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Eduard Marxsen and Johannes Brahms.

The University of Chicago.

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Eduard Marxsen and Johannes Brahms.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Eduard Marxsen and Johannes Brahms./
作者:	Jaffe, Jane Vial.
面頁冊數:	440 p.
附註:	Adviser: Philip Gossett.
Contained By:	Dissertation Abstracts International70-03A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3350880
ISBN:	9781109064292

Eduard Marxsen and Johannes Brahms.
Jaffe, Jane Vial.

Eduard Marxsen and Johannes Brahms. - 440 p.

Adviser: Philip Gossett.

Thesis (Ph.D.)--The University of Chicago, 2009.

Brahms once remarked that he had learned nothing from Eduard Marxsen, despite years of piano and composition instruction and a continuing correspondence after Brahms left Hamburg until Marxsen died. Whereas no one believes Brahms learned nothing from him, Marxsen's life, works, teaching principles, and composing practices have not been examined before in enough detail to determine exactly what the influences could have been. Therefore, the first two chapters of this study trace the life and works of Marxsen, drawing on little known sources for the first time. The various facets of his career---as a pianist, composer, critic, teacher, and Liedertafel director---are rebalanced to reflect their actual proportions, including the surprising discovery that he virtually stopped composing after 1849.

ISBN: 9781109064292Subjects--Topical Terms:

1018076
History, European.

Eduard Marxsen and Johannes Brahms.
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100 1 $a Jaffe, Jane Vial. $3 1022387
245 1 0 $a Eduard Marxsen and Johannes Brahms.
300 $a 440 p.
500 $a Adviser: Philip Gossett.
500 $a Source: Dissertation Abstracts International, Volume: 70-03, Section: A, page: 0732.
502 $a Thesis (Ph.D.)--The University of Chicago, 2009.
520 $a Brahms once remarked that he had learned nothing from Eduard Marxsen, despite years of piano and composition instruction and a continuing correspondence after Brahms left Hamburg until Marxsen died. Whereas no one believes Brahms learned nothing from him, Marxsen's life, works, teaching principles, and composing practices have not been examined before in enough detail to determine exactly what the influences could have been. Therefore, the first two chapters of this study trace the life and works of Marxsen, drawing on little known sources for the first time. The various facets of his career---as a pianist, composer, critic, teacher, and Liedertafel director---are rebalanced to reflect their actual proportions, including the surprising discovery that he virtually stopped composing after 1849.
520 $a Until now Marxsen has been characterized as a composer mainly of songs and piano pieces, but he clearly thought his most important compositions were his symphonic works, which have only recently become available for study. They reveal not only his reverence for Beethoven, but for Schubert---providing a more direct link to Brahms than has previously been established---and other Romantic trends. Occasional startling innovations, such as an overture that begins in one key and ends in another, stand next to more conventional procedures. The study of Marxsen's songs, piano pieces, and male choruses completes the picture of his cross-genre predilection for certain harmonic devices, idiosyncratic tempo and dynamic markings, variation techniques, and, perhaps most impressive, unusual and mixed meters, all of which resonated with Brahms.
520 $a The third chapter details the association between Brahms and Marxsen, from the student years when Marxsen stressed varying a theme organically and sonata-form technique, through the letter-writing phase, when Brahms often sought his teacher's advice. Unpublished letters show Marxsen as a keen observer and an advisor who could be counted on for details. I also address Brahms's possible involvement in editing some of Marxsen's manuscripts.
520 $a The final chapter discusses Marxsen's influences on Brahms's works. Of greatest significance are variation techniques and unusual rhythmic groupings, but also certain harmonic progressions and idiosyncratic tempo markings, and the expressive use of uncommon dynamic markings.
590 $a School code: 0330.
650 4 $a History, European. $3 1018076
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710 2 $a The University of Chicago. $3 1017389
773 0 $t Dissertation Abstracts International $g 70-03A.
790 $a 0330
790 1 0 $a Gossett, Philip, $e advisor
791 $a Ph.D.
792 $a 2009
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3350880