quintet. This book gives an account of the compositional and performance history, stylistic features and re-uses of the dances, setting these in the wider context of Brahms’s developing creative concerns and trajectory. It constitutes therefore a study of a ’lost’ work, of how a fully-formed master opens himself to ’the in-flowing from afar’ (in Martin Heidegger’s terms), and of the transformative reach and concomitant expressive richness of Brahms’s creative thought.
In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte. These dances have not been properly recognized as constituting a distinct Brahms work before now, but manuscript evidence and their performance history indicate that Brahms and his friends thought of them as such in the mid-1850s, when they became the first music of his performed publicly in Gdansk, Vienna, Budapest and London. He later suppressed the dances, using them instead as a thematic quarry for three chamber music masterpieces, from different stages in his life and in distinctly different ways: the Second String Sextet, the First String Quintet and the Clarinet Quintet. This book gives an account of the compositional and performance history, stylistic features and re-uses of the dances, setting these in the wider context of Brahms’s developing creative concerns and trajectory. It constitutes therefore a study of a ’lost’ work, of how a fully-formed master opens himself to ’the in-flowing from afar’ (in Martin Heidegger’s terms), and of the transformative reach and concomitant expressive richness of Brahms’s creative thought.
Contents: Preface; The Sarabande and Gavotte; The Second String Sextet, op. 36, and its second movement; The First String Quintet, op. 88, and its second movement; The Clarinet Quintet, op. 115; Conclusion; Bibliography; Index.
| Erscheinungsdatum | 16.10.2024 |
|---|---|
| Reihe/Serie | Royal Musical Association Monographs |
| Verlagsort | London |
| Sprache | englisch |
| Maße | 150 x 244 mm |
| Gewicht | 220 g |
| Themenwelt | Kunst / Musik / Theater ► Musik ► Klassik / Oper / Musical |
| ISBN-10 | 1-032-93089-6 / 1032930896 |
| ISBN-13 | 978-1-032-93089-3 / 9781032930893 |
| Zustand | Neuware |
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