Mendelssohn and Schumann. In 1824 Beethoven set a standard that then had to rise in response to more demanding expectations from both audiences and the musical press. Christopher Fifield, who has a conductor's intimacy with the repertory, looks in turn at the five decades between the mid-1820s and mid-1870s. He deals only with non-programmatic works, leaving the programme symphony to travel its own route to the symphonic poem. Composers who lead to Brahms (himself a reluctant symphonist until the age of 43 in 1876) are frequently dismissed as epigones of Beethoven, Mendelssohn and Schumann but by investigating their symphonies, Fifield reveals their respective brands of originality, even their own possible influence upon Brahms himself and in so doing, shines a light into a half-century of neglected nineteenth century German symphonic music.
|Publisher:||Taylor & Francis|
|Product dimensions:||6.10(w) x 9.30(h) x 1.30(d)|
About the Author
Christopher Fifield is a conductor and music historian with particular interest in British and German nineteenth century orchestral music and opera. His pioneering books include biographies of Max Bruch and Hans Richter, Letters and Diaries of Kathleen Ferrier and a history of Ibbs & Tillett.
Table of Contents
Contents: Preface; Introduction; The German symphony in the 1830s; The German symphony in the 1840s; Leipzig, its Gewandhaus and conservatoire; The German symphony in the 1850s; The German symphony in the 1860s; The German symphony 1870-1876; Select bibliography; Select discography; Index.