2. Franz Liszt, Dance of Death

3. Johannes Brahms, Symphony no. 3 (Poco allegretto)

4. ... was fed a heavy diet of the great masters, Bach, Beethoven, and Haydn... the heir apparent to the legacy of Haydn, Mozart, and Beethoven... again and again Brahms returned to traditional genres and traditional forms Vienna was (and remains) a very conservative city... that Brahms should choose it as his place of residence is not surprising Brahms was a contrapuntalist, a “developer” in the tradition of Bach and Beethoven... Brahms wrote only absolute music...

5. I. The Textbook Brahms A. Brahms the Convervative/Reactionary B. Brahms the Traditionalist C. Brahms the Champion of Absolute Music

7. II. Progressives = The New German School A. = Wagner, Liszt and their Circles B. Organizational Principles 1. Program music 2. leitmotiv C. NGS Rejects Aesthetics of Autonomous Music D. Innovations in Harmony and Orchestration E. Thematic Transformation

8. Thematic Transformation in Liszt, B minor Sonata embodies progress/evolution

9. III. Brahms the Conservative?? A. Wrote mostly absolute music B. Employed traditional forms 1. E.g. 4 symphonies 2. All in traditional 4 movements (using sonata/rondo forms) C. Wrote lots of chamber music D. Harmony largely avoids extreme chromaticism E. Respect for craft and tradition F. Preference for minor keys, sombre tone G. Thick Textures Esp. string quartets, piano quartets, piano quintet

11. IV. Brahms the Progressive I A. Exploration of Rhythm Hemiola = 2 vs. 3 effects 2. Juxtapose compound meter (3s) vs. simple meter (2s): 1. Change groupings of even notes | | | | | |

12. IV. Brahms the Progressive I A. Exploration of Rhythm Hemiola = 2 vs. 3 effects 2. Juxtapose compound meter (3s) vs. simple meter (2s): 1. Change groupings of even notes | | | | | | | | | | | | |

13. V. Brahms the Progressive II: Brahms’s Aesthetics A.17th-18th Century: Music as Representation “picture theory” B. 19th Century: New German School Music as Expression -Tied to “Representing” Outside Reality a. Paints “Picture” in Sound b. If picture is good, listener may feel emotion

14. V. Brahms the Progressive II: Brahms’s Aesthetics A.17th-18th Century: Music as Representation “picture theory” B. 19th Century, New German School: Music as Expression 1.Tied to “Representing” Outside Reality C.19 th Century, Brahms: Aesthetics of Autonomous (Absolute) Music 1. Music doesn’t mirror outside reality; it constructs its own reality.

16. A. __ __ __ __ __ __ __ __ bass O o s t i n a t B. Unfolds as Variations C. Large A - B - A shape 1 2 3 4 #4 5 1 5