Brahms and the Scherzo

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.

CONTENIDO:

Introduction: theoretical and repertorial contexts
The early minor-mode scherzos: ghosts of Schumann and Beethoven
Minuets, scherzos, and neoclassicism
The pastoral scherzos
Some intermezzos
The late minor-mode scherzos
Waltzing away with the minuet
Three impostors
The case of the 4th symphony and some concluding thoughts
Appendix
Bibliography
Index