The 1997 centennial of Brahms's death has intensified interest among concertgoers and music lovers in the composer's prodigious body of work.
For all those eager to delve more deeply into Brahms's music, The Compleat Brahms is an indispensable companion. In a single volume that covers every work written by Brahms, leading scholars from across the country provide details of each work's composition and discuss its important stylistic features. Interspersed are fascinating essays ― such as "Brahms, Joachim, and the Schumanns" ― that bring the composer and his contemporaries to life. Much more than a collection of program notes, The Compleat Brahms vividly portrays the work and world of one of the giants of Western music history."synopsis" may belong to another edition of this title.
Leon Botstein is president of Bard College and director of the American Symphony Orchestra. Among his publications are Music and Its Public and Jefferson's Children: Learning and the Promise of a Democratic Culture.
Botstein, president of Bard College and director of the American Symphony Orchestra, presents this helpful and user-friendly compendium as the "first and only annotated catalog of Brahms' music in English." Essays by such scholars as Walter Frisch and Michael Musgrave (whose Cambridge Companion to Brahms is forthcoming) are gathered into chapters on Orchestral Music, Chamber Music, Solo Piano Music, Solo Lieder and Vocal and Choral Music. Botstein himself, who writes on many vocal works, has a welcome tendency toward brevity, and never goes on too long about minor works or even major ones. All the essays are anchored in the composer's life, revealing such matters as his relations with Robert and Clara Schumann as well as other still-debated details of his love life. Some of the more outstanding essays in this vein are by Jan Swafford, author of Johannes Brahms: A Biography, who introduces the "Alto Rhapsody" in a way guaranteed to appeal even to those who consider Brahms to be merely "Gloomy Joe," as the EMI record producer Walter Legge used to sarcastically refer to him, adding: "The main problem with Brahms is that he never got syphilis." By contrast, the book's writers' are all Brahms enthusiasts, and their excitement is infectious, in good part because the essays are not permitted to go on to Brahmsian lengths. Botstein has compiled a valuable, welcome addition to the bibliography.
Copyright 1999 Reed Business Information, Inc.
This collection of approximately 100 short essays from 30 scholars provides analysis and discussion on virtually every one of Brahms's compositions. The works are grouped in chapters according to genre. Larger works (e.g., symphonies) are given individual essays, and smaller ones (e.g., songs) are grouped chronologically. Each writer was given the freedom to approach the subject independently, and the entries, which range from one to several pages in length, vary in the amount of biographical, historical, and analytical material they contain. Some of the essays are chatty, while others are quite technical. Botstein, president of Bard College and director of the American Symphony Orchestra, provides some unity in an introductory overview of Brahms's life and short introductions to each of the five major chapters, but for the most part this is a reference book for the serious Brahms lover.ATimothy J. McGee, Univ. of Toronto
Copyright 1999 Reed Business Information, Inc.
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hardbound. b&w frontispiece photo (illustrator). 1st Edition, 1st printing (1 2 3 4 5 6 7 8 9 0) of this catalogue of Brahms's music, the first of its kind in the English language, featuring discussions of nearly every one of the composer's works, with contributions by thirty scholars, composers, and performers; orchestral music, chamber music, solo piano music, solo lieder, vocal and choral music, and works without opus numbers; includes chronology and select bibliography; endpapers, prelims and text block foxed, o.w. Very Good in Very Good dustwrapper. Dustwrapper. 448pp. 8vo. Very Good in Very Good dustwrapper Very Good in Very Good dustwrapper. Seller Inventory # 12488
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Hardcover. Condition: New. Dust Jacket Condition: New. 1st Edition. MONUMENTAL: INDISPENSABLE: NEW: First Edition hardcover (orig. April 1999) 2nd printing, NEW handsomely-designed unclipped mylar-protected jacket w/ sharp NEW edges & corners & showing orig. $35.00 pub. price at top-right front flyleaf, NEW cover w/ sea-blue paper wrapping spine & extending 2.88" onto front & back panels covered in light-gray rag paper & w/ EXCELLENT edges & corners & titles handsomely silver-stamped on spine, IMMACULATE smooth-cut text-block exterior, IMPECCABLE lemon-cream card-stock end-papers, NEW sewn binding w/ tight signatures, PRISTINE interior printed w/ handsome clarity in ITC Legacy Serif Book on EXCELLENT unblemished acid-free paper * Preface (7), Introduction (19), Chronology (407), Selected Bibliography (419), Contributors (423), Index (429) * 6.36" x 9.50" x 1.62", 0.86 kg, 448 pp. * The 1997 centennial of Brahms' death has intensified interest among concert-goers & music lovers in the composer's prodigious body of work. For all those eager to delve more deeply into Brahms' music, "The Compleat Brahms" is an indispensable companion. In a single volume that covers every work written by Brahms, leading scholars from across the country provide details of each work's composition & discuss its important stylistic features. Interspersed are fascinating essays -(such as "Brahms, Joachim, and the Schumanns")- that bring the composer & his contemporaries to life. Much more than a collection of program notes, "The Compleat Brahms" vividly portrays the work & world of one of the giants of Western music history. * CRITICAL PRAISE: Monumental is the first word that occurs to you when you begin exploring what has been put together by Leon Botstein & his 29 collaborators, & it's appropriate. Seen from a distance -(& how else can we see him more than a century after his death?)- there is also something monumental -(almost forbidding)- about the figure of Brahms himself. He was the great musical conservative in the creative ferment of the late 19th century. Haunted by the figure of Beethoven, he destroyed much of his own work -(carefully tailoring his posthumous image)- in fear of negative comparisons. At the same time, he preserved almost single-handedly the great classical tradition embodied in Beethoven's work, particularly the tradition of the symphony & other abstract works using sonata form, which was nearly engulfed in Brahms' lifetime by Lisztian tone poems, Wagnerian "music of the future," the rise of musical nationalism, & even the first stirrings of impressionism. In this context, Brahms becomes a lonely figure but a vital one. Virtually every piece composed by Brahms & not sacrificed to his uncompromising critical standards is discussed in this compendium, lucidly, readably, in biographical & cultural context, & in fine detail. The writers are all scholars or professional performers -(often both)- but they have worked hard to make their discussions & analyses accessible to the interested general reader, & in their diversity of approaches they have made the book a compendium of the varied techniques for writing readably about music. You may not agree with every word -(a fine seasoning of opinion has been allowed to flavor the masses of fact)- & it is not the sort of book that anyone but a fanatic will gallop through from cover to cover, BUT you will find Brahms here in all his complexity, still monumental but more approachable than ever. -Joe McLellan. Seller Inventory # 010141