By Ryan McClelland, Daniel Dorff
Regardless of the great range in Brahms' scherzo-type routine, there was no complete attention of this element of his oeuvre. Professor Ryan McClelland presents an in-depth examine of those events that still contributes considerably to an realizing of Brahms' compositional language and his inventive discussion with musical traditions. McClelland particularly highlights the function of rhythmic-metric layout in Brahms' tune and its dating to expressive which means. In Brahms' scherzo-type activities, McClelland lines alterations of basic thematic fabric, demonstrating how the connection of the preliminary song to its next models creates a musical narrative that gives structural coherence and generates expressive which means. McClelland's interpretations of the expressive implications of Brahms' fascinatingly complex musical constructions often have interaction matters at once suitable to functionality. This illuminating publication will entice song theorists, musicologists engaged on nineteenth-century instrumental song and performers.
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Extra resources for Brahms and the Scherzo: Studies in Musical Narrative
Where the scherzo’s incipit returns (with the 6/8 measure reinterpreted as two measures of 3/4). The metric dissonance that was implicit at the start of the scherzo and became explicit near its conclusion has forged a connection with the expressively contrasting trio. end of the first reprise without cadential confirmation. ) with a structural return to the background tonic harmony occurs rather often in Brahms’s music. I will treat this topic in detail in Chapter 4 in the discussion of the scherzo from the Horn Trio, where the structural interpretation is perhaps less certain than in the present case.
Brahms gives similar preference to diatonic key relationships between scherzotype movements and their trios. Nearly all of the scherzo-type movements have independent middle sections; only those from the Piano Quartet, Op. 60, the Fourth Symphony, and the Violin Sonata, Op. 108, lack a formally distinct middle section. Among the twelve major-mode scherzo-type movements with distinct middle sections, the key choices for the trio are: three in the tonic key, one in the parallel minor, one in iii, two in IV, two in iv, two in vi, and one in III.
This anomalous emphasis on F has consequences in the thematic rounding: at the eighth measure (m. 59), the melody’s F is harmonized not by a dominant chord (B major) but by another F-major chord. 5 Brahms, Piano Sonata, Op. 1, III, bass-line sketch of scherzo 36 Brahms and the Scherzo throughout). In addition, the onset of the F-major harmony occurs in the eighth measure of the thematic rounding—thus in a hypermetrically weak measure. With the sudden change in dynamics, the unexpected harmony produces the effect of a hypermetric expansion (even hiatus) until the resumption of harmonic motion at m.