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Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet

Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet group” better reflects the structure of many such movements. He provides a very convenient three-page table showing the keys schemes of the expositions and recapitulations of the compositions by Brahms that include three keys. Some of these movements, including the finale of op. 60, have second groups characterized by a modal shift. Whereas previous writers have attributed Brahms’s three-key expositions to the influence of Schubert, Smith persuasively argues that movements with a double second group defined by a modal shift were influenced by the earlier Viennese Classical composers. He argues further that these types of double second groups have a profound impact on the emotional content of a movement, which might even reverberate through an entire cycle. He demonstrates this point with a discussion of the expressive content of the finale of Brahms’s Horn Trio, and then compares the meaning of the first movement of the First Symphony to that of the op. 60 finale. Although the piece took its final shape over an extremely long time, Smith makes very clear throughout the book’s analytical and hermeneutic chapters that the Quartet is strongly unified, and he convincingly details many types of tonal allusions, and motivic and rhythmic connections http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Music Theory Duke University Press

Expressive Forms in Brahms's Instrumental Music: Structure and Meaning in His Werther Quartet

Platt, Heather
Journal of Music Theory , Volume 48 (2) – Jan 1, 2004
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Publisher
Duke University Press
Copyright
Copyright 2004 by Yale University
ISSN
0022-2909
eISSN
1941-7497
DOI
10.1215/00222909-48-2-337
Publisher site
See Article on Publisher Site

Abstract

group” better reflects the structure of many such movements. He provides a very convenient three-page table showing the keys schemes of the expositions and recapitulations of the compositions by Brahms that include three keys. Some of these movements, including the finale of op. 60, have second groups characterized by a modal shift. Whereas previous writers have attributed Brahms’s three-key expositions to the influence of Schubert, Smith persuasively argues that movements with a double second group defined by a modal shift were influenced by the earlier Viennese Classical composers. He argues further that these types of double second groups have a profound impact on the emotional content of a movement, which might even reverberate through an entire cycle. He demonstrates this point with a discussion of the expressive content of the finale of Brahms’s Horn Trio, and then compares the meaning of the first movement of the First Symphony to that of the op. 60 finale. Although the piece took its final shape over an extremely long time, Smith makes very clear throughout the book’s analytical and hermeneutic chapters that the Quartet is strongly unified, and he convincingly details many types of tonal allusions, and motivic and rhythmic connections

Journal

Journal of Music Theory – Duke University Press

Published: Jan 1, 2004

There are no references for this article.