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Katy Hamilton and Natasha Loges, eds, Brahms in the Home and the Concert Hall: Between Private and Public Performance (Cambridge: Cambridge University Press, 2014). xxvii+395 pp. £67.49.

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Katy Hamilton and Natasha Loges, eds, Brahms in the Home and the Concert Hall: Between Private and Public Performance (Cambridge: Cambridge University Press, 2014). xxvii+395 pp. £67.49.

Published online by Cambridge University Press:  12 August 2016

Adriana Ponce
Adriana Ponce*
Affiliation:
Illinois Wesleyan Universityaponce@iwu.edu
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Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 13 , Issue 2 , December 2016 , pp. 323 - 327
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© Cambridge University Press 2016 

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References

1 Quoted from Hanslick, Edward, ‘Waffenruhe am Clavier’, Neue Freie Press, Morgenblatt No. 714, Vienna, 25 August 1866, 1–2 Google Scholar.

2 Bildung is an important nineteenth-century term that can be understood as education in the sense of self-cultivation and edification. The term was often associated with Hausmusik. For a discussion of the relation between Bildung and public concerts, however, see Notley, Margaret, ‘ Volksconcerte and Concept of Genre in Brahms’s Vienna’, in her Lateness and Brahms, AMS Studies in Music (New York and Oxford: Oxford University Press, 2007): 144–168 Google Scholar.

3 Kallberg, Jeffrey, ‘The Rhetoric of Genre: Chopin’s Nocturne in G Minor, 19th-Century Music 11/3 (Spring 1988): 238–261 CrossRefGoogle Scholar, here 239.

4 Hamilton does invoke Thomas Christensen’s related proposition that changes in the primary performance location and therefore the social context of the repertoire destabilizes the generic contract. See Christensen, Thomas, ‘Four Hand Piano Transcriptions and Geographies of Nineteenth-Century Musical Reception’, Journal of the American Musicological Society 52/2 (1999): 255–298 CrossRefGoogle Scholar, as quoted on p. 298.