MARC Record from marc_columbia

LEADER: 03342cam a2200553Mi 4500
001 15125336
005 20210607113301.0
006 m o d
007 cr cn|||||||||
008 170824s2017 enk o 000 0 eng d
035 $a(OCoLC)on1001949542
035 $a(NNC)15125336
040 $aTYFRS$beng$erda$epn$cTYFRS$dN$T$dOCLCQ$dOCLCO$dOCLCF$dOCLCA$dUKMGB$dOCLCQ$dNLW
015 $aGBB7F4716$2bnb
016 7 $a018443846$2Uk
019 $a995849288
020 $a9781315096155$q(e-book ;$qPDF)
020 $a1315096153
020 $a9781351573245
020 $a1351573241
020 $z9781409465577
035 $a(OCoLC)1001949542$z(OCoLC)995849288
037 $a9781351573245$bIngram Content Group
050 4 $aML410.B8
072 7 $aMUS$x023000$2bisacsh
072 7 $aMUS$x037020$2bisacsh
082 04 $a784.18/83092$223
049 $aZCUA
100 1 $aPascall, Robert,$eauthor.
245 10 $aBrahms Beyond Mastery :$b"His Sarabande and Gavotte, and its Recompositions " /$cRobert Pascall.
250 $aFirst edition.
264 1 $aLondon :$bTaylor and Francis,$c2017.
300 $a1 online resource :$btext file, PDF
336 $atext$btxt$2rdacontent
337 $acomputer$bc$2rdamedia
338 $aonline resource$bcr$2rdacarrier
520 2 $a"In 1853 Robert Schumann identified fully-formed compositional mastery in the young Brahms, who nevertheless in the years following embarked on a period of intensive further study, producing, among other works, the neo-baroque Sarabande and Gavotte. These dances have not been properly recognized as constituting a distinct Brahms work before now, but manuscript evidence and their performance history indicate that Brahms and his friends thought of them as such in the mid-1850s, when they became the first music of his performed publicly in Gdansk, Vienna, Budapest and London. He later suppressed the dances, using them instead as a thematic quarry for three chamber music masterpieces, from different stages in his life and in distinctly different ways: the Second String Sextet, the First String Quintet and the Clarinet Quintet. This book gives an account of the compositional and performance history, stylistic features and re-uses of the dances, setting these in the wider context of Brahms?s developing creative concerns and trajectory. It constitutes therefore a study of a?lost? work, of how a fully-formed master opens himself to?the in-flowing from afar? (in Martin Heidegger?s terms), and of the transformative reach and concomitant expressive richness of Brahms?s creative thought."--Provided by publisher.
600 10 $aBrahms, Johannes,$d1833-1897$xCriticism and interpretation.
600 10 $aBrahms, Johannes,$d1833-1897.$tSarabands,$nWoO 5,$mpiano.
600 10 $aBrahms, Johannes,$d1833-1897.$tGavottes,$nWoO 3,$mpiano.
600 17 $aBrahms, Johannes,$d1833-1897.$2fast$0(OCoLC)fst00039029
650 7 $aMUSIC$xMusical Instruments$xGeneral.$2bisacsh
650 7 $aMUSIC$xPrinted Music$xBand & Orchestra.$2bisacsh
655 0 $aElectronic books.
655 4 $aElectronic books.
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
776 0 $z9781315096155$z9781351573252
856 40 $uhttp://www.columbia.edu/cgi-bin/cul/resolve?clio15125336$zTaylor & Francis eBooks
852 8 $blweb$hEBOOKS