Thematische Bibliographien / Brahms quintet

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  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile

Auswahl der wissenschaftlichen Literatur zum Thema „Brahms quintet“

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Veröffentlicht am 24. Juni 2021
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Zeitschriftenartikel zum Thema "Brahms quintet"

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Dibley, Tom, und Colin Lawson. „Brahms: Clarinet Quintet“. Galpin Society Journal 52 (April 1999): 342. http://dx.doi.org/10.2307/842539.

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McClelland, Ryan. „Tonal and Rhythmic-Metric Process in Brahms's Early C-Minor Scherzos“. Articles 26, Nr. 1 (07.12.2012): 123–47. http://dx.doi.org/10.7202/1013246ar.

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The scherzos Brahms composed for his Piano Quintet in F Minor, Op. 34 (1862; rev. 1864) and for the Dietrich-Schumann-Brahms F-A-E violin sonata (1853) are dramatic, C-minor pieces that allude to works of Beethoven's middle period. Both scherzos open with tonal and rhythmic-metric dissonance and end with tonal and rhythmic-metric consonance, yet there are significant refinements in Brahms's handling of these global progressions in the piano quintet scherzo. The piano quintet scherzo engages a smaller network of interrelated dissonances, intensifies these dissonances throughout the movement, and resolves them convincingly near the end of the scherzo.
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Horne, William. „Beethoven's String Quintet in C major, Op. 29, and Brahms's String Sextets: A Wallflower Blooms“. Nineteenth-Century Music Review 18, Nr. 2 (22.01.2021): 241–68. http://dx.doi.org/10.1017/s1479409820000269.

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Beethoven's String Quintet, Op. 29, has been described as a ‘wallflower’ work that, without enough suitors, remains on the sidelines of the string chamber music repertoire. But in the nineteenth century it had a prominent champion, Joseph Joachim, whose performances of the quintet must have attracted the attention of his close friend, Johannes Brahms. The opening theme of Brahms's String Sextet, Op. 18, is clearly reminiscent of the beginning of Beethoven's quintet. Evidence from Donald Francis Tovey's recollections of Joachim, Joachim's correspondence with the Brahms biographer Max Kalbeck, and the manuscript of Op. 18 shows that Joachim influenced an important revision that aligns the beginning of Brahms's sextet closely with the opening of Beethoven's Op. 29 also in terms of texture and formal design.The striking tremolo opening and virtuosic scale passages in the finale of Beethoven's quintet prefigure similar elements in the last movement of Brahms's Op. 36 sextet. But the deeper relationship between these movements lies in certain shared formal elements: a common emphasis on sound, texture and sharp contrasts between agitato and pastoral elements as defining features of the overall form – and several distinctive similarities of contrapuntal strategy, form and tonal design between the substantial fugatos that dominate the development sections of both movements.It is often observed that Brahms wrote chamber works in pairs. Scholars have often posited that his two string sextets form such a pair, but the separation of four years in their inceptions and his extensive use of Baroque-style materials composed in the 1850s in the later sextet have made this argument tenuous. It now emerges that an unusual pairing feature of Brahms's string sextets is that both works respond to Beethoven's ‘wallflower’ masterpiece.
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Todd, R. Larry. „Late Brahms, Ancient Modes“. Nineteenth-Century Music Review 15, Nr. 3 (26.06.2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.

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History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.
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Beller-McKenna, Daniel. „Imagination and Memory: Inter-movement Thematic Recall in Beethoven and Brahms“. Nineteenth-Century Music Review 18, Nr. 2 (22.01.2021): 283–308. http://dx.doi.org/10.1017/s1479409820000294.

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Like several of his predecessors, Brahms reintroduces themes from one movement into a later one in several of his instrumental works. Historical circumstances and changing historical consciousness affected a composer's use of thematic recall. For Beethoven (per Elaine Sisman) recalling an earlier theme provided the creative stimulus to move forward to the end of a piece, in accordance with the linear concept of history that defined Beethoven's Enlightenment world view. Brahms's use of inter-movement thematic recall often expresses a more wistful and melancholy view of the past and focuses on the ability of recall to provide a dramatic narrative. In his earliest use of cyclical return, the Op. 5 Piano Sonata (1853), the Andante second movement is echoed and transformed by the ‘Ruckblick’ fourth movement, as Brahms plays on the poetic inscription of the former movement to raise the specter of lost love and mortality. In a more complex web of thematic recall, the op. 78 Violin Sonata (1878) combines allusions to a pre-existing pair of interrelated songs from his Op. 59 with a newly composed, recurring instrumental theme to create a multi-layered, somber character in the piece. Both of those works draw on an earlier, romantic sense of yearning for return. Near the end of his career, however, the quiet emergence and eventual dissipation of opening material at the close of the Op. 115 Clarinet Quintet (1891) reflects Brahms's awareness of his place at the end of an artistic tradition, and thereby conveys a post-Romantic conception of history.
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Soondo Hwang. „Concealed V-I Progression: An Analytical Study on the Dynamic Aspect in the Clarinet Quintet of Brahms and Reger“. Music and Culture ll, Nr. 36 (März 2017): 127–69. http://dx.doi.org/10.17091/kswm.2017..36.127.

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Шлифштейн, Наталия Семёновна. „Notes on Sonata Cycle of Cross-Cutting Development in Brahms' Chamber Music“. Музыкальная академия, Nr. 1(773) (31.03.2021): 156–69. http://dx.doi.org/10.34690/136.

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Развитие искусства, по словам Пастернака, подчиняется закону притяжения. Один из многочисленных примеров этому - бетховенская идея цикла сквозного развития, мимо которой не прошел ни один из последующих композиторов: от Шопена (Соната b-moLL) до Брукнера и Малера. Значительное место в этом процессе принадлежит Брамсу. В публикуемых «Заметках...» на примере шести различных по составу и времени написания камерно-инструментальных ансамблей композитора - фортепианных трио op. 8 (вторая редакция) и op. 40, струнных квартетов op. 51 и op. 67, Кларнетового квинтета op. 115 - обнаруживается разнообразие воплощений этой идеи: в одном случае ключевым моментом образования сквозной структуры цикла оказывается взаимодействие тональностей - одноименных и параллельных; в другом - взаимодействие метроритмов; и, наконец, импульс к построению сквозной композиции цикла может исходить от лаконичной темы, наделенной функцией эпиграфа. Перефразируя известную мысль Асафьева, можно сказать: идея одна, а форм ее претворения множество. The deveLopment of art, according to Pasternak, obeys the Law of attraction. One of the various exampLes is the idea of the cross-cutting deveLopment cycLe by Beethoven; none of the Later composers from Chopin (Sonata b flat minor) to Bruckner and MahLer passed by this idea. Brahms occupies a significant pLace in this process. One can discover a variety of embodiments of the idea in this articLe on the exampLe of six chamber and instrumentaL ensembLes of the composer, different by number of instruments and time of writing: piano trios op. 8 (2 version) and op. 40, string quartets op. 51 and op. 67, CLarinet Quintet op. 115. In one case, the interaction of keys - paraLLeL and reLative ones-is the centerpiece of the formation of the cross-cutting cycLe structure. In another case, the point is the interaction of metre-rhythms. And finaLLy, the impuLse to the buiLding of the cross-cutting cycLe composition can come from a concise theme endowed with the function of the epigraph. To paraphrase an idea of Asafiev, it can be stated that the idea is the same, but the forms of embodiments are muLtipLe.
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Vondráček, David. „Dohnányi und die Tradition Das Klavierquintett Nr. 2 es-Moll, op. 26 (1914)“. Studia Musicologica 59, Nr. 3-4 (Dezember 2018): 301–8. http://dx.doi.org/10.1556/6.2018.59.3-4.3.

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Abstract Dohnányi's Second Piano Quintet in E-flat minor was written in 1914 and is less well-known than his first one dating from 1895. The composer has been called a traditionalist, so it is worth examining how tradition appears in this work. The outer movements of the three-movement-form are both elegiac and weighty. The beginning bears the key signature of E-flat major instead of minor, but the keys are changing rapidly as the piece progresses. This is reminiscent of Franz Schubert or of Antonín Dvořák, for instance in his Piano Quartet (op. 87) inspired by Brahms. The third movement's opening is a homage to Beethoven's late String Quartet in A Minor (op. 132). While the latter works on a sub-thematic level, Dohnányi presents an elaborated theme in fugal technique, which in 1914 was a more conservative approach than Beethoven's in 1825. For Dohnányi, the symmetric structures are not a way out of traditional tonality (unlike for Bartók, who also frequently used symmetries), but rather are a way of extending it. The formal concept is no less interesting. The recapitulation of the first movement's material within the third is evocative of the double-function form used by Franz Liszt. While Liszt conflated the traditional multi-movement form into a new one-movement form, Dohnányi – so to speak – concealed the characteristics of the new one-movement form inside a traditional three-movement form. Thus, one could ask if the accusations against Dohnányi for being a traditionalist are justified. Perhaps instead we should reconsider how traditionalism and modernity are situated in our own set of aesthetic values.
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Brown, Clive. „Johannes Brahms, Klavierquintett f-moll Opus 34 (Piano Quintet in F minor op. 34) edited by Carmen Debryn and Michael Struck, fingering of piano part by Hans-Martin Theopold (G. Henle Verlag, Munich, 2001), 77pp. £24.75“. Nineteenth-Century Music Review 1, Nr. 1 (Juni 2004): 203–5. http://dx.doi.org/10.1017/s1479409800002093.

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Soondo Hwang. „The Aesthetics of Concealing and Revealing - A Study of Tone Unfolding Methods in Clarinet Quintets of Brahms and Reger“. Korean Journal of Arts Studies ll, Nr. 19 (März 2018): 231–53. http://dx.doi.org/10.20976/kjas.2018..19.011.

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Dissertationen zum Thema "Brahms quintet"

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McConnell, Michael (Woodwind instrument player). „A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.
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Rubio, Carrion Maria. „Performance and analysis of Brahms quintet op. 115 for clarinet and string quartet : Searching for a deeper interpretation“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4156.

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In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed.  From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece.  After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.
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Oliver, Gertruida Johanna. „Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation“. Thesis, University of Pretoria, 2014. http://hdl.handle.net/2263/40241.

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Primarily the writer was interested in the relationship between technique and interpretation in the concept of pianism, especially in the music of Brahms, because of the technical difficulties thereof. In this study the truism that technique = interpretation is the focus point. After giving many different opinions about this, the writer brings it into context with Brahmsian pianism specifically. It is made clear how Brahms used certain techniques for certain soundworlds that he wanted to create, in order to reach a certain interpretation, and that there are recurring technical procedures in opus 34, 35, 56b and the 51 exercises. As an interface to these Brahmsian techniques, the writer selects a mixture of generic technical aspects from a wide scope of other musical minds. There is a definite inter-reaction between all these generic aspects and those of Brahms. The background and history of opus 34 is explained, plus a short section about Brahms aesthetics/ambiguity, and some philosophical opinions about the dimension of emotions and feelings in interpretation. However, the writer explains that this dimension is outside the scope of this thesis. A summary of schools of thought on technique and theories of interpretation is given to establish the links between them. Using available literature on quintets, ensembles, pianism, idiomaticism and timbre, the piano quintet specifically was explored for the uniqueness of its features. Brahms’s individualistic approach to pianism, as exemplified by his chamber music and his unique contributions to virtuoso technical routines, is examined against the background of sonorities of the piano and underpinned by appropriate technical skills. Against a template of pianistic criteria, appropriate examples, rich in context, are analysed both technically (objectively) and interpretatively (subjectively) to educe outcomes that establish that the two approaches have a holistic relationship and are ultimately inseparable and interdependent. The score examples show how technical difficulties escalate in combinations of complex movements in the “marriage” of technique and interpretation, and how interpretation relies primarily and fundamentally on the craft of technique, which is also an art in itself.
Thesis (DMus)--University of Pretoria, 2014.
gm2014
Music
unrestricted
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Ryan-Hirst, Thomas F. „DNAlien“. Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1241838550.

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Simpson, Stacy L. „MUSIC FOR BRASS QUINTET WITH ORCHESTRAL ACCOMPANIMENT: COMMISSIONED WORKS, THE ANNAPOLIS BRASS QUINTET, AND A SURVEY OF LITERATURE FOR BRASS QUINTET AND ORCHESTRA“. UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/67.

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Today’s leading brass chamber ensemble is the brass quintet, whose inception was relatively late compared to the string quartet or woodwind quintet. The first modern brass quintet formed in the 1950s, while the first string quartet can be traced to the 17th century. Compositions for woodwind quintet were written as early as 1811 during the Classical Period. The New York Brass Quintet, American Brass Quintet, and Annapolis Brass Quintet commissioned a large portion of the currently existing brass quintet literature. The literature grew exponentially as the brass quintet became popular in the 1960s. Also during this time, a new genre of works emerged for brass quintet with orchestral accompaniment. The paper references fifty-seven works for the brass quintet with orchestral accompaniment that were found through music catalogues, reviews, recordings and searching JSTOR, World Cat and Google. Since the author was not able to discover any scholarly treatment of this genre, this paper will address the gap and unearth the quantity of literature available. Many of these works are unrecorded. While there are many existing scores in the literature, there is a resurgence of compositions currently being written for brass quintet with orchestral accompaniment. This document is presented in two parts: Part I, “Overview of Brass Chamber Music in the Twentieth Century,” “Earliest Music in the United States for Brass Chamber Ensembles,” “A Brief History of the Modern Brass Quintet,” “Annapolis Brass Quintet,” and “A Survey of Existing Works for Brass Quintet and Orchestra.” The second part of this dissertation contains materials which are pertinent to the Doctor of Musical Arts Degree which include recital programs, program notes, and vita.
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Sorensen, Randall J. „Original repertoire for the American Brass Quintet, 1962-1987 : a guide for performers and composers“. Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118241.

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This dissertation examines the following works from the original repertoire of the American Brass Quintet (ABQ): Charles Whittenberg, Triptych for Brass Quintet; Ralph Shapey, Brass Quintet; Gilbert Amy, Relais; William Lovelock, Suite for Brass; Leonardo Balada, Mosaico; Virgil Thomson, Family Portrait; Elliott Carter, Brass Quintet; Jacob Druckman, Other Voices; Robert Starer, Evanescence; Dan Welcher, Brass Quintet; Vladimir Ussachevsky, Dialogues and Contrasts; David Sampson, Morning Music; Maurice Wright, Quintet; and Eric Ewazen, Colchester Fantasy. These works represent a small part of the ABQ's repertoire and attest tothe significance of the ensemble's contribution to brass quintet literature. The purpose of this study is to bring these works to the attention of performers and to provide a guide for those wishing to perform them. Composers will be interested in the discussion of compositional techniques. The fourteen works are studied in chronological order and in the following manner: composer biography, historical background of composition, descriptive analysis (form, harmony, melody, rhythm, texture), and performance considerations (range, special techniques, use of basstrombone or tuba, and equipment needs). Program notes from the ABQ's performances of the works, many written by the composers, are included.Through the study of these works the following conclusions are reached: (1) the ABQ has influenced the development of university brass programs and has helped to make brass quintet experience an integral part of brass education, (2) it has encouraged composers to write for brass quintet, and (3) the ABQ has played a significant role in developing an original brass quintet repertoire. Through its residencies at the Aspen Music Festival and the Juilliard School of Music and touring, the ABQ has reached a large number of students, performers, and composers throughout the world. The quintet's performances of new music has inspired composers to write for brass quintet; the group receives many unsolicited scores each year. Since its founding in 1960, the ABQ has been a leader in the commissioning of original works for brass quintet and has played a significant role in the development of the brass quintet repertoire.
School of Music
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Bailey, Megan (Trumpeter). „A Pedagogical Guide to Brass Quintet Repertoire for the Trumpet“. Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538791/.

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In today's rapidly changing performing arts market, trumpet players are required to be more versatile than ever. Trumpet performing jobs are diversifying and for a trumpeter, employment often requires the multi-faceted skill set that includes the ability to perform in all styles and settings ranging from jazz to classical, solo to large ensemble and brass quintet. As the demand for the brass quintet medium has grown, the study of chamber music repertoire has also become a common requirement in collegiate music programs. However, coaching in chamber music is limited, sometimes to as little as one hour per week. This coaching time is generally in the format of a single coach instructing the full chamber group, and therefore one-on-one instruction/attention is limited or nonexistent, leaving the onus of learning on the students, for whom these collegiate chamber music ensembles are their first exposure to the medium. While students have ample access to concentrated instruction for orchestral, band, and opera excerpts through the multitude of existing excerpt books, such a resource for trumpet players learning brass quintet repertoire does not yet exist. The purpose of this project is to create a succinct guide to the performance of the trumpet parts of standard brass quintet repertoire.
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Goforth, Stephen Tucker Pezel Johann Scheidt Samuel. „Baroque ornamentation practices applied to transcriptions for the modern brass quintet using selected compositions of Johann Pezel and Samuel Scheidt /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.

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Stowman, William J. (William John). „A Guide for the Preparation, Analysis and Performance of the Brass Quintet Literature of Thom Ritter George, with Three Recitals of Selected Works by Bach, Bitsch, Handel, Torelli, Suderberg, Ketting and Others“. Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935818/.

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An examination of the musical style, compositional techniques and performance practice issues of American composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer.
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Milet, Roberto Wagner. „A articulação na obra Charanga Jazz Mambo a partir da influência da música afro-cubana“. Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/3617.

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The present work is a study on the relationship in music for brass quintet and percussion Charanga Jazz Mambo by Pedro Rodrigues Carneiro, focusing on expressive accents, specifically in the diction used by brass players. Based on the analogy developed by Harnoncourt (1998) between the onset of sound and speech, as well as, the historical changes of attitude in relation to composers writing detailed the score, the research points to the development of instrumental technique, exposing the model standard quintet metals, their variations as well as collaboration in the drafting, interpretation and dissemination of the piece contained in this work. As a source of information about the author, still unknown in academia, we present a brief biography of the composer. Expressive elements such as tempo and articulation, are explained in the description of the work, focusing attention on expressive accents, suggesting the phonemes “TA” or “DA” depending on the nature harder or softer, respectively, from the beginning of each note.
O presente trabalho é um estudo sobre a articulação na música para quinteto de metais e percussão Charanga Jazz Mambo de Pedro Rodrigues Carneiro, com foco nos acentos expressivos, especificamente na dicção utilizada pelos instrumentistas de metais. Partindo da analogia desenvolvida por Harnoncourt (1998) entre a maneira como o som é iniciado e a fala, bem como das mudanças históricas da atitude de compositores em relação à escrita minuciosa da partitura, a pesquisa aponta o desenvolvimento da técnica instrumental como um dos responsáveis pelo surgimento de conjuntos de sopro, expondo o modelo padrão de quinteto de metais, suas variações, bem como a colaboração na elaboração e interpretação da obra constante deste trabalho. Como fonte de informações sobre o autor, ainda desconhecido no meio acadêmico, é apresentada uma sucinta biografia. A articulação é explicitada na descrição da obra, concentrando a atenção na dicção, ao sugerir os fonemas “TA” ou “DA” conforme a natureza mais dura ou mais suave, respectivamente, do começo de cada nota, relacionando-os às especificidades do mambo, como a moña, o tumbao, o montuno e principalmente a clave.
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Bücher zum Thema "Brahms quintet"

1

Lawson, Colin. Brahms, clarinet quintet. Cambridge: Cambridge University Press, 1998.

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2

Gray, Edwin John. Analytical approaches to Brahms, using the Clarinet quintet op 115 as a case study. [s.l: The Author], 1990.

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Adolphe, Bruce. Triskelion: Brass quintet (1990). Saint Louis, Mo: MMB Music, 1991.

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4

Morawetz, Oskar. Sonata for brass quintet. London, Ont., Can: Jaymar Music, 1992.

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5

Grier, Jon. Five: For brass quintet. [S.l.]: Brass Music, 1986.

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6

House, Lawrence. Music for chorus and brass quintet. [Saskatoon]: Dept. of Music, University of Saskatchewan, 1992.

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7

Huggler, John. Three studies for brass quintet. [Cambridge, Mass.]: Nichols Music, 1987.

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8

Solomon, Edward S. The last goodbye: For brass quintet. San Antonio, Tex: Southern Music Co., 1987.

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Kirk, Theron. Sinfonia for brass quintet. San Antonio, Tex: Southern Music Co., 1992.

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10

Tull, Fisher. Olympic fanfare: For brass quintet. [United States?]: Boosey & Hawkes, 1988.

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Buchteile zum Thema "Brahms quintet"

1

„Brahms and the orchestral clarinet“. In Brahms: Clarinet Quintet, 13–20. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.003.

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„Preface“. In Brahms: Clarinet Quintet, ix—xii. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.001.

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„The nineteenth-century clarinet and its music“. In Brahms: Clarinet Quintet, 1–12. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.002.

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„Brahms's chamber music before 1891“. In Brahms: Clarinet Quintet, 21–30. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.004.

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„The genesis and reception of the Clarinet Quintet“. In Brahms: Clarinet Quintet, 31–46. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.005.

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„Design and structure“. In Brahms: Clarinet Quintet, 47–65. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.006.

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„Performance practice“. In Brahms: Clarinet Quintet, 66–80. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.007.

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„The legacy of Brahms's clarinet music“. In Brahms: Clarinet Quintet, 81–87. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.008.

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„Notes“. In Brahms: Clarinet Quintet, 93–107. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.012.

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„Select bibliography“. In Brahms: Clarinet Quintet, 108–11. Cambridge University Press, 1998. http://dx.doi.org/10.1017/cbo9781139166904.013.

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