Brahms the Progressive: Another View

Musgrave, Michael

doi:10.2307/962911

Cited by 2 publications

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“…The clarinets enter, as if to announce the piano's first beat (mm. [59][60][61][62][63][64]. The sound of the altered last 55 Claude Rostand indicates that Pablo de Sarasate refused playing the Concerto because he found it offensive to just hold a violin in the hand while the oboe played the full melody at the beginning of the second movement.…”

Section: The Synthesis In the Second Concerto Orchestramentioning

confidence: 99%

“…60 John Borstlap discusses Brahms' compositional technique as a rigorous intellectual exercise that prepared Schoenberg's twelve-tone system. 61 This literature offers a wide range of approaches to the question of Brahms' influence on twentieth-century composition but -very surprisingly indeed -does not pay much attention to Brahms' impact on the orchestra in the twentieth century. Peter Burkholder suggests that Brahms can be characterized as "the composer whose approach to music has become most typical of later generations of composers."…”

Section: The Brahmsian Orchestra and The Twentieth Centurymentioning

confidence: 99%

“…Peter Burkholder suggests that Brahms can be characterized as "the composer whose approach to music has become most typical of later generations of composers." 62 It would therefore be constructive to extrapolate Burkholder's title Brahms and Twentieth-Century Classical Music to Brahms and the Twentieth-Century Orchestra in order to specifically discuss Brahms' influence on the twentieth-century symphonic thinking.…”

Section: The Brahmsian Orchestra and The Twentieth Centurymentioning

confidence: 99%

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Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto

Rakochi

2021

MusAn

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Section: The Synthesis In the Second Concerto Orchestramentioning

confidence: 99%

Section: The Brahmsian Orchestra and The Twentieth Centurymentioning

confidence: 99%

Section: The Brahmsian Orchestra and The Twentieth Centurymentioning

confidence: 99%

See 1 more Smart Citation

Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto

Rakochi

2021

MusAn

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Brahms’s Sybel: The Politics and Practice of Prussian Nationalist History

Burford¹

2018

Nineteenth-Century Music Review

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Johannes Brahms’s well-known historical consciousness took a particularly formative turn in the mid-1850s when he embarked upon a self-imposed hiatus from composing to deepen his knowledge of the music-historical past. This conscious embrace of historical study was characteristic of his time. Following the 1848 Märzrevolution, a growing contingent of German intellectuals, sceptical of the more speculative teachings of philosophy and theology, became increasingly receptive to the concrete lessons of history. Brahms’s reading habits suggest his inclination toward a politics of historical knowledge closely associated with the ‘Prussian School’. The writings of these historians, including Johann Gustav Droysen, Henrich von Sybel and Heinrich von Treitschke, exhibit a blend of idealist philosophy and dogmatic empiricism oriented above all toward the goal of legitimating German national unification under Prussia. Particularly influential was Sybel’s seven-volume Die Begründung des deutschen Reiches durch Wilhelm I (The Founding of the German Reich through Wilhelm I), completed in the 1890s. Brahms, a Hamburg-born sympathizer of Prussian Kleindeutsch nationalism, who was a permanent resident of the Austrian capital of Vienna for the last 26 years of his life, was uniquely situated in relationship to the ‘German Question’. His well-marked copy of Sybel’s magisterial text adds illuminating granularity to our understanding of his personal and political values and ruminations on history spanning four decades. Brahms’s reading of Sybel makes legible a longer trajectory stretching from his ‘years of study’ in the 1850s, conveying how the studious historicism of his youth is best understood as an aesthetic stance densely interwoven with, and at the end of his life ratified by, the cultural and political agendas of Prussian School ideology and the meanings of the past forged in the crucible of the German historical imagination.

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Brahms the Progressive: Another View

Cited by 2 publications

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Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto

Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto

Brahms’s Sybel: The Politics and Practice of Prussian Nationalist History

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