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Chapter 36 - Recordings

from Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

By
Ivan Hewett
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

The recorded legacy of any composer reckoned to be canonical presents an interesting and revealing set of historical tensions. It has its own narrative, which unfolds in a complicated counterpoint with the story of the performing tradition(s) revealed in live performance. This double narrative is inflected by the changing view of the composer within academe, particularly in matters of performance practice, but not only that. Complicating the picture still further is the stubborn material persistence of the recorded medium itself. Live performances vanish the moment they are over, but LPs and CDs hang around for decades on music-lovers’ shelves, enforcing a loyalty to older ways of thinking and feeling, in critics as much as in ordinary listeners. This means that journals which offer critical reviews of recordings, particularly those aimed at musically sophisticated enthusiasts, are peculiarly revealing.

Keywords

Brahmscontextreceptionrecordingcanoncriticismperformancestyle
Type
Chapter
Information
Brahms in Context , pp. 357 - 366
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Bazzana, K., Glenn Gould: The Performer in the Work (Oxford: Oxford University Press, 1997)CrossRefGoogle Scholar
Chanan, M., Repeated Takes: A Short History of Recording and Its Effects on Music (London: Verso, 1995)Google Scholar
Kraus, D., ‘De Mortuis Nihil Nisi Bene: Anmerkungen zu Glenn Goulds Einspielungen der Klaviermusik von Johannes Brahms’, Brahms-Studien 9 (1992), 23–8Google Scholar
Philip, R., ‘Brahms’s musical world: Balancing the evidence’, in Musgrave, M. and Sherman, B. (eds.), Performing Brahms: Early Evidence of Performing Style (Cambridge: Cambridge University Press, 2003), 349–72Google Scholar
Symes, C., Setting the Record Straight: A Material History of Classical Recording (Middletown CT: Wesleyan University Press, 2004)Google Scholar

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  • Recordings
  • 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/10.1017/9781316681374.036
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  • Recordings
  • 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/10.1017/9781316681374.036
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.

  • Recordings
  • 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/10.1017/9781316681374.036
Available formats
×