Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-13T02:34:16.417Z Has data issue: false hasContentIssue false

Chapter 32 - England

from Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

By
Katy Hamilton
Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
Get access

Summary

When Brahms’s Violin Concerto Op. 77 received its British premiere at the Crystal Palace on 22 February 1879, George Grove began his programme note to the piece: ‘Mr Brahms is no stranger to the Crystal Palace audience; in fact he is very well known here, for his name appears more frequently in the Saturday Programmes than that of almost any other contemporary composer.’

It is certainly true that Brahms’s popularity with British audiences increased significantly from the 1870s onwards as initial suspicion of his complex writing was replaced by growing admiration, particularly for his chamber and orchestral works. However, Brahms himself never visited the country – in fact, he turned down at least six separate invitations to do so, from potential festival commissions to performance opportunities, and two attempts to coax him to Cambridge University to receive an honorary doctorate.

Keywords

BrahmscontextreceptionEnglandSchumannJoachimStanfordMannsHalléDavies
Type
Chapter
Information
Brahms in Context , pp. 316 - 323
Publisher: Cambridge University Press
Print publication year: 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Further Reading

de Val, D., ‘Fanny Davies: “A Messenger for Schumann and Brahms”?’, in Ellsworth, T. & Wollenberg, S. (eds.), The Piano in Nineteenth-Century British Culture. Instruments, Performers and Repertoire (Aldershot: Ashgate, 2007), 217–37Google Scholar
Fifield, C., Hans Richter (Woodbridge: Boydell & Brewer, 2016)Google Scholar
Musgrave, M. (ed.), George Grove, Music and Victorian Culture (New York: Palgrave Macmillan, 2003)Google Scholar
Musgrave, M., ‘Brahms and England’, in Musgrave, M. (ed.), Brahms 2. Biographical, Documentary and Analytical Studies (Cambridge: Cambridge University Press, 1987), 1–20Google Scholar
Pascall, R., ‘Frühe Brahms-Rezeption in England’, in Fuchs, I. (ed.), Internationaler Brahms-Kongress Gmunden 1997 (Tuzting: Hans Schneider, 2001), 293–327Google Scholar
Rodmell, P., Charles Villiers Stanford (Aldershot: Ashgate, 2002)Google Scholar
Woodhouse, E. L. A., ‘The Music of Johannes Brahms in Late Nineteenth and Early Twentieth Century England and an Assessment of His Reception and Influence on the Chamber and Orchestral Works of Charles Hubert Hastings Parry and Charles Villiers Stanford’, PhD dissertation, Durham University (2013)Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • England
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.032
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • England
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.032
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • England
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.032
Available formats
×