Hungarian Dances 1784-1810

<p>Joseph Joachim was the most influential violinist in Brahms’s life. Not only did the pair have a close personal friendship, but they also admired and respected each other on a professional level. Their high esteem and appreciation for each other led to performance and compositional collaborations. One of the most beloved and well-known works of Brahms’s violin music, the Violin Concerto, was dedicated to Joachim. Indubitably, Joachim influenced the Violin Concerto. Regardless, there are many debates on how much of an input Joachim had on the concerto. In order to examine the influences of performers and composers on selected violin works of Johannes Brahms, the three sections in this paper will investigate Joachim and Brahms, then discuss the importance of a performer-composer’s relationship in the 19th century and, finally, assess the amount of Joachim’s influence on the Brahms Violin Concerto. Each category will have an introduction and information presented in a biographical form, a historical form and musical analysis. Some of the following analysis may be hypothetical, yet, a possibility. Further part of my research will conclude with a recital programme consisting of the Beethoven Violin Concerto in D major, Op. 61, I. Allegro Ma Non Troppo, Brahms Sonata No. 3 in D minor, Op. 108, Sonatensatz/Scherzo movement of the F-A-E Sonata, and Hungarian Dances No. 1, 5 and 7. This will take place on June 18, 2011 in the Adam Concert Room at New Zealand School of Music at 10:30 A.M.</p>

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Divertimento No. 1, Op. 20. From Old Hungarian Dances for String Orchestra

Notes ◽

10.2307/893894 ◽

1959 ◽

Vol 17 (1) ◽

pp. 148

Author(s):

Robert Hall Lewis ◽

Leo Weiner

Keyword(s):

String Orchestra ◽

Hungarian Dances

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Further reviews

Tempo ◽

10.1017/s0040298206290314 ◽

2006 ◽

Vol 60 (238) ◽

pp. 46-46

Author(s):

Peter Palmer

Keyword(s):

Double Bass ◽

17Th Century ◽

Woodwind Quintet ◽

Hungarian Dances

FARKAS: Serenade for woodwind quintet; Quattro Pezzi for double bass and woodwind; Gyümölcskosár (‘Fruit Basket’); Old Hungarian Dances of the 17th Century; Rondo capriccio; Lavottiana. Ulrike Schneider (mezzosop), Daniel Dodds (vln), Dieter Lange (db), Phoebus Quintet. Toccata Classics TOCC 0019.

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Hungarian Dances

Books Abroad ◽

10.2307/40079353 ◽

1938 ◽

Vol 12 (1) ◽

pp. 113

Author(s):

J. S. Roucek ◽

Karoly Viski

Keyword(s):

Hungarian Dances

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Notes to Kodaly's Recent Setting of Hungarian Dances

Tempo ◽

10.1017/s0040298200051895 ◽

1954 ◽

pp. 29-32

Author(s):

John S. Weissmann

Keyword(s):

Sixteenth Century ◽

Musical Theatre ◽

Spiritual Experience ◽

Musical Culture ◽

Modern Times ◽

Hungarian Dances ◽

Musical Forms

Even the most individual art has some roots in tradition; and the interest of Kodály's music arises from his faculty to elevate his national inheritance to an unmistakably personal language. Historic consciousness has always been a dominating trait both of the man and his art; he posscsses an extraordinary imagination for relating the spiritual experience of earlier periods to musical forms of contemporary validity. Thus a sixteenth century sermon became one of the choral masterpiece of modern times; a popular tale of Napoleonic times intiated the revival of Hungarian musical theatre; and his folksong choruses laid the foundations of the general musical culture in Hungary to-day.

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