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oliver sudden
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« Reply #135 on: 12:50:14, 08-08-2007 » |
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Well, that was an easy one.
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Jonathan
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« Reply #136 on: 13:06:59, 08-08-2007 » |
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I've always liked Brahms - the first works of his I ever heard were actually the 4 symphonies. I'm especially fond of no.3 even after hundreds of listenings, the return of the main theme from the 1st movement at the end of the finale always catches me by surprise. It's strange bearing in mind my (probably) slightly fanatical interest in Liszt's music that I found i liked Brahms as well. I think he did himself a major disservice by signing the petition against the "music of the future". I personally think no one group won the "War of the Romantics" anyway as the next generation of composers cited composers on either side as their major influences (I think Berg cited Brahms as being very progressive - this may be wrong so feel free to correct me if it is!)
Back to work now.
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Best regards,
Jonathan
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"as the housefly of destiny collides with the windscreen of fate..."
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ahinton
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« Reply #137 on: 13:50:32, 08-08-2007 » |
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(I think Berg cited Brahms as being very progressive - this may be wrong so feel free to correct me if it is!)
It was actually his teacher Schönberg who coined the phrase Brahms the Progressive for use as a chapter title in his book Style and Idea. Best, Alistair |
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time_is_now
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« Reply #138 on: 14:00:16, 08-08-2007 » |
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(I think Berg cited Brahms as being very progressive - this may be wrong so feel free to correct me if it is!)
It was actually his teacher Schönberg who coined the phrase Brahms the Progressive for use as a chapter title in his book Style and Idea. Did Schönberg (or even his later, American incarnation, Schoenberg) ever publish a book called Style and Idea? |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Chafing Dish
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« Reply #139 on: 14:16:09, 08-08-2007 » |
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No. 1 is hard to fault, but it somehow seems just a bit 'too hard-worked over' at times. The fluency of No. 2 is in great contrast.
A lot of Brahms' early efforts in large-scale seem less than seamless, considering especially the piano sonatas but also opp. 25 and 26. Fluency doesn't become a consistent feature, for me, until Ein Deutsches Requiem, and I daresay it's almost all smooth sailing from there. This is not a value judgement by any means regarding the aforementioned works, especially considering that he already is going so far "beyond" his models. The exception to the rule is op.18, and the reverse exception is the First Symphony, though it's such a bold piece that I think I'm being a bit unfair. |
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ahinton
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« Reply #140 on: 14:32:08, 08-08-2007 » |
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(I think Berg cited Brahms as being very progressive - this may be wrong so feel free to correct me if it is!)
It was actually his teacher Schönberg who coined the phrase Brahms the Progressive for use as a chapter title in his book Style and Idea. Did Schönberg (or even his later, American incarnation, Schoenberg) ever publish a book called Style and Idea? Strictly speaking, this book is a selected collection of Schönberg's published and unpublished writings, some originally written in German and others in English (the former of which were translated into English by Dika Newlin) and was issued in English in 1950, the year before the composer's death, by Philosophical Library, Inc., NY, NY. Best, Alistair |
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« Last Edit: 18:10:26, 08-08-2007 by ahinton »
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oliver sudden
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« Reply #141 on: 16:29:57, 08-08-2007 » |
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A lot of Brahms' early efforts in large-scale seem less than seamless,...
...[op.] 25
Cripes, never come close to having that impression! Funny old world... |
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Jonathan
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« Reply #142 on: 17:55:17, 08-08-2007 » |
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Thanks for clarifying that for me Alistair!
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Best regards,
Jonathan
*********************************************
"as the housefly of destiny collides with the windscreen of fate..."
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Chafing Dish
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« Reply #143 on: 19:02:15, 08-08-2007 » |
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A lot of Brahms' early efforts in large-scale seem less than seamless,...
...[op.] 25
Cripes, never come close to having that impression! Funny old world... Certainly the rondo more than the first movement. |
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trained-pianist
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« Reply #144 on: 21:12:33, 08-08-2007 » |
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I am playing Brahms Scherzo for violin and piano. This is very popular piece and I know it well, but it is not easy to play.
I love the piece. I love Brahms piano quintet. It is very difficult piece to play. I don't think I like his piano quartet and am not sure that I like his piano trios.
Some of his Intermezzo are very nice.
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Chafing Dish
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« Reply #145 on: 01:29:07, 09-08-2007 » |
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I don't think I like his piano quartet and am not sure that I like his piano trios.
Which piano quartet? There's a g-minor op. 25, an A major, op. 26, and a c minor, op. 60. |
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tonybob
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« Reply #146 on: 07:56:58, 09-08-2007 » |
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brahms chamber music is the only music i can't share - ie i have to listen to it alone.
why?
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sososo s & i.
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trained-pianist
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« Reply #147 on: 09:10:18, 09-08-2007 » |
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Chanfling Dish,
I tried to listen to both of the quartets. May be one has to listen more to like them. Also with trios I tried to listen, but can not get into them.
I find some Brahms is difficutl to comprehend. There are pieces that I liked right from the start and the others I could not get to like. I wish I had people here to try to play his piano trios. May be if I play it then I would like them.
At this moment I think that Brahms piano trios are not memorable. I am sure you will not agree.
I like his piano quintet a lot, though some people tell me that there are many problems with the piece. Brahms changed his mind about it a lot. If I remember correctly the piece started life like a symphony. Then Brahms wanted to make it into two piano piece.
I find music there that moves me.
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Ian Pace
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« Reply #148 on: 10:46:21, 09-08-2007 » |
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If anyone wants to hear truly wild performances of the the C-minor Piano Quartet and the Piano Quintet, try the following:  |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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trained-pianist
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« Reply #149 on: 10:57:04, 09-08-2007 » |
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Thank you Ian. I can not read who is playing because it is so small.
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