Johannes Brahms

2021 ◽  
pp. 154-166
Keyword(s):  
2020 ◽  
Author(s):  
Robert Münster
Keyword(s):  

2021 ◽  
Vol 56 (4) ◽  
pp. 382-390
Author(s):  
Robert Pascall ◽  
Michael Struck
Keyword(s):  

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)


2006 ◽  
Vol 30 (2) ◽  
pp. 182-204 ◽  
Author(s):  
Elaine Kelly

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.


1937 ◽  
Vol 78 (1129) ◽  
pp. 227
Author(s):  
H. G. ◽  
Edwin Evans Senior ◽  
Johannes Brahms
Keyword(s):  

2019 ◽  
Vol 6 (2) ◽  
pp. 169-186
Author(s):  
Rüya SÜNDER ŞENTÜRK
Keyword(s):  

Opus ◽  
2016 ◽  
Vol 22 (2) ◽  
pp. 429-449
Author(s):  
Desirée Mayr ◽  
Carlos Almada
Keyword(s):  

2021 ◽  
Author(s):  
◽  
Joanna Lee

<p>Joseph Joachim was the most influential violinist in Brahms’s life. Not only did the pair have a close personal friendship, but they also admired and respected each other on a professional level. Their high esteem and appreciation for each other led to performance and compositional collaborations. One of the most beloved and well-known works of Brahms’s violin music, the Violin Concerto, was dedicated to Joachim. Indubitably, Joachim influenced the Violin Concerto. Regardless, there are many debates on how much of an input Joachim had on the concerto. In order to examine the influences of performers and composers on selected violin works of Johannes Brahms, the three sections in this paper will investigate Joachim and Brahms, then discuss the importance of a performer-composer’s relationship in the 19th century and, finally, assess the amount of Joachim’s influence on the Brahms Violin Concerto. Each category will have an introduction and information presented in a biographical form, a historical form and musical analysis. Some of the following analysis may be hypothetical, yet, a possibility. Further part of my research will conclude with a recital programme consisting of the Beethoven Violin Concerto in D major, Op. 61, I. Allegro Ma Non Troppo, Brahms Sonata No. 3 in D minor, Op. 108, Sonatensatz/Scherzo movement of the F-A-E Sonata, and Hungarian Dances No. 1, 5 and 7. This will take place on June 18, 2011 in the Adam Concert Room at New Zealand School of Music at 10:30 A.M.</p>


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