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Medientyp:
Buch
Titel:
Conducting the Brahms symphonies
:
from Brahms to Boult
Enthält:
Conclusions. A synopsis with caveats -- Following the trails -- The ultimate message for today and tomorrow, and a warning
the composer and his contemporaries. Problems and conundrums -- Brahms conducts his symphonies -- Metronomic and sloppy? Hans Richter in Vienna and London -- The early champions : Levi, Wüllner and Dessoff -- Joseph Joachim : 'Just watch me' -- Hans von Bülow : 'If I'd wanted that, I would have written it in' -- Post-Bülow conductors : encouraging words for juniors -- Brahms's contemporaries on his conducting of the symphonies -- Facing the issues : an assembly of witnesses --
lines of authority. Alexander Berrsche : Munich's recording angel (or Beckmesser?) -- Fritz Steinbach : 'all is perfection' -- Felix Mottl : Wagnerian immersion and disastrous Brahms -- Arthur Nikisch : the best of both worlds -- 1859 : a vintage year : Max Fiedler, Karl Muck and a lone American -- Felix Weingartner : 'tradition' or felicitous accident? -- Arturo Toscanini : Brahms from Italy via Munich -- Sir Henry Wood : sometimes successful -- Willem Mengelberg, Oskar Fried and Bruno Walter : tradition-free? -- The Mottl acolytes : Hermann Abendroth and Wilhelm Furtwängler -- Sir Adrian Boult : always 'Steinbach for Brahms' -- Fritz Steinbach's pupils : the Busch brothers and others -- Walter Blume : dedicated to both Steinbach and Fritz Busch -- The critical language : whose 'rubato'? -- Interim conclusions --
traditions traced or lost. The chosen recordings : an overview -- Recording details and tabular analyses -- A pure text? -- Repeats -- Some preliminary (and personal) observations -- Symphony no. 1 in C minor op. 68 -- Symphony no. 2 in D major op. 73 -- Symphony no. 3 in F major op. 90 -- Symphony no. 4 in E minor op. 98 --
Beschreibung:
How did Brahms conduct his four symphonies? What did he want from other conductors when they performed these works, and to which among them did he give his approval? And crucially, are there any stylistic pointers to these performances in early recordings of the symphonies made in the first half of the twentieth century? Christopher Dyment provides a comprehensive and in-depth answer to these important issues. Drawing together the strands of existing research with extensive new material from a wide range of sources, he presents a vivid picture of historic performance practice in Brahms's era and the half-century that followed. Here is a remarkable panorama showcasing Brahms himself conducting, together with those conductors whom he heard, among them Levi, Richter, Nikisch, Weingartner and Fritz Steinbach, and their disciples, such as Toscanini, Stokowski, Boult and Fritz Busch. Here, too, are other famed Brahms conductors of the early twentieth century, including Furtwangler and Abendroth, whose connections with the Brahms tradition are closely examined. The author then analyses recordings of the symphonies by these conductors and highlights aspects which the composer might well have commended. Finally, Dyment suggests the importance of his conclusions for those contemporary conductors who are currently attempting to rediscover genuine performance traditions in their own re-creations of the symphonies. This study is complemented with photographs and a frontispiece.