CHAPTER 14 The Symphony Goes (Inter)National
Bruckner, Dvořák, Beach, Franck, Saint-Saëns, Borodin, Chaikovsky
Reviewing Brahms's Fourth Symphony at its Vienna premiere in 1886, Eduard Hanslick marveled that the city had witnessed nineteen symphonic premieres by as many composers over the previous twelve-month period. “It looks as though Brahms's successes have stimulated production, following the long silence which set in after Mendelssohn and Schumann,”1 he concluded. Hanslick exaggerated Brahms's personal responsibility for the phenomenon—little things like wars also played a part, as we shall see—but he was certainly right to marvel. By the mid-1880s “symphonists” were no longer quite as rare as hens’ teeth, nor were they all professors and pupils.
- Citation (MLA):
- Richard Taruskin. "Chapter 14 The Symphony Goes (Inter)National." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 5 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-014.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 14 The Symphony Goes (Inter)National. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 5 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-014.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 14 The Symphony Goes (Inter)National." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 5 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-chapter-014.xml