By Ryan McClelland, Daniel Dorff
Regardless of the awesome range in Brahms' scherzo-type hobbies, there was no entire attention of this point of his oeuvre. Professor Ryan McClelland offers an in-depth learn of those pursuits that still contributes considerably to an knowing of Brahms' compositional language and his artistic discussion with musical traditions. McClelland in particular highlights the position of rhythmic-metric layout in Brahms' song and its courting to expressive that means. In Brahms' scherzo-type activities, McClelland strains ameliorations of fundamental thematic fabric, demonstrating how the connection of the preliminary song to its next models creates a musical narrative that offers structural coherence and generates expressive that means. McClelland's interpretations of the expressive implications of Brahms' fascinatingly problematic musical buildings often interact concerns without delay correct to functionality. This illuminating e-book will attract song theorists, musicologists engaged on nineteenth-century instrumental track and performers.
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Regardless of the marvelous range in Brahms' scherzo-type hobbies, there was no finished attention of this point of his oeuvre. Professor Ryan McClelland offers an in-depth learn of those pursuits that still contributes considerably to an realizing of Brahms' compositional language and his inventive discussion with musical traditions.
Extra resources for Brahms and the Scherzo: Studies in Musical Narrative
24. The second reprise begins with a sequence by ascending minor third: C (m. 17), E (m. 21), F (m. 25). Each of these arrivals is approached through a local deceptive progression (B–C, D–E, F–F), which means that there is an enharmonic shift in mm. 24–5; when F rises by semitone, the apparent G comes to function as an F that eventually falls by fifth to achieve the return of the home dominant (m. 44); F controls the harmonic landscape for some nineteen measures and is treated as a dominant.
Since there are four available repetition options for each reprise (exact, instrumentally varied, tonally varied, and none), there are a total of sixteen possible combinations. Only nine of these sixteen combinations actually appear among Brahms’s scherzo-type movements (and types 8 and 9 are best considered as exceptional situations). If the first reprise is exactly repeated, there are two outcomes: the second reprise is also exactly repeated (type 1) or it is not repeated (type 2). When the first reprise is not repeated, the second reprise is never repeated (type 5).
Two of Brahms’s other C-minor scherzos—those from the Piano Quintet, Op. 34, and the Piano Quartet, Op. 60— are similar in expressive shape to the F–A–E scherzo, and these three scherzos will be treated in the second part of this chapter. Although the movements from Opp. 34 and 60 end in blazing C major, I will show how Brahms makes this outcome more dramatically convincing than in the F–A–E scherzo. ), The Brahms Notebooks: The Little Treasure Chest of the Young Kriesler, trans. Agnes Eisenberger (Hillsdale, NY, 2003 ).
Brahms and the Scherzo: Studies in Musical Narrative by Ryan McClelland, Daniel Dorff
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