Expressive Intersections in Brahms

Peter H. Smith is Professor of Music at the University of Notre Dame and author of Expressive Forms in Brahms's Instrumental Music (IUP, 2005).Heather Platt is Professor of Music History at Ball State University and author of Johannes Brahms: A Research and Information Guide (2nd edition, 2011).

Through its unique combination of historical narrative, expressive content, and technical analytical approaches, the essays in Expressive Intersections in Brahms will have a profound impact on the current scholarly discourse surrounding Brahms analysis. Because the analyses are so engaged with expressivity, performers too, will likely find many of them enlightening and perhaps critical in helping to hone their interpretations.(Notes) This exceptionally fine collection brings together many of the best analysts of Brahms, and nineteenth-century music generally, in the English-speaking world today. (Nineteenth-Century Music Review)

• AckowledgementsPart I1. "The Wondrous Transformation of Thought into Sound": Some Preliminary Reflections on Musical Meaning in Brahms, Heather Platt and Peter H. Smith2. The Learned Self: Artifice in Brahms's Late Intermezzi, Steven Rings Part II3. "Alte Liebe" and the Birds of Spring: Text, Music, and Image in Max Klinger's Brahms Fantasy, Yonatan Malin4. Brahms's Maidens in their Cultural Context, Heather Platt5. Ancient Tragedy and Anachronism: Form as Expression in Brahms's Gesang der Parzen, Margaret NotleyPart III6. Sequence as Culmination in the Chamber Music of Brahms, Ryan McClelland7. 'Phantasia Subitanea': Temporal Caprice in Brahms's Op. 116, nos. 1 and 7, Frank Samarotto8. Monumentality and Formal Processes in the First Movement of Brahms's Piano Concerto No. 1 in D Minor, op. 15, James Hepokoski9. The Drama of Tonal Pairing in Chamber Music of Schumann and Brahms, Peter H. SmithBibliographyList of ContributorsIndex