Search results for ""Author A. Peter Brown""

"Few musical repertoires have attracted such a convenient and thorough compendium of knowledge." —Early Music News"A. Peter Brown has performed an excellent service for devotees of early keyboard music, and for all students of eighteenth-century music . . . " —Early Keyboard Journal"A. Peter Brown has created a unique compendium, discussing all of Haydn's works with keyboard, comparing them and placing them in a variety of contexts, historical, social and scholarly." —Journal of the American Musicological Society" . . . stimulating . . . a book for which pianists . . . must be thankful." —Journal of the American Liszt SocietyHaydn scholar A. Peter Brown offers the first detailed and comprehensive study of the composer's keyboard works, encompassing the solo sonatas, keyboard trios, accompanied divertimentos, concertos, concertinos, and Klavierstücke.

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Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony.Volume IV The Second Golden Age of the Viennese SymphonyBrahms, Bruckner, Dvorák, Mahler, and Selected ContemporariesAlthough during the mid-19th century the geographic center of the symphony in the Germanic territories moved west and north from Vienna to Leipzig, during the last third of the century it returned to the old Austrian lands with the works of Brahms, Bruckner, Dvorák, and Mahler. After nearly a half century in hibernation, the sleeping Viennese giant awoke to what some viewed as a reincarnation of Beethoven with the first hearing of Brahms's Symphony No. 1, which was premiered at Vienna in December 1876. Even though Bruckner had composed some gigantic symphonies prior to Brahms's first contribution, their full impact was not felt until the composer's complete texts became available after World War II. Although Dvorák was often viewed as a nationalist composer, in his symphonic writing his primary influences were Beethoven, Schubert, and Brahms. For both Bruckner and Mahler, the symphony constituted the heart of their output; for Brahms and Dvorák, it occupied a less central place. Yet for all of them, the key figure of the past remained Beethoven. The symphonies of these four composers, together with the works of Goldmark, Zemlinsky, Schoenberg, Berg, Smetana, Fibich, Janácek, and others are treated in Volume IV, The Second Golden Age of the Viennese Symphony, covering the period from roughly 1860 to 1930.

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The third volume to appear in the magnum opus of A. Peter Brown takes as its topic the European symphony ca. 1800–ca. 1930 and is divided into two parts. The first part focuses on the symphonies of Germany and the Nordic countries and discusses in great detail the symphonies of Weber, Spohr, Mendelssohn, Schumann, Lindblad, Berwald, Svendsen, Gade, Nielsen, Sibelius, Berlioz, Liszt, Raff, and Strauss. Volume 3B will examine the symphonies of Great Britain, Russia, and France during the same period. Brown's series synthesizes an enormous amount of scholarly literature in a wide range of languages. It presents current overviews of the status of research, discusses important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception.

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The second part of the third volume to appear in the magnum opus of A. Peter Brown continues the geographical tour of the mid-19th-to early-20th-century symphony begun in Vol. 3A. Brown discusses works from England, Russia, and France—including those by Potter, Bennett, Stanford, Elgar, Rimsky-Korsakov, Borodin, Tchaikovsky, Rachmaninoff, Gounod, Bizet, Franck, Dukas, and many others. A single source provides a detailed analysis of stylistic traits and background material on the composition and performances of these masterpieces. Brown's series synthesizes an enormous amount of scholarly literature in a wide range of languages. It presents current overviews of the status of research, discusses important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. There are overviews of the symphony as a genre and in-depth analysis of particular aspects of the symphony (such as composer, period, or instrument). No other book or series of books allows for the in-depth musical analysis and historical context that Brown provides in each volume of The Symphonic Repertoire.

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Central to the repertoire of Western art music since the 18th century, the symphony has come to be regarded as one of the ultimate compositional challenges. Surprisingly, heretofore there has been no truly extensive, broad-based treatment of the genre, and the best of the existing studies are now several decades old. In this five-volume series, A. Peter Brown explores the symphony from its 18th-century beginnings to the end of the 20th century. Synthesizing the enormous scholarly literature, Brown presents up-to-date overviews of the status of research, discusses any important former or remaining problems of attribution, illuminates the style of specific works and their contexts, and samples early writings on their reception. The Symphonic Repertoire provides an unmatched compendium of knowledge for the student, teacher, performer, and sophisticated amateur. The series is being launched with two volumes on the Viennese symphony.Volume II The First Golden Age of the Viennese SymphonyHaydn, Mozart, Beethoven, and SchubertVolume II considers some of the best-known and most universally admired symphonies by Haydn, Mozart, Beethoven, and Schubert, who created what A. Peter Brown designates as the first golden age of the Viennese symphony during the late 18th and first three decades of the 19th century. The last two dozen symphonies by Haydn, half dozen by Mozart, and three by Schubert, together with Beethoven's nine symphonies became established in the repertoire and provided a standard against which every other symphony would be measured. Most significantly, they imparted a prestige to the genre that was only occasionally rivaled by other cyclic compositions. More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.

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