But the symphony was only the most public arena in which Brahms forged a revitalizing link with the tradition of “absolute” instrumental music. It was an arena that could not be evaded if one wished to refute the premises of “New Germany,” which by virtue of the genres it promoted and its highly active press, had claimed the public sphere as its exclusive preserve. And yet the very publicness of symphonic music, increasing exponentially with the growth of urban (“mass”) culture and the proliferation of orchestras, inspired a backlash among connoisseurs, who (out of disinterested artistic commitment, nostalgia for preindustrial ways, or social snobbery, depending on one's vantage point) placed a new premium on chamber music, the “aristocratic” genre par excellence.
- 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. 26 May. 2016. <http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-013010.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 26 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-013010.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 26 May. 2016, from http://www.oxfordwesternmusic.com/view/Volume3/actrade-9780195384833-div1-013010.xml