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Chapter 37 - Historical Performance

from Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

Brahms holds a special place among the major instrumental composers in that not only does his life straddle major changes in instrumental design and performance practices, but that recollections and sound recordings exist by younger contemporaries to illustrate these. Indeed, there is sufficient evidence to encourage many different perspectives, and the field has become one of lively debate. In this, there are two extremes of interpretation: first the historically driven view that stresses fundamental differences of instruments and performing styles; second, a traditional view of continuity from the past that accepts modern adaptation and expression of these factors. Although the latter is not essentially concerned with historical issues, it cannot be ignored because it represents a permanent counterweight to the historical approach, which remains problematic for many in its implications for modern performance style and social function [see Ch. 23 ‘Instruments’].

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Brahms in Context , pp. 367 - 375
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Brown, C., Classical and Romanic Performing Practice 1750–1900 (Oxford: Oxford University Press, 1999)Google Scholar
Brown, C., Peres da Costa, N., Wadsworth, K., Performance Practices in Johannes Brahms’ Chamber Music (Kassel: Bärenreiter, 2015)Google Scholar
Cai, C., ‘Brahms’s Pianos and the Performance of His Late Works’, Performance Practice Review 2/1 (Spring 1989), 5872CrossRefGoogle Scholar
Musgrave, M. and Sherman, B. (eds.), Performing Brahms: Early Evidence of Performing Style (Cambridge: Cambridge University Press, 2003)Google Scholar
Pascall, R., Playing Brahms. A Study in 19th-Century Performing Practice (Nottingham: University of Nottingham, 1991)Google Scholar
Peres da Costa, N., Off the Record (Oxford: Oxford University Press, 2012)Google Scholar
Winter, R., ‘Orthodoxies, Paradoxes, and Contradictions; Performance Practices in Nineteenth-Century Piano Music’, in Todd, R. L. (ed.), Nineteenth-Century Piano Music, 2nd edn (New York: Routledge, 2004), 1654Google Scholar

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