Brahms's Violin Sonatas

Author(s):  
Joel Lester

Brahms’s Violin Sonatas: Style, Structure, and Performance is a companion volume to Joel Lester’s award-winning 1999 study Bach’s Works for Solo Violin: Style, Structure, and Performance. Using a minimum of technical language and with annotated musical examples illustrating almost every point, Brahms’s Violin Sonatas explores three masterpieces of the concert repertoire in a book designed for performers and music scholars alike. A major focus is how much can be learned by carefully reading Brahms’s artistically nuanced musical notation and by understanding Brahms’s style—especially his music’s deep connections to Classical-Era harmony, phrasing, and form while at the same time using late nineteenth-century harmonies, dissonances, and thematic evolutions, along with the contrapuntal textures that imbue all his works with a uniquely “Brahmsian” sound. The book also explores how these works relate to important events in Brahms’s life. Practical and concrete suggestions on performance arise from many of these discussions, calling performers’ and analysts’ attention to both technical and interpretive matters. The aim of the book is to inspire readers to explore their own individual approaches to Brahms’s music, balancing what they find in the music to how they balance today’s performance and interpretive styles with the ways that Brahms himself and his contemporaries might have played and experienced his creations.

2017 ◽  
Vol 14 (3) ◽  
pp. 339-365
Author(s):  
Florinela Popa

In the last decades of the nineteenth century, two widely different attitudes regarding local music were evident in the Romanian musical press. One viewpoint had an obviously nationalist character, and was manifested in an apologetic idealization of Romanian music – especially folklore – but also in calls for the improvement of composition and performance in the local music scene. The other attitude revealed a pronounced inferiority complex connected to everything that contemporary Romanian music represented. This was manifested especially in the (sometimes harsh) criticism of Romanian musical life, and in a hostile position towards or ignorance of Romanian musicians, composers or interpreters, except when they attained success and recognition abroad – and sometimes not even then. The two extreme attitudes are not mutually exclusive, but complement each other; essentially, they can be seen to be in a cause–effect relationship.These two faces of nationalist propaganda are reflected by publications such as Lyra română – foaie musicală şi literară, a weekly magazine published between 2 December 1879 and 31 October 1880, and România musicală, which appeared twice a month between 1 March 1890 and 28 December 1904.


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