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"Loges, Natasha"
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Brahms and his poets : a handbook
\"Johannes Brahms's much-loved solo songs continue to be enjoyed in recordings and on recital stages all over the world. This book provides a wealth of information on the poets whose words he set, many of whom are still unfamiliar. A substantial introduction explores the multiple meanings song-poetry held for Brahms and challenges the widely held opinion that he responded only to the general mood of a poem. It is followed by alphabetically organised essays on the forty-six poets whose verses he set. Each summarises the settings, Brahms's links to the poet, interconnections between the poets, and offers further context situating the poet within a wider literary, cultural and political landscape. The poets are revealed to be part of a deeply collegial cultural community of which Brahms was an active part. Covering Brahms's 32 song opuses published during four decades of song-writing, this book offers a way of understanding what Brahms believed to be the right poetic basis for his immortal music. It is designed to be an essential reference tool for students and scholars of Johannes Brahms, as well as performers and lovers of his songs.\"--Cover page 4.
BOOK
Detours on a Winter’s Journey
This article traces the concert performance history of Schubert’s song cycle Winterreise, D. 911, during the second half of the nineteenth century. It begins by presenting a two-part theoretical framework, according to which the songs are understood as ontologically related to Friedrich Schlegel’s idea of the fragment, while the theoretical and practical treatments by musicians, critics, and scholars are viewed in relation to Walter Benjamin’s contrasting ideas of the “collector” and the “allegorist.” It then examines the practices of key figures such as the baritone Julius Stockhausen, a pioneer in lieder performance, and his circle, including Clara Schumann and Johannes Brahms. Their performance and programming strategies are then contextualized against a larger statistical survey of the Winterreise songs in public concerts within the Austro-German realm, drawing on surviving concert programs and press reports. This shows that, in performance, individual songs were treated as fragments to be reassembled in many ways, inviting fresh interpretive possibilities on the part of listeners. Further contextualization is provided by a brief survey of Winterreise in print and as discussed in critical writing, revealing that here too there existed different approaches to the work as “whole” and “fragment.” Ultimately, I argue that the coherence of such cycles is not intrinsic but constructed over time by multiple actors—performers, listeners, publishers, and critics—and that an awareness of this creates new possibilities for the understanding and performance of multipart works.
Journal Article
Brahms in context
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.
BOOK
Alenurkhan, Ananurhan: Worlding an Uyghur Folksong for the Western Classical Recital
Introduction: Ideas of Worlding In this essay, I explore how an art-song arrangement for voice and piano of an Uyghur folksong called Ananurhan enables us to reflect on worlding music, critique the postcolonial lens, and perhaps constructively rethink the now discredited idea of 'world music'.1 Acknowledging that all neologisms solve one problem while generating others, I understand the term worlding' as described by the literary and cultural studies scholars Christopher Leigh Connery and Rob Wilson: firstly, as a desire to break down established boundaries between disciplines or fields, and secondly, to position emergent and dominant cultures alongside each other, to 'make visible new spatialities'.2 'Worlding' more transparently conveys existing power imbalances than, for instance, Walsh and Mignolo's 'relationality', that is, 'to enter into conversations and build understandings that both cross geopolitical locations and colonial differences'.3 Similarly, words like 'transnational' or 'transcultural' have an appealingly non-hierarchical, even touristic quality, capturing movement without implications of loss/gain of power. Ananurhan is 'emergent' not in the sense of being 'discovered' by the colonising West, but in the cultural work it does: linking the Western-centric world of art-song with a much-overlooked part of the geographical East, as well as the largely 19th-century art-song canon with the present day. [...]the creation of the song affords a sense of connection otherwise denied Azezi. [...]Spivak's 1988 admission that 'third-worldism' is 'often openly ethnic', and her admission that her own focus on India is an 'accident of birth and education', suggests that we should strive to transcend such accidents of ethnicity, a risk I am willing to take even at the risk of failing to understand the fullness of the materials I consider.14 Towards a Shared Methodology When discussing Ananurhan, no ready-made methodologies present themselves.
Journal Article
Julius Stockhausen's Early Performances of Franz Schubert's Die schöne Müllerin
Franz Schubert's song cycle Die schöne Müllerin makes enormous demands not only on the performers but also on its audience, a factor that shaped the early performance history of the work. In this article, the pioneering complete performances of Die schöne Müllerin by the baritone Julius Stockhausen (1826–1906) will be explored, as well as the responses of his audiences, collaborators, and critics. The circumstances surrounding the first complete performance in Vienna's Musikverein on 4 May 1856, more than three decades after the cycle was composed in 1823, will be traced. A survey of subsequent performances reveal two things: within Stockhausen's concert career at least, it was no foregone conclusion that the complete cycle should always be performed; and a performance of the \"complete cycle\" meant many different things in his day. Stockhausen's artistic idealism jostled against the practical forces that necessarily influenced his approach to recital programming, leading to a multifaceted, untidy performance history for this cycle.
Journal Article
HOW TO MAKE A 'VOLKSLIED': EARLY MODELS IN THE SONGS OF JOHANNES BRAHMS
Matthew Gelbart's recent volume, The Invention of 'Folk Music' and 'Art Music': Emerging Categories from Ossian to Wagner, demonstrates that 'folk music and art music are timeless, objective truths, but very human constructions'. This article argues that even after the concepts of folk music and art music had emerged, figures like Johannes Brahms shaped an individual understanding of folk music that diverged from the prevailing view. Brahms's concept of folksong is explored first through the prism of Gelbart's parameters: authorship, origin, function, and transmission, and is interpreted as a late echo of Johann Gottfried Herder's thinking from the late 1770s. Attention is then shifted to Brahms's earliest songs in a folk style from the 1850s, in which the influence of his love of earlier music is strongly evident, resulting in a different musical style from contemporary folksong collectors and composers such as Ludwig Erk and Friedrich Sucher. The poet Ludwig Uhland's approach to medieval folk poetry can be read as an important literary precedent for Brahms's folksong construct. Ultimately, Brahms's conception and use of folksong mutated over the following decades; this is interpreted as a consequence of his growing awareness of his middle-class public, thus leaving only a folk 'trace' in his song-writing style.
Journal Article
