By Heather Platt, Peter H. Smith
Contributors to this intriguing new quantity research the intersection of constitution and that means in Brahms's track, using a variety of ways, from the theories of Schenker to the newest analytical options. They mix a number of viewpoints with the semiotic-based methods of Robert Hatten, and deal with a number of the most vital genres during which Brahms composed. The essays demonstrate the expressive strength of a piece in the course of the comparability of particular passages in a single piece to comparable works and during different inventive nation-states reminiscent of literature and portray. the results of this intertextual re-framing is a brand new knowledge of the meaningfulness of even Brahms’s so much "absolute" works.
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Extra info for Expressive Intersections in Brahms: Essays in Analysis and Meaning
These competing forces at once give the z motive a rhetorical heft and a sense of valedictory turning back. 46 Klein’s comments seem especially apt for Brahms’s subdominant in mm. 34 and 38, as the music here seems to double back on itself, giving this, the emotional apex of the movement, a strongly retrospective charge. In the retransition (mm. 43–46) Brahms asks the pianist to cross hands repeatedly in executing overlapping four-note descending third-chains. This is merely one vivid instance of a common procedure in the intermezzi, in which the composer asks the performer to execute a motion that in some sense physically manifests the technical idea at work in the music—in this passage, the technique of register transfer through reaching over (loosely in Schenker’s sense).
It is hard to know just how to read Brahms’s final statement, with its characteristic mix of apparent sincerity and distancing humor, but the sense of almost illicit private enjoyment that he describes is highly suggestive of traditional narratives about nineteenth-century Charakterstücke, those quintessential vehicles of Romantic interiority, of which Brahms’s opp. 76 and 116–19 are the most notable late-century examples. 16 Remarkably, Eduard Hanslick employs similar imagery in his 1896 review of opp.
Molto b œ bœ bœ œ & b b œ bœ bœ œ j bœœ ? 4. Intermezzo in E♭ Major, op. 117, no. 1, A section (mm. 1–20). 36 Brahms referred to all three pieces of op. 4 shows the work’s A section (mm. 1–20). A host of musical details signify maternal song: gently rocking 68 meter, simple diatonic melody, slow harmonic rhythm, and enveloping E♭ octaves tolling in multiple registers. The lulling E♭s create a sonic field that enfolds the melody in tonic security. This sonic image resonates with contemporary German ideas about the lullaby and the mother’s voice.