Brahms and the Scherzo: Studies in Musical Narrative by Ryan McClelland, Daniel Dorff

By Ryan McClelland, Daniel Dorff

Regardless of the magnificent range in Brahms' scherzo-type routine, there was no entire attention of this element of his oeuvre. Professor Ryan McClelland offers an in-depth examine of those hobbies that still contributes considerably to an realizing of Brahms' compositional language and his artistic discussion with musical traditions. McClelland particularly highlights the function of rhythmic-metric layout in Brahms' track and its courting to expressive which means. In Brahms' scherzo-type events, McClelland lines alterations of fundamental thematic fabric, demonstrating how the connection of the preliminary tune to its next models creates a musical narrative that gives structural coherence and generates expressive that means. McClelland's interpretations of the expressive implications of Brahms' fascinatingly difficult musical constructions usually have interaction concerns at once proper to functionality. This illuminating publication will entice song theorists, musicologists engaged on nineteenth-century instrumental song and performers.

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With the arrival of the background dominant at m. 81, the grouping dissonance implicit in the scherzo’s many descending lines becomes explicit for the first time. The barrenness of mm. 81–4 hardly makes it one of Brahms’s finest passages, but it suggests a budding interest in metric narrative: the scherzo’s hidden tension at last explodes, and it does so when the scherzo’s harmonic tension peaks. 4 Brahms, Piano Sonata, Op. 1, III, mm. 80–100 The Early Minor-Mode Scherzos: Ghosts of Schumann and Beethoven 35 The codetta grapples with the tension between duple and triple grouping of eighth notes, ultimately resolving to the triple grouping consonant with 6/8 meter.

11 (1860) 2 (of 6) 4 (of 6) 5 (of 6) Scherzo Menuetto Scherzo Allegro non troppo [none] Allegro 3/4 3/4 3/4 Dm GM DM CRB2 CRB1 SRB7 3/4 3/4 3/4 BM Gm DM CRB4 CRB1 CRB1 N Y(B) N Serenade in A Major, Op. 16 (1860) 2 (of 5) 4 (of 5) Scherzo Quasi Menuetto Vivace [none] 3/4 6/4 CM DM “CRB” CRB1 2/4 6/4 FM Fm C“R”B1 CRB2 Y Y String Sextet in B Major, Op. 1 continued Work (Publication Date) Position in Work Genre Designation Performance Indication Meter Key Form Trio Meter Trio Key Trio Form Coda Piano Quartet in G Minor, Op.

10 I take the C minor at the start of the second reprise as a continuation of the trio’s background C harmony. This function is made clear by the dissolution of G major at the  38 Brahms and the Scherzo relatively common substitution when a major-mode passage with prominent supertonic harmony is shifted into the minor. At the location corresponding to the D-major harmony of the first reprise, II6 occurs again (m. 7). This D-major harmony spawns a digression towards A major, which is implicated through a considerable expanse focused on V  of A (mm.

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