Chapter

BRAHMS, THE SCHUMANN CIRCLE, AND THE STYLE HONGROIS: CONTEXTS FOR THE “DOUBLE” CONCERTO, OP. 102

John Daverio

in Crossing Paths

Published in print November 2002 | ISBN: 9780195132960
Published online May 2008 | e-ISBN: 9780199867059 | DOI: http://dx.doi.org/10.1093/acprof:oso/9780195132960.003.0008
BRAHMS, THE SCHUMANN CIRCLE, AND THE STYLE HONGROIS: CONTEXTS FOR THE “DOUBLE” CONCERTO, OP. 102

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This chapter focuses on Brahms' Concerto in A minor for Violin, Cello, and Orchestra, Op. 102. It sketches a musical family tree for the “Double” Concerto — a network of models in which Robert Schumann and the members of his extended creative family play a crucial role. The sketch will focus on two levels of the concerto's genealogy. On the one hand, it will address the extent to which the work was bound up with Schumann's aesthetic of the concerto in general and with his late works for soloists and orchestra in particular. On the other hand, it will attempt to reveal Brahms' debt to an idiom — transmitted to him principally through Joachim — about which most critics of the concerto have said little of substance: the style hongrois that is, the musical language employed by Western composers to evoke the performing manner of the Hungarian gypsies.

Keywords: Brahms; Schumann; Violin; Cello; Orchestra; Op. 102; soloists

Chapter.  18493 words.  Illustrated.

Subjects: Musicology and Music History

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