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Brahms in the Priesthood of Art - Gender and Art Religion in the Nineteenth-Century German Musical Imagination (Hardcover)
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Brahms in the Priesthood of Art - Gender and Art Religion in the Nineteenth-Century German Musical Imagination (Hardcover)
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Brahms in the Priesthood of Art: Gender and Art Religion in the
Nineteenth-Century German Musical Imagination explores the
intersection of gender, art religion (Kunstreligion) and other
aesthetic currents in Brahms reception of the nineteenth and early
twentieth centuries. In particular, it focuses on the theme of the
self-sacrificing musician devoted to his art, or "priest of music,"
with its quasi-mystical and German Romantic implications of purity
seemingly at odds with the lived reality of Brahms's bourgeois
existence. While such German Romantic notions of art religion
informed the thinking on musical purity and performance, after the
failed socio-political revolutions of 1848/49, and in the face of
scientific developments, the very concept of musical priesthood was
questioned as outmoded. Furthermore, its essential gender
ambiguity, accommodating such performing mothers as Clara Schumann
and Amalie Joachim, could suit the bachelor Brahms but leave the
composer open to speculation. Supportive critics combined elements
of masculine and feminine values with a muddled rhetoric of
prophets, messiahs, martyrs, and other art-religious stereotypes to
account for the special status of Brahms and his circle. Detractors
tended to locate these stereotypes in a more modern, fin-de-siecle
psychological framework that questioned the composer's physical and
mental well-being. In analyzing these receptions side by side, this
book revises the accepted image of Brahms, recovering lost
ambiguities in his reception. It resituates him not only in a
romanticized priesthood of art, but also within the cultural and
gendered discourses overlooked by the absolute music paradigm.
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