After this Brahmsian
build-up, the postlude finally comes to rest on an A major chord, referring back to the third-inversion seventh chord built on A which signalled the beginning of the baby's process of reflection.
The MMs of the two 6/4 Andantes differ by a full 16 per cent, which illustrates a more general conclusion: that it is difficult to find broad patterns correlating the MMs with tempo indications and metres in Brahms, as has been done with Beethoven.(26) A possible exception are putative Brahmsian
topoi that have associated tempos, but my earlier (and similar) speculations would need more data to be confirmed.
This was by far the most successful movement of the Sonata's three, violinist Mirian Kramer elsewhere under-projecting and allowing Nicholas Durcan, her excellent accompanist, to bask in the status of a Brahmsian
equality of balance.
Appearing in a translation by Loges, Boggemann's essay analyzes chamber works and songs that, in an appeal to "an essentially anti-modernist and anti-Wagnerian ideology," adopt typically Brahmsian
musical features (p.
Play through the excerpt and make sure you are producing a rich, dark, and Brahmsian
(whatever that is!) tone.
11, a work of major significance within the set and the Dvorak project in general, in which they succeeded in attaining a perfect symbiosis of the Brahmsian
structure with Dvorak idioms, rhythms and affinity to the middle parts, which were paid great attention to especially in the swiftly conceived Cypresses, including with regard to the clearly led vocal line.
Ewazen's neo-romantic harmonies and arching melodies match well with the symphonic lushness of this Brahmsian
(And will he not come again?) These charming songs of Brahms are quite different from the Brahmsian
style we are accustomed to hearing.
The main work here is a sonata by the redoubtable suffragette Dame Ethel Smyth, a splendidly Brahmsian
composition, and there are shorter pieces by Elizabeth Maconchy, Phyllis Tate and another sonata by Irena Wieniawska, the daughter of the famous Polish violinist and composer.
The lyricism of the earlier trios bears a Brahmsian
Stimulating though it is to study these, they risk too decisive a move to locate the work within Brahmsian
traditions whose relevance is strictly limited.
7 is always labelled as Brahmsian
and the dark and turbulent slow movement certainly is.
influence in Barber's music, often noted in his later Curtis studies as a student of Rosario Scalero, (10) is not readily apparent in Christmas Eve.
The composition contains a number of tiny melodic fragments, which keep reappearing in new connections, which is essentially a very classical, I would say Brahmsian