A CHORAL (AND A NATIONALISTIC) INTERLUDE
It is one of the many ironies surrounding his career that Brahms, famous in history for shunning opera, for his faithfulness to the idea of “absolute music,” and for his role in reviving it, should have gained his first real fame as a composer of choral music to romantic, religious, and patriotic texts. It was, however, a time-honored road to success for German composers in the older Romantic and nationalist tradition, with its many supporting institutions in the guise of singing societies and summer festivals. For a while it was the field in which Brahms was seen to specialize.
- Citation (MLA):
- Richard Taruskin. "Chapter 13 The Return of the Symphony." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 24 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-013006.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 13 The Return of the Symphony. In Oxford University Press, Music in the Nineteenth Century. New York, USA. Retrieved 24 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-013006.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 13 The Return of the Symphony." In Music in the Nineteenth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 24 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-013006.xml