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Elements of coherence in Brahms's Opus 76.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Elements of coherence in Brahms's Opus 76./
Author:	De Souza, Elizabeth Rangel Pinheiro.
Description:	1 online resource (233 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 53-01, Section: A.
Contained By:	Dissertations Abstracts International53-01A.
Subject:	Music. -
Online resource:	click for full text (PQDT)
ISBN:	9798207281551

Elements of coherence in Brahms's Opus 76.
De Souza, Elizabeth Rangel Pinheiro.

Elements of coherence in Brahms's Opus 76. - 1 online resource (233 pages)

Source: Dissertations Abstracts International, Volume: 53-01, Section: A.

Thesis (D.M.A.)--Boston University, 1991.

Includes bibliographical references

Brahms's concentration on the composition of character pieces in the last phase of his career indicates that he might have seen the genre as representative of nineteenth-century piano music as a whole. This study deals with the relatively little discussed collection, Klavierstucke, Opus 76. Musical clues left in Opus 76 suggest that Brahms made many allusions to compositions in the previously existing repertory. Similarities between the pieces and works of other composers, already noticed by his contemporaries, are clearly detectable. Some musical traits and coincidences of dates indicate that Chopin's Prelude Opus 45 might have been among the pieces Brahms examined and emulated. Motivic, thematic and tonal materials, borrowed or not, are tightly woven to create a complex net of relationships according to a procedure that is typically Brahmsian. The contrasting character of the pieces is geared to give the set an overall symmetry around the vigorous Capriccio in C# minor, the fifth piece of the group. Even though each piece possesses formal characteristics marking it as an individual, codas and final cadences function also as bridges to give to the sequence of the pieces a sense of unbroken continuity. Scholarly views on the arrangements that nineteenth-century composers used for publishing their sets of songs and short piano pieces, external evidence from the Brahms correspondence, and internal evidence supplied by Opus 76 itself, come together to support the hypothesis of this study that, at some level, the composer intended the eight pieces as a coherent whole.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798207281551Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

GermanyIndex Terms--Genre/Form:

554714
Electronic books.

Elements of coherence in Brahms's Opus 76.
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504 $a Includes bibliographical references
520 $a Brahms's concentration on the composition of character pieces in the last phase of his career indicates that he might have seen the genre as representative of nineteenth-century piano music as a whole. This study deals with the relatively little discussed collection, Klavierstucke, Opus 76. Musical clues left in Opus 76 suggest that Brahms made many allusions to compositions in the previously existing repertory. Similarities between the pieces and works of other composers, already noticed by his contemporaries, are clearly detectable. Some musical traits and coincidences of dates indicate that Chopin's Prelude Opus 45 might have been among the pieces Brahms examined and emulated. Motivic, thematic and tonal materials, borrowed or not, are tightly woven to create a complex net of relationships according to a procedure that is typically Brahmsian. The contrasting character of the pieces is geared to give the set an overall symmetry around the vigorous Capriccio in C# minor, the fifth piece of the group. Even though each piece possesses formal characteristics marking it as an individual, codas and final cadences function also as bridges to give to the sequence of the pieces a sense of unbroken continuity. Scholarly views on the arrangements that nineteenth-century composers used for publishing their sets of songs and short piano pieces, external evidence from the Brahms correspondence, and internal evidence supplied by Opus 76 itself, come together to support the hypothesis of this study that, at some level, the composer intended the eight pieces as a coherent whole.
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