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The German Symphony between Beethoven and Brahms - The Fall and Rise of a Genre (Hardcover, New Ed)
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The German Symphony between Beethoven and Brahms - The Fall and Rise of a Genre (Hardcover, New Ed)
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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.
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