Book contents
- Brahms in Context
- Brahms in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Music Examples
- Notes on Contributors
- Preface
- Abbreviations
- Part I Personality, People and Places
- Part II Identities, Environments and Influences
- Part III Performance and Publishing
- Part IV Society and Culture
- Part V Reception and Legacy
- Chapter 31 Germany
- Chapter 32 England
- Chapter 33 Analysis
- Chapter 34 The Era of National Socialism
- Chapter 35 Editing Brahms
- Chapter 36 Recordings
- Chapter 37 Historical Performance
- Chapter 38 Inspiration
- Chapter 39 Mythmaking
- Further Reading
- Index
- References
Chapter 36 - Recordings
from Part V - Reception and Legacy
Published online by Cambridge University Press: 15 May 2019
- Brahms in Context
- Brahms in Context
- Copyright page
- Dedication
- Contents
- Illustrations
- Music Examples
- Notes on Contributors
- Preface
- Abbreviations
- Part I Personality, People and Places
- Part II Identities, Environments and Influences
- Part III Performance and Publishing
- Part IV Society and Culture
- Part V Reception and Legacy
- Chapter 31 Germany
- Chapter 32 England
- Chapter 33 Analysis
- Chapter 34 The Era of National Socialism
- Chapter 35 Editing Brahms
- Chapter 36 Recordings
- Chapter 37 Historical Performance
- Chapter 38 Inspiration
- Chapter 39 Mythmaking
- Further Reading
- Index
- References
Summary
The recorded legacy of any composer reckoned to be canonical presents an interesting and revealing set of historical tensions. It has its own narrative, which unfolds in a complicated counterpoint with the story of the performing tradition(s) revealed in live performance. This double narrative is inflected by the changing view of the composer within academe, particularly in matters of performance practice, but not only that. Complicating the picture still further is the stubborn material persistence of the recorded medium itself. Live performances vanish the moment they are over, but LPs and CDs hang around for decades on music-lovers’ shelves, enforcing a loyalty to older ways of thinking and feeling, in critics as much as in ordinary listeners. This means that journals which offer critical reviews of recordings, particularly those aimed at musically sophisticated enthusiasts, are peculiarly revealing.
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- Information
- Brahms in Context , pp. 357 - 366Publisher: Cambridge University PressPrint publication year: 2019