German Symphony between Beethoven and Brahms
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A01=Christopher Fifield
Author_Christopher Fifield
Beethoven's Fourth Piano Concerto
Beethoven’s Fourth Piano Concerto
Carl Klingemann
Category=AV
Category=AVA
Category=AVLA
Category=CB
Chopin
Christoph Hellmut Mahling
Concert Overture
concerto
Customary Shape
Dag Schjelderup Ebbe
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franz
German Symphony
German symphony research guide
Gewandhaus Concert
Gewandhaus Orchestra
Johannes Brahms Im Briefwechsel Mit
julius
Karl Klingemann
lachner
Latch Key
Leipzig Conservatoire
Leipzig Gewandhaus history
Leipzig Gewandhaus Orchestra
London's Royal Academy
London’s Royal Academy
Mendelssohn's Death
Mendelssohn’s Death
Motto Rhythm
Musik Und Musiker
nineteenth-century orchestral music
non-programmatic works
Opus Number
piano
Piano Concerto
poem
rietz
romantic era composers
Rondo Finale
Royal Academy
Schumann Mendelssohn influence
symphonic
symphonic form evolution
symphonie
Symphonie Fantastique
violin
Young Man
Product details
- ISBN 9781409452881
- Weight: 771g
- Dimensions: 156 x 234mm
- Publication Date: 28 Mar 2015
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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It was Carl Dahlhaus who coined the phrase ’dead time’ to describe the state of the symphony between Schumann and Brahms. Christopher Fifield argues that many of the symphonies dismissed by Dahlhaus made worthy contributions to the genre. He traces the root of the problem further back to Beethoven’s ninth symphony, a work which then proceeded to intimidate symphonists who followed in its composer's footsteps, including Schubert, Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor’s intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.
Christopher Fifield is a conductor and music historian with particular interest in British and German nineteenth century orchestral music and opera. His pioneering books include biographies of Max Bruch and Hans Richter, Letters and Diaries of Kathleen Ferrier and a history of Ibbs & Tillett.
