Brahms 2022: New Paths, New Perspectives preliminary program

Hilton Riverside, New Orleans
9–10 November 2022

Abstracts now available

Keynote speaker: Natasha Loges,
Hochschule für Musik Freiburg

Wednesday, 9 November

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)
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

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