Brahms has long been considered an arch-conservative, the last Classical master, but modern research reveals a troubled and self-critical Romantic whose genius united the emotionalism of his times with Classical principles. Malcolm MacDonald demonstrates how the musical and personal character of this great composer are inextricably intwined: how the man speaks in his music.
Brahms has long been considered an arch-conservative, the last Classical master, but modern research reveals a troubled and self-critical Romantic whose genius united the emotionalism of his times with Classical principles. Malcolm MacDonald demonstrates how the musical and personal character of this great composer are inextricably intwined: how the man speaks in his music.
Preface List of Illustrations Prelude, in Canon 2.: The Romantic foreground 3.: Storm and stress (1854-60) 4.: Fully armed like Minerva: the music to 1860 5.: Not quite a Viennese (1860-72) 6.: The sense of the past 7.: The music of the middle years, 1860-75 8.: 'Frei aber froh' 9.: The music of the middle years, 1876-82 10.: The final phase 11.: The later music, 1883-96 12.: Music and [Menschenbild] 13.: A Music of the Future Appendices Index
Preface List of Illustrations Prelude, in Canon 2.: The Romantic foreground 3.: Storm and stress (1854-60) 4.: Fully armed like Minerva: the music to 1860 5.: Not quite a Viennese (1860-72) 6.: The sense of the past 7.: The music of the middle years, 1860-75 8.: 'Frei aber froh' 9.: The music of the middle years, 1876-82 10.: The final phase 11.: The later music, 1883-96 12.: Music and [Menschenbild] 13.: A Music of the Future Appendices Index
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