Description
Despite the incredible diversity in Brahms's scherzo-type movements, there has been no comprehensive consideration of this aspect of his oeuvre. Professor Ryan McClelland provides an in-depth study of these movements that also contributes significantly to an understanding of Brahms's compositional language and his creative dialogue with musical traditions. McClelland especially highlights the role of rhythmic-metric design in Brahms's music and its relationship to expressive meaning. In Brahms's scherzo-type movements, McClelland traces transformations of primary thematic material, demonstrating how the relationship of the initial music to its subsequent versions creates a musical narrative that provides structural coherence and generates expressive meaning. McClelland's interpretations of the expressive implications of Brahms's fascinatingly intricate musical structures frequently engage issues directly relevant to performance. This illuminating book will appeal to music theorists, musicologists working on nineteenth-century instrumental music and performers.
Table of Contents
1: Introduction; 2: The Early Minor-Mode Scherzos; 3: Minuets, Scherzos, and Neoclassicism; 4: The Pastoral Scherzos; 5: Some Intermezzos; 6: The Late Minor-Mode Scherzos; 7: Waltzing Away with the Minuet; 8: Three Imposters; 9: The Case of the Fourth Symphony and Some Concluding Thoughts
