- Beach, David. Three Schenkerian-Based Studies: Chamber Works by Mendelssohn, Schumann, and Brahms. Studien und Materialien zur Musikwissenschaft 121. Hildesheim: Georg Olms, 2022 ISBN 978‒3‒487‒16250‒8
- Crocus, Anita. Emil von Sauer, Liszt’s Forgotten Protégé. Eugene, OR: Luminere Press, 2022. ISBN 978‒1‒64388‒964‒1
- Falling, Carol. Wiesbadener Komponistinnen: Schicksale und Erfahrungen. Wiesbaden: Carol Falling, 2021. ISBN 9783000693854
Also presented as a film:
Falling, Carol. Wiesbadener Komponistinnen: Schicksale und Erfahrungen. Wiesbaden Stiftung, 2022. Includes interviews with scholars and excerpts from concerts of the Salonensemble des Hessischen Staatsorchesters Wiesbaden.- Pt. 1 Introduction: Wiesbaden as Cure City
- Pt. 2 Louise Langhans-Japha
- Pt. 3 Julie von Pfeilschifter
- Pt. 4 Luisa Adolpha Le Beau
- Pt. 5 Helen Buchholtz
- Pt. 6 Epilogue and credits
- Grimes, Nicole, and Reuben Phillips, eds. Rethinking Brahms. New York: Oxford University Press, 2022. ISBN 9780197541739
- Reuben Phillips, “Brahms in the Schumann Library,” 7–24
- Styra Avins, “Johannes Brahms, Connoisseur of Graphic Arts,” 25–55
- David Brodbeck, “Settling for Second Best: Brahms’s Männerchor-Lieder in Historical Context,” 56–69
- Jane Hines, “Hearing and Seeing Brahms’s Harps,” 70–88
- Janet Schmalfeldt, “Brahms and the Unreliable Narrative,” 91–109
- Loretta Terrigno, “The Transmission and Reception of Courtly Love Poetry in Late Folksong Settings by Johannes Brahms, Friedrich Wilhelm Arnold, and Wilhelm Tappert,” 110–41
- Tekla Babyak, “Rehearing Brahms’s Late Intermezzi: The Eternal Recurrence of Reflection,” 142–55
- Katharina Uhde, “Joachim and Brahms in the Spring and Summer of 1853: Formative Influences and Performative Identities
- Reconsidered,” 156–76
- Anna Scott, “Doesn’t Play Well with Others: Performance and Embodiment in Brahms’s Chamber Music with Piano,” 177–92
- Julian Horton, “First-Theme Syntax in Brahms’s Sonata Forms,” 195–228
- Benedict Taylor, “Formal Elision in the Chamber Music of Mendelssohn and Brahms: A Case-Study in Romantic Formenlehre,” 229–48
- Peter H. Smith, “Compositional Range versus Compositional Ideal Type: Some Reflections on Brahms and Dvořák,” 249–77
- Frank Samarotto, “Intentional Transgressions: Transformation and Prolongation in Selected Works by Brahms,” 278–98
- Wolfgang Sandberger, “Images, Monuments, Constructs: Johannes Brahms in the Culture of Remembrance,” 301–18
- Martha Sprigge, “Templates for Grief: Brahms’s Requiem after the Dresden Firebombing,” 319–40
- Daniel Beller-McKenna, “‘Aimez-vous Brahms?’ The History of a Question,” 341–54
- Frankie Perry, “Brahms’s Serious Songs in the Orchestral Imagination: Two Episodes in the Arrangement History of Op. 121,” 357–74
- Nicole Grimes, “Hearing Rihm Hearing Brahms: Symphonie ‘Nähe fern’ and the Future of Nostalgia,” 375–95
- Edward Venn, “Spectres and ‘Derangements’: Michael Finnissy’s Summonings of Brahms the Progressive,” 396–411
- Sandberger, Wolfgang, et al. Der junge Brahms: Zwischen Natur und Poesie. Brahms-Institut an der Musikhochschule Lübeck 13. Munich: edition text + kritik, 2022. ISBN 978–3–96707–775–9
The American Brahms Society updates its publications pages twice a year. Those who wish to see earlier lists of publications, please consult the relevant issue of the American Brahms Society Newsletter.