Download Lateness and Brahms: Music and Culture in the Twilight of by Margaret Notley PDF

By Margaret Notley

Lateness and Brahms takes up the interesting, but understudied challenge of the way Brahms suits into the tradition of turn-of-the-century Vienna. Brahms's conspicuous and difficult absence in past scholarly money owed of the time and position increases very important questions, and as Margaret Notley demonstrates, the tendency to view him in neutralized, ahistorical phrases has made his track look some distance much less fascinating than it really is. In pursuit of an old Brahms, Notley makes a speciality of the later chamber tune, drawing on quite a few records and views, yet with specific emphasis at the relevance of Western Marxist serious traditions.

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The most notorious moments are the massive Steigerungen (intensifications) in the exposition and recapitulation followed by a quiet semitonal shift (mm. – and –). 50 What did they hear that moved them to such strong expressions of outrage? ” In particular, the dramatic rising sequences are rarely coordinated . Deutsche Zeitung,  January . . Die Presse,  January . . Neue Freie Presse,  February . . Dömpke moved back to Königsberg in . See the entry for him in Anton Bruckner: Ein Handbuch, ed.

48 Most likely they did not dismiss the Quintet with a brief rebuff because of the audience’s positive reaction; the sense of “danger” surely stemmed from the obvious effectiveness of a work that both critics deemed wildly illogical. Their comments indicate further that what disturbed them was Bruckner’s approach to harmony and his conception of tonality and, moreover, that his offenses had less to do with the construction of individual chords than the ordering of events. ” Both critics found the first movement particularly transgressive.

Jenner’s account demonstrates how strongly the older composer felt about the need for proper musical Bildung. Composing sets of variations was particularly appropriate for his pedagogical purposes because “no [other] form is so well suited to teach the beginner to distinguish the essential from the unessential, to educate him in artistic, strictly logical thinking” (). When Jenner first showed Brahms his compositions, the older composer pointed out its “illogical” features. He directed Jenner’s attention “from the surface of a dreamy sentiment downward into the depths, where I could but sense that in addition to feeling another factor must be active, which because of lack of ability and knowledge assisted me only very imperfectly: the intellect” ().

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