his Sarabande and Gavotte, and its recompositions /
First Statement of Responsibility
Robert Pascall.
.PUBLICATION, DISTRIBUTION, ETC
Place of Publication, Distribution, etc.
Burlington, VT :
Name of Publisher, Distributor, etc.
Ashgate,
Date of Publication, Distribution, etc.
2013.
PHYSICAL DESCRIPTION
Specific Material Designation and Extent of Item
xv, 95 pages, 4 unnumbered pages of plates :
Other Physical Details
illustrations (some color), music ;
Dimensions
25 cm.
SERIES
Series Title
Royal Musical Association monographs ;
Volume Designation
21
INTERNAL BIBLIOGRAPHIES/INDEXES NOTE
Text of Note
Includes bibliographical references (pages 81-90) and index.
CONTENTS NOTE
Text of Note
The Sarabande and Gavotte -- The second string sextet, op. 36, and its second movement -- The first string quintet, op. 88, and its second movement -- The clarinet quintet, op. 115.
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SUMMARY OR ABSTRACT
Text of Note
"In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte. These dances have not been properly recognized as constituting a distinct Brahms work before now, but manuscript evidence and their performance history indicate that Brahms and his friends thought of them as such in the mid-1850s, when they became the first music of his performed publicly in Gdansk, Vienna, Budapest and London. He later suppressed the dances, using them instead as a thematic quarry for three chamber music masterpieces, from different stages in his life and in distinctly different ways: the Second String Sextet, the First String Quintet and the Clarinet Quintet. This book gives an account of the compositional and performance history, stylistic features and re-uses of the dances, setting these in the wider context of Brahms's developing creative concerns and trajectory. It constitutes therefore a study of a 'lost' work, of how a fully-formed master opens himself to 'the in-flowing from afar' (in Martin Heidegger's terms), and of the transformative reach and concomitant expressive richness of Brahms's creative thought."--Pub. desc.
PERSONAL NAME USED AS SUBJECT
Brahms, Johannes,1833-1897-- Criticism and interpretation.