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Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

The reception of Brahms’s music beyond his home city of Hamburg began in 1853, when the young composer made his first extended journey and presented his compositions to some of the leading figures of German contemporary music: Robert Schumann, Robert Franz and Franz Liszt. Each reacted to these unpublished works in distinctive ways.

Robert Schumann, with whom Brahms spent the whole month of October in Düsseldorf,was instantly enthralled.

Keywords

BrahmscontextreceptionGermanySchumannLeipzigBerlinLisztFranzBrahmscontextreceptionEnglandSchumannJoachimStanfordMannsHalléDaviesBrahmscontextanalysisSchoenbergconservativeprogressiveSchubringRiemannSchenkertheoryBrahmscontextNational SocialismGermanyWorld WarHitlerconcertreceptionBrahmscontexteditingscorephilologycompositionperformancesketchengravingBrahmscontextreceptionrecordingcanoncriticismperformancestyleBrahmscontexthistorical performancestyleinstrumentsrecordingBrahmscontextcompositionmodelquotationKagelLigetiGlanertRihmBrahmscontextmythbiographyHamburgprogressiveconservativewomenfilmfiction
Type
Chapter
Information
Brahms in Context , pp. 305 - 392
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

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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
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Further Reading

The complete bibliographic information for all pre-2008 publications referenced in this article is in Platt, H., Johannes Brahms. A Research and Information Guide, 2nd ed. (New York: Routledge, 2011)

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Further Reading

Arndt, P. et al (eds.), Das ‘Reichs-Brahmsfest’ 1933 in Hamburg: Rekonstruktion und Dokumentation (Hamburg: Von Bockel, 1997)Google Scholar
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Notley, M., ‘Brahms as Liberal: Genre, Style, and Politics in Late Nineteenth-Century Vienna’, 19th-Century Music 17/2 (Autumn 1993), 107–23Google Scholar
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Romberg, U., ‘Zur Geschichte der Brahms-Rezeption im deutschsprachigen Raum’, Beiträge zur Musikwissenschaft 29/1 (1987), 49–58Google Scholar
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Further Reading

Behr, J. and Kirsch, K., ‘Ein bislang unbekannter Korrekturabzug zum 2. Klavierkonzert op. 83 von Johannes Brahms’, in Goltz, M., Sandberger, W. and Wiesenfeld, C. (eds.), Spätphase(n)? Johannes Brahms’ Werke der 1880er und 1890er Jahre (Munich: Henle, 2010), 157–69Google Scholar
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Krummacher, F., Struck, M. et al. (eds.), Johannes Brahms. Quellen – Text – Rezeption – Interpretation (Munich: Henle, 1999)Google Scholar
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Further Reading

Bazzana, K., Glenn Gould: The Performer in the Work (Oxford: Oxford University Press, 1997)Google Scholar
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Further Reading

Brown, C., Classical and Romanic Performing Practice 1750–1900 (Oxford: Oxford University Press, 1999)Google Scholar
Brown, C., Peres da Costa, N., Wadsworth, K., Performance Practices in Johannes Brahms’ Chamber Music (Kassel: Bärenreiter, 2015)Google Scholar
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Musgrave, M. and Sherman, B. (eds.), Performing Brahms: Early Evidence of Performing Style (Cambridge: Cambridge University Press, 2003)Google Scholar
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Further Reading

Burkholder, J. P., ‘Brahms and Twentieth-Century Classical Music’, 19th-Century Music 8/1 (Summer 1984), 75–83Google Scholar
Gallon, E., ‘Narrativities in the music of Thomas Adès: The Piano Quintet and Brahms’, in Klein, M. and Reyland, N. (eds.), Music and Narrative since 1900 (Bloomington: Indiana University Press, 2013), 216–33Google Scholar
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Sandberger, W., ‘Bilder, Denkmäler, Konstruktionen – Johannes Brahms als Figur des kollektiven Gedächtnisses’, in Brahms Handbuch, 2–22Google Scholar
Schoenberg, A., ‘Brahms the Progressive’, reprinted in Stein, L. (ed.) Style and Idea: Selected Writings of Arnold Schoenberg, trans. L. Black, (1975; rpt. Berkeley: University of California Press, 1984), 398–441Google Scholar

Further Reading

Avins, S., ‘The Young Brahms: Biographical Data Reexamined’, 19th-Century Music 24/3 (Spring 2001), 276–89Google Scholar
Desai, B., ‘The Boy Brahms’, 19th-Century Music 27/2 (Fall 2003), 132–6Google Scholar
Hofmann, K., ‘Sehnsucht habe ich immer nach Hamburg …’: Johannes Brahms und seine Vaterstadt: Legende und Wirklichkeit (Reinbek: Dialog-Verlag, 2003)Google Scholar
Musgrave, M. ‘Frei aber Froh: A Reconsideration’, 19th-Century Music 3/3 (March 1980), 251–8Google Scholar
Swafford, J., ‘Did the Young Brahms Play Piano in Waterfront Bars?’, 19th-Century Music 24/3 (Spring 2001), 268–75Google Scholar

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