Hostname: page-component-cd9895bd7-dzt6s Total loading time: 0 Render date: 2024-12-26T18:11:15.660Z Has data issue: false hasContentIssue false
  • English
  • Français

Katy Hamilton and Natasha Loges, eds, Brahms in the Home and the Concert Hall: Between Private and Public Performance (Cambridge: Cambridge University Press, 2014). xxvii+395 pp. £67.49.

Review products

Katy Hamilton and Natasha Loges, eds, Brahms in the Home and the Concert Hall: Between Private and Public Performance (Cambridge: Cambridge University Press, 2014). xxvii+395 pp. £67.49.

Published online by Cambridge University Press:  12 August 2016

Adriana Ponce
Adriana Ponce*
Affiliation:
Illinois Wesleyan [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Reviews
Information
Nineteenth-Century Music Review , Volume 13 , Issue 2 , December 2016 , pp. 323 - 327
Check for updates
Copyright
© Cambridge University Press 2016 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Quoted from Hanslick, Edward, ‘Waffenruhe am Clavier’, Neue Freie Press, Morgenblatt No. 714, Vienna, 25 August 1866, 1–2 Google Scholar.

2 Bildung is an important nineteenth-century term that can be understood as education in the sense of self-cultivation and edification. The term was often associated with Hausmusik. For a discussion of the relation between Bildung and public concerts, however, see Notley, Margaret, ‘ Volksconcerte and Concept of Genre in Brahms’s Vienna’, in her Lateness and Brahms, AMS Studies in Music (New York and Oxford: Oxford University Press, 2007): 144–168 Google Scholar.

3 Kallberg, Jeffrey, ‘The Rhetoric of Genre: Chopin’s Nocturne in G Minor, 19th-Century Music 11/3 (Spring 1988): 238–261 CrossRefGoogle Scholar, here 239.

4 Hamilton does invoke Thomas Christensen’s related proposition that changes in the primary performance location and therefore the social context of the repertoire destabilizes the generic contract. See Christensen, Thomas, ‘Four Hand Piano Transcriptions and Geographies of Nineteenth-Century Musical Reception’, Journal of the American Musicological Society 52/2 (1999): 255–298 CrossRefGoogle Scholar, as quoted on p. 298.