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Brahms, Johannes --- Brahms, Johannes, --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W.
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Brahms, Johannes --- -Congresses --- Brahms, Johannes, --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Congresses. --- Criticism and interpretation --- Congresses
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Composers --- Biography. --- Biography --- Brahms, Johannes, --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Brahms, Johannes --- Muziekgeschiedenis --- Biografieën --- 19e eeuw
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Brahms, Johannes, --- Brahms, Johannes --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Criticism and interpretation.
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Johannes Brahms was a consummate professional musician, a successful pianist, conductor, music director, editor and composer. Yet he also faithfully championed the world of private music-making, creating many works and arrangements for enjoyment in the home by amateurs. This collection explores Brahms' public and private musical identities from various angles: the original works he wrote with amateurs in mind; his approach to creating piano arrangements of not only his own, but also other composers' works; his relationships with his arrangers; the deeper symbolism and lasting legacy of private music-making in his day; and a hitherto unpublished memoir which evokes his Viennese social world. Using Brahms as their focus point, the contributors trace the overlapping worlds of public and private music-making in the nineteenth century, discussing the boundaries between the composer's professional identity and his lifelong engagement with amateur music-making.
Music --- History and criticism. --- Brahms, Johannes, --- Brahms, Johannes --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Criticism and interpretation.
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This Companion gives a comprehensive view of the German composer Johannes Brahms (1833–97). Twelve specially-commissioned chapters by leading scholars and musicians provide systematic coverage of the composer's life and works. Their essays represent recent research and reflect changing attitudes towards a composer whose public image has long been out-of-date. The first part of the book contains three chapters on Brahms's early life in Hamburg and on the middle and later years in Vienna. The central section considers the musical works in all genres, while the last part of the book offers personal accounts and responses from a conductor (Roger Norrington), a composer (Hugh Wood), and an editor of Brahms's original manuscripts (Robert Pascall). The volume as a whole is an important addition to Brahms scholarship and provides indispensable information for all students and enthusiasts of Brahms's music.
Composers --- Compositeurs --- Brahms, Johannes, --- Criticism and interpretation --- Brahms, Johannes --- Criticism and interpretation. --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- 78.21.1 Brahms --- Brahms, Johannes, - 1833-1897.
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This title identifies patterns of listening, performance, and composition among close friends of Johannes Brahms and explores how those patterns informed the creation and reception of his music in the intimate genres of song, sonata, trio, and piano miniature.
Composers --- Music --- Compositeurs --- Musique --- Brahms, Johannes, --- Criticism and interpretation. --- Anspielung. --- Freundeskreis. --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Brahms, Johannes
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Since its first publication in 1990, Brahms and His World has become a key text for listeners, performers, and scholars interested in the life, work, and times of one of the nineteenth century's most celebrated composers. In this substantially revised and enlarged edition, the editors remain close to the vision behind the original book while updating its contents to reflect new perspectives on Brahms that have developed over the past two decades. To this end, the original essays by leading experts are retained and revised, and supplemented by contributions from a new generation of Brahms scholars. Together, they consider such topics as Brahms's relationship with Clara and Robert Schumann, his musical interactions with the "New German School" of Wagner and Liszt, his influence upon Arnold Schoenberg and other young composers, his approach to performing his own music, and his productive interactions with visual artists. The essays are complemented by a new selection of criticism and analyses of Brahms's works published by the composer's contemporaries, documenting the ways in which Brahms's music was understood by nineteenth- and early twentieth-century audiences in Europe and North America. A new selection of memoirs by Brahms's friends, students, and early admirers provides intimate glimpses into the composer's working methods and personality. And a catalog of the music, literature, and visual arts dedicated to Brahms documents the breadth of influence exerted by the composer upon his contemporaries.
Brahms, Johannes, 1833-1897 -- Criticism and interpretation. --- Brahms, Johannes, 1833-1897. --- Brahms, Johannes, 1833-1897. Works. --- Composers --- Brahms, Johannes, --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Appreciation. --- Criticism and interpretation. --- Brahms, Johannes --- Musical analysis. --- MUSIC / History & Criticism. --- Analysis, Musical --- Analytical guides (Music) --- Hermeneutics (Music) --- Music --- Music analysis --- Music theory --- Music appreciation --- Analysis, appreciation --- Analytical guides --- Instruction and study --- Musical analysis --- Compositeurs --- Analyse musicale --- Musique --- Social networks --- History and criticism --- Réseaux sociaux --- Histoire et critique
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Through an interpretation of Romantic sonatas as temporally multi-dimensional works in which portions of the music in any given piece can lie inside or outside of what Sonata Theory would define as the sonata-space proper, Davis reads into these ruptures a narrative of expressive features that mark these sonatas as uniquely Romantic.
Sonata --- Sonatas --- Sonatina --- Musical form --- History and criticism --- Chopin, Frédéric, --- Schumann, Robert, --- Brahms, Johannes, --- Brahms, Johannes --- Brahms, J. --- Brahms, Joh. --- Brams, I. --- Brams, Iogannes, --- Brams, Ĭokhanes, --- Burāmusu, J., --- Marks, G. W. --- Shuman, R. --- Shuman, Robert, --- Schumann, Robert Alexander, --- Hsiao-pang, --- Шопен, Ф. --- Shopen, F. --- Shūpān, --- Shūbān, Frīdirīk, --- Szopen, Fryderyk Franciszek, --- Shopan, --- Chopin, Fryderyk Franciszek, --- Syopʻang, --- Chopin, Federico, --- Шопен, Фредерик, --- Shopen, Frederik, --- Chopin, Fr., --- Shobēn, Frētērikʻ, --- Chopin, F., --- Шопен, Фридерик, --- Shopen, Friderik, --- Chopin, Frederick, --- Chopin, Federic, --- Chopin, Fréd., --- Criticism and interpretation. --- Shumann, Robert,
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