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Performing Brahms in the 21st century

Performing Brahms in the 21st century Report to terms with earlier performance conventions, and Reuben Phillips then attempt to incorporate the findings into their own renditions of Brahms’s music. The musical demonstra - Performing Brahms in the 21st tions were striking for their rhythmic freedom, the use century of portamento by string players and, in the piano, the arpeggiation of chords and the dislocation of melody Half a century ago the issues of performance practice and bass. Perhaps the most significant difficulty for the associated with the music of Johannes Brahms might performers lay in how the new expressive vocabularies have seemed both clear-cut and safe from academic sat with the habits of modern musicianship, particularly scrutiny. In the 1960s even the most ardent advocate of in relation to modifications of tempo. To rush through historical performance was unlikely to have made a p - ro passages or to be slightly out of sync with one’s accom - pa ject of playing Brahms’s works in period style. As this nist seems counterintuitive for musicians today, but both recent symposium on performance practice dem - on would have been completely normal to performers of strated, much has changed. An international assembly of Brahms’s generation. And as recent http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Early Music Oxford University Press

Performing Brahms in the 21st century

Phillips, Reuben
Early Music , Volume 43 (4) – Nov 25, 2015
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Publisher
Oxford University Press
Copyright
© The Author 2015. Published by Oxford University Press. All rights reserved.
ISSN
0306-1078
eISSN
1741-7260
DOI
10.1093/em/cav097
Publisher site
See Article on Publisher Site

Abstract

Report to terms with earlier performance conventions, and Reuben Phillips then attempt to incorporate the findings into their own renditions of Brahms’s music. The musical demonstra - Performing Brahms in the 21st tions were striking for their rhythmic freedom, the use century of portamento by string players and, in the piano, the arpeggiation of chords and the dislocation of melody Half a century ago the issues of performance practice and bass. Perhaps the most significant difficulty for the associated with the music of Johannes Brahms might performers lay in how the new expressive vocabularies have seemed both clear-cut and safe from academic sat with the habits of modern musicianship, particularly scrutiny. In the 1960s even the most ardent advocate of in relation to modifications of tempo. To rush through historical performance was unlikely to have made a p - ro passages or to be slightly out of sync with one’s accom - pa ject of playing Brahms’s works in period style. As this nist seems counterintuitive for musicians today, but both recent symposium on performance practice dem - on would have been completely normal to performers of strated, much has changed. An international assembly of Brahms’s generation. And as recent

Journal

Early Music – Oxford University Press

Published: Nov 25, 2015

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