Hilton Riverside, New Orleans
9–10 November 2022
Keynote speaker: Natasha Loges,
Hochschule für Musik Freiburg
The American Brahms Society will host a pre-conference on 9–10 November at the Hilton Riverside in New Orleans, immediately preceding the combined annual meetings of the American Musicological Society, Society for Music Theory, and Society for Ethnomusicology. Brahms 2022: New Paths, New Perspectives will offer fresh looks at Brahms’s music and his world and will address aspects of Brahms scholarship and performance in our world. Natasha Loges will deliver the keynote address. The schedule of paper presentations is given below, and a PDF of the abstracts is now available.
Locations: Wednesday sessions will take place in Grand Salon 4 (1st floor). Thursday sessions will be held in Kabacoff in the Riverside Complex.
Brahms after Dark: We invite conference attendees to join us for a celebration on Wednesday evening at a local venue. Food and drinks will be available for purchase at a moderate price. For more information, please contact Valerie Goertzen at goertzen@loyno.edu.
There is no registration fee for the pre-conference, and all are welcome. Those wishing to make a donation towards the costs of the conference may do so through the website (credit card or PayPal) or by mailing a check (payable to The American Brahms Society) to: The American Brahms Society, Attn: Marie Sumner Lott, Georgia State University, School of Music, P. O. Box 3993, Atlanta, GA 30302-4038. We appreciate your support!
Program (abstracts now available)
Wednesday, 9 November, Grand Salon 4
8:30–10:00 Contexts
Chair: Nicole Grimes, University of California, Irvine
- Reuben Phillips, University of Oxford
The Afterlives of Brahms’s Library: From the Viennese Courts to UNESCO’s “Memory of the World” - Marie Sumner Lott, Georgia State University
The Influence of Post-Romantic Literature on Brahms and His Music - Robert Anderson, University of North Texas
Reevaluating Brahms and Politics: A Perspective from Cultural Nationalism
10:00 Break
10:30–11:30 Dichotomies
Chair: Karen Leistra-Jones, Franklin and Marshall College
- Tekla Babyak, Davis, CA
Modal Humans and Tonal Gods in Brahms’s Gesang der Parzen - David Keep, Hope College
The Brahmsian Sublime
11:30 Lunch
1:30–3:00 Brahms’s Hybrid Metric Dissonances
(themed session)
Chair: Scott Murphy, University of Kansas
Convenor: Richard Cohn, Yale University
- Richard Cohn
Introduction, and Hybrid Dissonances as Product Networks - Ryan McClelland, University of Toronto
Hybrid Metric Dissonances and Formal Function in Brahms’s Instrumental Music - Jason Yust, Boston University
Multivalent Displaced Hemiolas in Brahms’s Late Songs
3:00 Break
3:30–4:30 Keynote address
Natasha Loges, Hochschule für Musik Freiburg
Under Pressure: Brahms and Musicology in the 21st Century
Thursday, 10 November, Kabacoff
8:30–10:00 Close Hearings
Chair: Peter Smith, University of Notre Dame
- Samuel Hollister, Peabody Conservatory/Johns Hopkins
Uncanny Modulation via Syntactic Dissonance in the Second Movement of Brahms’s First String Quintet - Benedict Taylor, University of Edinburgh
Feinting Repeats, Repeating Feints: The Developmental “Double Return” in Brahms and Sonata Theory Typology - Dani Zanuttini-Frank, Yale University
Metric Motives in Brahms Op. 111
10:00 Break
10:30–11:30 In Performance
Chair: Styra Avins, New York
- Heather Platt, Ball State University
Art Versus Profit: George and Lillian Henschel’s Performances of Brahms’s Lieder - Katharina Uhde, Valparaiso University
“Becoming” Johannes Brahms, the Composer of Violin Concerto Op. 77