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Joseph Joachim (1831-1907) was arguably the greatest violinist of the nineteenth century. But Joachim was also a composer of virtuoso pieces, violin concertos, orchestral overtures and chamber music works. Uhde's book will be thestandard work on the music of Joseph Joachim for many years to come.
This text offers an exposition of the essential features of the system of technical instruction pursued by Joseph Joachim (1831-1907). Discusses tone formation and production, attitude, and position of the body, arms, hands, and more.
Johannes Brahms was until now widely regarded as the archetype of the «absolute musician». Based on new research, the study shows how close autobiographic and poetic elements are in fact linked to his oeuvre. Like Robert Schumann, Brahms subscribed to an aesthetic of «poetic» music. In many of his compositions he got his inspiration from personal experiences, poems or images, as is shown by hitherto unpublished documents, letters, and diary entries, as well as from close analyses of individual works. Brahms's personality, too, is seen in a new way. He adopted Joseph Joachim's motto «Frei, aber einsam», «Free but Alone». The tonal code F - A - E, the musical symbol of this, recurs frequently in his works. Not least, the English version of the book, originally published in German in 1997, includes four additional chapters that investigate novel aspects by dealing in detail with the First Symphony, the German Requiem, Nänie and the Four Serious Songs. The American Brahms Society stressed the importance of the study for all those who want to come to know the unknown Brahms.
In a wide-ranging study of sentimentalism’s significance for styles, practices and meanings of music in the nineteenth and twentieth centuries, a series of interpretations scrutinizes musical expressions of sympathetic responses to suffering and the longing to belong. The book challenges hierarchies of artistic value and the associated denigration of sentimental feeling in gendered discourses. Fresh insights are thereby developed into sentimentalism’s place in musical constructions of emotion, taste, genre, gender, desire, and authenticity. The contexts encompass diverse musical communities, performing spaces, and listening practices, including the nineteenth-century salon and concert hall, the cinema, the intimate stage persona of the singer-songwriter, and the homely ambiguities of ‘easy’ listening. Interdisciplinary insights inform discussions of musical form, affect, appropriation, nationalisms, psychologies, eco-sentimentalism, humanitarianism, consumerism, and subject positions, with a particular emphasis on masculine sentimentalities. Music is drawn from violin repertory associated with Joseph Joachim, the piano music of Chopin, Schumann, and Liszt, sentimental waltzes from Schubert to Ravel, concert music by Bartók, Szymanowski and Górecki, the Merchant-Ivory adaptation of The Remains of the Day, Antônio Carlos Jobim’s bossa nova, and songs by Duke Ellington, Burt Bacharach, Carole King, Barry Manilow and Jimmy Webb. The book will attract readers interested in both the role of music in the history of emotion and the persistence and diversity of sentimental arts after their flowering in the eighteenth-century age of sensibility.
The strangest detective story in the history of music – inspired by a true incident. A world spiralling towards war. A composer descending into madness. And a devoted woman struggling to keep her faith in art and love against all the odds. 1933. Dabbling in the fashionable “Glass Game” – a Ouija board – the famous Hungarian violinist Jelly d’Arányi, one-time muse to composers such as Bartók, Ravel and Elgar, encounters a startling dilemma. A message arrives ostensibly from the spirit of the composer Robert Schumann, begging her to find and perform his long-suppressed violin concerto. She tries to ignore it, wanting to concentrate instead on charity concerts. But against the background of the 1930s depression in London and the rise of the Nazis in Germany, a struggle ensues as the “spirit messengers” do not want her to forget. The concerto turns out to be real, embargoed by Schumann’s family for fear that it betrayed his mental disintegration: it was his last full-scale work, written just before he suffered a nervous breakdown after which he spent the rest of his life in a mental hospital. It shares a theme with his Geistervariationen (Ghost Variations) for piano, a melody he believed had been dictated to him by the spirits of composers beyond the grave. As rumours of its existence spread from London to Berlin, where the manuscript is held, Jelly embarks on an increasingly complex quest to find the concerto. When the Third Reich’s administration decides to unearth the work for reasons of its own, a race to perform it begins. Though aided and abetted by a team of larger-than-life personalities – including her sister Adila Fachiri, the pianist Myra Hess, and a young music publisher who falls in love with her – Jelly finds herself confronting forces that threaten her own state of mind. Saving the concerto comes to mean saving herself. In the ensuing psychodrama, the heroine, the concerto and the pre-war world stand on the brink, reaching together for one more chance of glory.
Elegant works of great lyric expressiveness that rank among the glories of Baroque music. This volume, reprinted from the standard edition, contains all 48 of the trio sonatas (including the famous chaconne) of Opp. 1, 2, 3 and 4, along with all twelve solo sonatas, Op. 5.
This book is the first comprehensive collection of the letters of Johannes Brahms ever to appear in English. Over 550 are included, virtually all uncut, and there are over a dozen published here for the first time in any language. Although he corresponded throughout his life with some of the great performers, composers, musicologists, writers, scientists, and artists of the day, and although thousands of his letters have survived, English readers have until now had scant opportunity to meet Brahms in person, through his words, and in his own voice. The letters in this volume range from 1848 to just before his death. They include most of Brahm's letters to Robert Schumann, over a hundred letters to Clara Schumann, and the complete Brahms-Wagner correspondence. They are joined by a running commentary to form an absorbing narrative, documented with scholarly care, provided with comprehensive notes, but written for the general music lover--the result is a lively biography. The work is generously illustrated, and contains several detailed appendices and an index.
Brahms in Context offers a fresh perspective on the much-admired nineteenth-century German composer. Including thirty-nine chapters on historical, social and cultural contexts, the book brings together internationally renowned experts in music, law, science, art history and other areas, including many figures whose work is appearing in English for the first time. The essays are accessibly written, with short reading lists aimed at music students and educators. The book opens with personal topics including Brahms's Hamburg childhood, his move to Vienna, and his rich social life. It considers professional matters from finance to publishing and copyright; the musicians who shaped and transmitted his works; and the larger musical styles which influenced him. Casting the net wider, other essays embrace politics, religion, literature, philosophy, art, and science. The book closes with chapters on reception, including recordings, historical performance, his compositional legacy, and a reflection on the power of composer myths.