著者紹介

内容

目次

Keynote address: Karl Geiringer: Brahms the ambivalent; Brahms andMusical Tradition: Christoph Wolff: Brahms, Wagner, and the problem ofhistoricism in nineteenth-century music; David Lewin: Brahms, his past, andmodes of music theory; Virginia Hancock: Brahms and early music: Evidencefrom his library and his choral compositions; James Webster: The general andthe particular in Brahms's later sonata forms: Uniform proportions and uniqueretransitions; Elaine R. Sisman: Brahms's slow movements: Reinventing the'closed' forms; Charles Rosen: Brahms the subversive; Brahms the Progressive:Michael Musgrave: Schoenberg's Brahms; Walter Frisch: The shifting bar line:Metrical displacement in Brahms; Edward T. Cone: Harmonic congruence inBrahms; Performance Practice: David Epstein: Brahms and the mechanisms ofmotion: The composition of performance; Brahms as Editor: David Brodbeck:Brahms's edition of twenty Schubert Landler: An essay in criticism; LindaCorrell Roesner; Robert Pascall: The publication of Brahms's Third Symphony:A crisis in dissemination; Margit L. McCorkle: The role of trial performancesfor Brahms's orchestral and large choral works: Sources and circumstances;Brahms as Song Composer: Ludwig Finscher: Brahms's early songs: Poetry versusmusic; George S. Bozarth: Brahms's Leider ohne Worte: The 'Poetic' Andantesof the piano sonatas; Imogen Fellinger: Cyclic tendencies in Brahms's songcollections; Brahms's Symphonic Music: Claudio Spies: 'Form' and the tragicoverture: An adjuration; John Rahm: D-Light reflecting: The nature ofcomparison; Robert Bailey: Musical language and structure in the ThirdSymphony; Siegfried Kross: Thematic structure and formal processes inBrahms's sonata movements