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Chapter 32 - England

from Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

By
Katy Hamilton
Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

When Brahms’s Violin Concerto Op. 77 received its British premiere at the Crystal Palace on 22 February 1879, George Grove began his programme note to the piece: ‘Mr Brahms is no stranger to the Crystal Palace audience; in fact he is very well known here, for his name appears more frequently in the Saturday Programmes than that of almost any other contemporary composer.’

It is certainly true that Brahms’s popularity with British audiences increased significantly from the 1870s onwards as initial suspicion of his complex writing was replaced by growing admiration, particularly for his chamber and orchestral works. However, Brahms himself never visited the country – in fact, he turned down at least six separate invitations to do so, from potential festival commissions to performance opportunities, and two attempts to coax him to Cambridge University to receive an honorary doctorate.

Keywords

BrahmscontextreceptionEnglandSchumannJoachimStanfordMannsHalléDavies
Type
Chapter
Information
Brahms in Context , pp. 316 - 323
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

de Val, D., ‘Fanny Davies: “A Messenger for Schumann and Brahms”?’, in Ellsworth, T. & Wollenberg, S. (eds.), The Piano in Nineteenth-Century British Culture. Instruments, Performers and Repertoire (Aldershot: Ashgate, 2007), 217–37Google Scholar
Fifield, C., Hans Richter (Woodbridge: Boydell & Brewer, 2016)Google Scholar
Musgrave, M. (ed.), George Grove, Music and Victorian Culture (New York: Palgrave Macmillan, 2003)Google Scholar
Musgrave, M., ‘Brahms and England’, in Musgrave, M. (ed.), Brahms 2. Biographical, Documentary and Analytical Studies (Cambridge: Cambridge University Press, 1987), 1–20Google Scholar
Pascall, R., ‘Frühe Brahms-Rezeption in England’, in Fuchs, I. (ed.), Internationaler Brahms-Kongress Gmunden 1997 (Tuzting: Hans Schneider, 2001), 293–327Google Scholar
Rodmell, P., Charles Villiers Stanford (Aldershot: Ashgate, 2002)Google Scholar
Woodhouse, E. L. A., ‘The Music of Johannes Brahms in Late Nineteenth and Early Twentieth Century England and an Assessment of His Reception and Influence on the Chamber and Orchestral Works of Charles Hubert Hastings Parry and Charles Villiers Stanford’, PhD dissertation, Durham University (2013)Google Scholar

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  • England
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.032
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  • England
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.032
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • England
  • Edited by Natasha Loges, Royal College of Music, London, Katy Hamilton, Royal College of Music, London
  • Book: Brahms in Context
  • Online publication: 15 May 2019
  • Chapter DOI: https://doi.org/10.1017/9781316681374.032
Available formats
×