His solo piano works feature varying levels of difficulty, Brahmsian
introspection and soaring melodies.
7 is always labelled as Brahmsian
and the dark and turbulent slow movement certainly is.
Appearing in a translation by Loges, Boggemann's essay analyzes chamber works and songs that, in an appeal to "an essentially anti-modernist and anti-Wagnerian ideology," adopt typically Brahmsian
musical features (p.
11, a work of major significance within the set and the Dvorak project in general, in which they succeeded in attaining a perfect symbiosis of the Brahmsian
structure with Dvorak idioms, rhythms and affinity to the middle parts, which were paid great attention to especially in the swiftly conceived Cypresses, including with regard to the clearly led vocal line.
However, unlike Schumann and Wolf, who often obsessed over text-painting specific words within poetic lines, Strauss was more Brahmsian
in the way he approached song writing; although he generally paid attention to the declamation of stressed and unstressed syllables, he more often allowed the general affect of a poem to inspire the general affect of the music.
Elgar's Violin Sonata, a masterpiece of Schubertian lyricism and Brahmsian
passionate warmth, is a more interesting work.
But it was the typically Brahmsian
slow movement - harmonically ever evolving with fascinating orchestration: that strident horn call at the outset and some highly delicate pizzicato in the strings - which was made that much more interesting by the pulling around of the tempi.
I have never been an avid Brahmsian
, but I have always rather enjoyed his Second Symphony, with its pastoral moods and generally cheerful outlook.
The strings in the first movement where packed with Brahmsian
fluency, the woodwind in the second movement were outstanding and the surge and swell of the finale were magnificent.
After a somewhat abstemious lunch, at least by Brahmsian
standards, Verdi returned to his lettuce planting, which appeared to interest him more than talking about music.
After the composition of his Brahmsian
Symphony No1 in 1880, he scored success with his Serenade for wind instruments and by 1885 he had succeeded Hans von Bulow as principal conductor at Meiningen.
After this Brahmsian
build-up, the postlude finally comes to rest on an A major chord, referring back to the third-inversion seventh chord built on A which signalled the beginning of the baby's process of reflection.