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Brahms, the Bible, and post-Romanticism: Cultural issues in Johannes Brahms's later settings of biblical texts, 1877-1896.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Brahms, the Bible, and post-Romanticism: Cultural issues in Johannes Brahms's later settings of biblical texts, 1877-1896./
Author:	Beller-McKenna, Daniel.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 1994,
Description:	268 p.
Notes:	Source: Dissertations Abstracts International, Volume: 56-06, Section: A.
Contained By:	Dissertations Abstracts International56-06A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9500012
ISBN:	9798643146148

Brahms, the Bible, and post-Romanticism: Cultural issues in Johannes Brahms's later settings of biblical texts, 1877-1896.
Beller-McKenna, Daniel.

Brahms, the Bible, and post-Romanticism: Cultural issues in Johannes Brahms's later settings of biblical texts, 1877-1896. - Ann Arbor : ProQuest Dissertations & Theses, 1994 - 268 p.

Source: Dissertations Abstracts International, Volume: 56-06, Section: A.

Thesis (Ph.D.)--Harvard University, 1994.

This item must not be sold to any third party vendors.

This dissertation examines Brahms's settings of biblical texts after 1877 from a variety of viewpoints in order to determine the ways in which Brahms's approach to the Bible sheds light on his religious, philosophical, and artistic attitudes. Through a critical musical analysis and interpretation of the works under consideration, the dissertation presents Brahms's struggle with his Romantic roots in a modern, post-Romantic age as a central aspect of his later artistic output and outlook. The first chapter sets up a framework for studying Brahms and the Bible, by examining the important role Robert Schumann played in Brahms's biblical reading, the legacy of Schumann's "Neue Bahnen" essay (to which Brahms responded throughout his career), and the role of Brahms's Ein deutsches Requiem, op. 45 as part of that response. The "later" biblical settings are defined by Brahms's pocket notebook of biblical passages into which he copied virtually all of the texts from the Bible that he set after 1877. That notebook, Wiener Stadt- und Landesbibliothek 55.733, is the subject of chapter 2, and a facsimile and transcription of the notebook are contained in an appendix to the dissertation. The last three chapters provide critical analyses of the later biblical settings, focusing on relevant cultural issues in each: chapter 3 examines the motet "Warum ist das Licht gegeben?" op. 74, no. 1 (1878) and Brahms's attempt in that piece to locate himself within the German musical pantheon; chapter 4 looks at Brahms's expression of communal prayer through the poly-choral medium in the three Fest- und Gedenkspruche, op. 109 (1889) and the motet "Ich aber bin elend," op. 110, no. 1 (1889) as responses to a crisis in German politics at that time; and chapter 5 interprets the Vier ernste Gesange, op. 121 (1896) in light of Arthur Schopenhauer's pessimistic philosophy and its reception at the end of the nineteenth century.

ISBN: 9798643146148Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Brahms, Johannes

Brahms, the Bible, and post-Romanticism: Cultural issues in Johannes Brahms's later settings of biblical texts, 1877-1896.
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520 $a This dissertation examines Brahms's settings of biblical texts after 1877 from a variety of viewpoints in order to determine the ways in which Brahms's approach to the Bible sheds light on his religious, philosophical, and artistic attitudes. Through a critical musical analysis and interpretation of the works under consideration, the dissertation presents Brahms's struggle with his Romantic roots in a modern, post-Romantic age as a central aspect of his later artistic output and outlook. The first chapter sets up a framework for studying Brahms and the Bible, by examining the important role Robert Schumann played in Brahms's biblical reading, the legacy of Schumann's "Neue Bahnen" essay (to which Brahms responded throughout his career), and the role of Brahms's Ein deutsches Requiem, op. 45 as part of that response. The "later" biblical settings are defined by Brahms's pocket notebook of biblical passages into which he copied virtually all of the texts from the Bible that he set after 1877. That notebook, Wiener Stadt- und Landesbibliothek 55.733, is the subject of chapter 2, and a facsimile and transcription of the notebook are contained in an appendix to the dissertation. The last three chapters provide critical analyses of the later biblical settings, focusing on relevant cultural issues in each: chapter 3 examines the motet "Warum ist das Licht gegeben?" op. 74, no. 1 (1878) and Brahms's attempt in that piece to locate himself within the German musical pantheon; chapter 4 looks at Brahms's expression of communal prayer through the poly-choral medium in the three Fest- und Gedenkspruche, op. 109 (1889) and the motet "Ich aber bin elend," op. 110, no. 1 (1889) as responses to a crisis in German politics at that time; and chapter 5 interprets the Vier ernste Gesange, op. 121 (1896) in light of Arthur Schopenhauer's pessimistic philosophy and its reception at the end of the nineteenth century.
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