Pre-conference welcome and registration<\/p>\n
Informal dinner for those who are in town<\/p>\n
\u00a0<\/p>\n
All conference sessions take place in the CAC Colloquium Room. Maps are provided in the conference booklet which you will receive upon arrival.<\/p>\n
Friday 1 February<\/strong><\/h3>\nCoffee will be available for registered delegates in CAC3001A from 8.30am<\/span><\/p>\n\u00a0<\/strong>Session 1: 09.00\u201310.30 <\/strong>| Reflections on Brahms\u2019s Piano Music (<\/strong>Chair, Janet Schmalfeldt)<\/strong><\/p>\nKenneth DeLong (University of Calgary), Of Ballads, Songs, and Rhapsodies: Genre Designations in Brahms\u2019s Late Piano Music<\/p>\n
Tekla Babyak (Davis, CA), Rehearing Brahms\u2019s Klavierst\u00fccke. The Eternal Recurrence of Reflection<\/a><\/p>\nTheodora Serbanescu-Martin (Cornell University), Recomposing Brahms\u2019s Op. 116 Capriccios: \u201cHidden\u201d Virtuosity, Brahmsian Lateness and the Aesthetic of Impossibility<\/p>\n
10:30\u201310:45: Refreshments<\/strong><\/em><\/p>\n\u00a0<\/strong>Session 2: 10.45\u201312.15 <\/strong>|\u00a0<\/strong>Form and Models (Chair, Walter Frisch)<\/strong><\/h5>\nBenedict Taylor (Edinburgh University), Mendelssohn, Brahms, and the \u2018Romantic Turn\u2019 in the New Formenlehre<\/em>: Formal Elision in the Chamber Music for Strings<\/p>\nJennifer Shafer (University of Delaware), Johannes Brahms and Chopin\u2019s Op. 55, No. 1: A Long-Term Development<\/p>\n
Risa Okina (Temple University), The Musical Uncanny and its Hermeneutic Implication in the First Movement of Brahms\u2019s Piano Quartet in G minor, op. 25<\/p>\n
12.15\u201312.55 Catered Lunch<\/strong><\/em><\/p>\n\u00a0<\/strong><\/p>\n1:00\u20132:00: Lunchtime Recital, Winifred Smith Hall<\/strong><\/h5>\nBrahms, Sonata for Violin and Piano in G major, Op. 78,\u00a0<\/p>\n
Brahms, Sonata for Cello and Piano in F major, Op. 99<\/p>\n
Haroutune Bedelian<\/a>, Violin,\u00a0Sarah Koo<\/a>, Cello Lorna Griffitt<\/a>, Piano<\/p>\nSponsored by UCI Illuminations<\/a>, this lunchtime recital is free and open to the public.<\/span><\/strong><\/p>\n\u00a0<\/strong><\/p>\nSession 3: 2.15\u20133.45 <\/strong>|\u00a0<\/strong>Nostalgia and Historicism (Chair, Valerie Woodring Goertzen)<\/strong><\/h5>\nLoretta Terrigno (Juilliard School), \u201cThe Transmission and Reception of Courtly Love Poetry in Late Folksong Settings by Brahms and Friedrich Wilhelm Arnold\u201d<\/a><\/p>\nJoanna Chang (Duke University), Contextualizing Brahms’s\u00a0Handel\u00a0<\/em>Variations: Volkmann’s Variations on a Theme by Handel\u00a0Op. 26\u00a0(1856) and Emanuel Mo\u00f3r’s Variations and Fugue on a Hungarian Theme\u00a0Op. 24\u00a0(c. 1889) Reconsidered<\/p>\nJane Hines (Princeton University), The Apollonian\/Dionysian Dialectic in the Works of Johannes Brahms and Max Klinger<\/p>\n
Refreshments: 3:45\u20134:00<\/strong><\/em><\/p>\nSession 4: 4.00\u20135.00 <\/strong>|\u00a0<\/strong>Brahms and Nationalism (Chair, David Brodbeck)<\/strong><\/h5>\nJon Banks (Anglia Ruskin University), Brahms\u2019s Hungarian Dances and the Early Gypsy Band Recordings<\/p>\n
Katharina Uhde (Valparaiso University), Multi-Cultural Allusions in the Correspondence of Johannes Brahms, J. O. Grimm, and Joseph Joachim in the 1850s<\/a><\/p>\nRefreshments: 5.00\u20135.30<\/strong>\u00a0<\/strong><\/em><\/p>\nKeynote Lecture No. 1: <\/strong>“Brahms and the Theory of Romantic Form,”\u00a0<\/strong>Professor Julian Horton, Durham University\u00a0|\u00a0<\/strong>5.30<\/strong>\u20136.30, Winifred Smith Hall<\/strong><\/a><\/h3>\nSponsored by UCI Illuminations<\/a>, this keynote lecture is free and open to the public.<\/span><\/strong><\/p>\nWelcome wine reception: 6.30\u20137.30, Contemporary Art Centre<\/strong><\/em><\/p>\n\u00a0<\/strong><\/p>\nSaturday 2 February<\/strong><\/h3>\nCoffee will be available for registered delegates in CAC3001A from 8.30am<\/span><\/p>\nSession 5a: <\/strong>09.00\u201310.30 <\/strong>|\u00a0<\/strong>After Brahms\/Re-Composing Brahms I (Chair, Nicole Grimes)<\/strong><\/h5>\nKyle Shaw (California State University, Bakersfield), \u201cA Piece Just About the Logic and Not the Beauty and Warmth\u201d Thomas Ad\u00e8s\u2019s Anti Homage Brahms, op. 21<\/a><\/p>\nFrankie Perry (Royal Holloway, University of London), Serious Preludes for Serious Songs, Detlev Glanert\u2019s \u2018respectful and imaginative\u2019 Orchestral Framing of Brahms\u2019s Vier ernste Ges\u00e4nge<\/a><\/p>\nRyan McClelland (University of Toronto), Distancing Brahms: Formal Processes in Wolfgang Rihm\u2019s N\u00e4he fern\u00a0<\/em>1\u20134<\/p>\nRefreshments: 10.30\u201310.45<\/strong><\/em><\/p>\nSession 5b: 10.45\u201311.45 <\/strong>|\u00a0<\/strong>After Brahms\/Re-Composing Brahms II (Chair, Styra Avins)<\/strong><\/h5>\nMartha Sprigge (University of California, Santa Barbara), Brahmsian Templates of Grief: Rudolf Mauersberger\u2019s Musical Responses to the Dresden Firebombing<\/p>\n
\u00a0<\/strong>Daniel Beller-McKenna (University of New Hampshire), Aimez-vous Brahms: The History of a Question<\/p>\n\u00a0<\/strong>Refreshments: 11.45\u201312.15<\/strong><\/em><\/p>\nSession 6: 12.15\u20131.15 <\/strong>|\u00a0<\/strong>Lecture Recital, Winifred Smith Hall (Chair, Valerie Woodring Goertzen)<\/strong><\/h5>\nKatherina Uhde (Valparaiso University), Michael Uhde (Hochschule f\u00fcr Musik Karlsruhe), and Larry Todd (Duke University), Exploring Eduard Rem\u00e9nyi\u2019s, Joseph Joachim\u2019s, and Anonymous\u2019s\u00a0style hongrois, <\/em>or, hypothesizing what Brahms could have heard in 1853\u00a0<\/strong><\/p>\nLunch: 1.15\u20132.30<\/strong><\/em><\/p>\nSession 7a: 2.30\u20134.00 <\/strong>|<\/strong>Brahms and Literature and Art (Chair, Marie Sumner Lott)<\/strong><\/h5>\nReuben Phillips (Princeton University), Brahms in Schumann\u2019s Library<\/p>\n
Martin Ennis (University of Cambridge), Secrets of the Grave: New Light on Textual Precedents for Brahms\u2019s Ein deutsches Requiem<\/em><\/p>\nStyra Avins (New York), Brahms and Graphic Arts<\/p>\n
Refreshments: 4.00\u20134.15<\/strong><\/em><\/p>\n\u00a0<\/strong>Session 7b: 4.15\u20135.15 <\/strong>|\u00a0<\/strong>Brahms and Literature and Art II (Chair, Benedict Taylor)<\/strong><\/h5>\nRose Mauro (University of Massachusetts, Worcester), Brahms, Goethe, Schubert; or the Undoing of \u201cClassical\u201d Music<\/p>\n
James Lea (Royal Welsh College of Music and Drama), His “Dark Familiar”: Brahms and Modernist American Poetry<\/p>\n
Refreshments: 5.15<\/strong>\u20135.45<\/strong><\/em>\u00a0<\/strong><\/p>\nKeynote Lecture No. 2: “Femininity, Fragments and Fingers<\/span>: Reconstructing Brahms\u2019s Intellectual World,” Dr Natasha Loges, Royal College of Music\u00a0|\u00a0<\/strong>5.45<\/strong>\u20136.45, Winifred Smith Hall<\/strong><\/a><\/h3>\nSponsored by UCI Illuminations<\/a>, this keynote lecture is free and open to the public.<\/span>\u00a0<\/strong><\/p>\nConference Dinner<\/strong><\/em><\/p>\nSunday 3 February<\/strong><\/h3>\nCoffee will be available for registered delegates in CAC3001A from 8.30am<\/span><\/p>\nSession 8: 09.00\u201311.00<\/strong>\u00a0<\/strong>|\u00a0<\/strong>Brahms and Narrativity (Chair, Ryan\u00a0McClelland)<\/strong><\/h5>\nJanet Schmalfeldt (Tufts University), Brahms and the Unreliable Narrative<\/p>\n
Robert Snarrenberg (Washington University in St Louis), Syntax and Discourse in Songs by Brahms<\/a><\/p>\nSanna Pederson (University of Oklahoma), The Problem of Genre and the Power of Narrative. The Case of the Double Concerto<\/a><\/p>\nTimothy Gonzalez (Temple University), Brahmsian Expressivity: Revelation through Kristeva\u2019s Revolution<\/em><\/p>\n\u00a0<\/strong>Refreshments: 11.00\u201311.30<\/strong><\/em><\/p>\nSession 9: 11.30\u20131.30\u00a0<\/strong>|\u00a0<\/strong>Liberalism\/nationalism\/social and political issues\/universalism (Chair, Sanna\u00a0<\/strong>Pederson)<\/h5>\nRobert Michel Anderson (University of North Texas), \u201cReal German Folklore\u201d or \u201cUnfortunate Brahmin-Decadence\u201d? Brahms\u2019s Vocal Quartets and the Nationalist Politics of Hausmusik<\/em>\u00a0<\/em><\/p>\nSara McClure (University of Kansas), \u201cThe exile listens secretly\u2026 and shakes his head\u201d: Johannes Brahms, Duke Georg II, and German Nationalism<\/p>\n
Jacob Gran (Louisiana State University), From Arcadia to Elysium: Beethoven, Brahms, and Universal History<\/p>\n
Vasiliki Papadopolou (Austrian Academy of Sciences, Vienna), The \u201cnew Johannes in the tone desert\u201d or Brahms on his way \u201cto Immortality\u201d? Sociological Discourses in the Viennese Press around Johannes Brahms<\/p>\n
\u00a0<\/p>\n
~ End of conference ~<\/h6>\n
\u00a0<\/p>\n
\u00a0<\/p>\n\n\n![\"\"](\"http:\/\/brahmsonthepacific.com\/wp-content\/uploads\/2018\/12\/Screenshot-2018-12-12-16.29.59-15-1024x221.png\")
<\/figure>\n","protected":false},"excerpt":{"rendered":"Program Please note: Handouts are available online for the papers with hyperlinks below. Thursday 31 January Pre-conference welcome and registration Informal dinner for those who are in town \u00a0 All conference sessions take place in the CAC Colloquium Room. Maps are provided in the conference booklet which you will receive upon arrival. Friday 1 February … Continue reading “Program”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-393","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages\/393","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/comments?post=393"}],"version-history":[{"count":38,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages\/393\/revisions"}],"predecessor-version":[{"id":643,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages\/393\/revisions\/643"}],"wp:attachment":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/media?parent=393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\u00a0<\/strong>Session 1: 09.00\u201310.30 <\/strong>| Reflections on Brahms\u2019s Piano Music (<\/strong>Chair, Janet Schmalfeldt)<\/strong><\/p>\n Kenneth DeLong (University of Calgary), Of Ballads, Songs, and Rhapsodies: Genre Designations in Brahms\u2019s Late Piano Music<\/p>\n Tekla Babyak (Davis, CA), Rehearing Brahms\u2019s Klavierst\u00fccke. The Eternal Recurrence of Reflection<\/a><\/p>\n Theodora Serbanescu-Martin (Cornell University), Recomposing Brahms\u2019s Op. 116 Capriccios: \u201cHidden\u201d Virtuosity, Brahmsian Lateness and the Aesthetic of Impossibility<\/p>\n 10:30\u201310:45: Refreshments<\/strong><\/em><\/p>\n Benedict Taylor (Edinburgh University), Mendelssohn, Brahms, and the \u2018Romantic Turn\u2019 in the New Formenlehre<\/em>: Formal Elision in the Chamber Music for Strings<\/p>\n Jennifer Shafer (University of Delaware), Johannes Brahms and Chopin\u2019s Op. 55, No. 1: A Long-Term Development<\/p>\n Risa Okina (Temple University), The Musical Uncanny and its Hermeneutic Implication in the First Movement of Brahms\u2019s Piano Quartet in G minor, op. 25<\/p>\n 12.15\u201312.55 Catered Lunch<\/strong><\/em><\/p>\n \u00a0<\/strong><\/p>\n Brahms, Sonata for Violin and Piano in G major, Op. 78,\u00a0<\/p>\n Brahms, Sonata for Cello and Piano in F major, Op. 99<\/p>\n Haroutune Bedelian<\/a>, Violin,\u00a0Sarah Koo<\/a>, Cello Lorna Griffitt<\/a>, Piano<\/p>\n Sponsored by UCI Illuminations<\/a>, this lunchtime recital is free and open to the public.<\/span><\/strong><\/p>\n \u00a0<\/strong><\/p>\n Loretta Terrigno (Juilliard School), \u201cThe Transmission and Reception of Courtly Love Poetry in Late Folksong Settings by Brahms and Friedrich Wilhelm Arnold\u201d<\/a><\/p>\n Joanna Chang (Duke University), Contextualizing Brahms’s\u00a0Handel\u00a0<\/em>Variations: Volkmann’s Variations on a Theme by Handel\u00a0Op. 26\u00a0(1856) and Emanuel Mo\u00f3r’s Variations and Fugue on a Hungarian Theme\u00a0Op. 24\u00a0(c. 1889) Reconsidered<\/p>\n Jane Hines (Princeton University), The Apollonian\/Dionysian Dialectic in the Works of Johannes Brahms and Max Klinger<\/p>\n Refreshments: 3:45\u20134:00<\/strong><\/em><\/p>\n Jon Banks (Anglia Ruskin University), Brahms\u2019s Hungarian Dances and the Early Gypsy Band Recordings<\/p>\n Katharina Uhde (Valparaiso University), Multi-Cultural Allusions in the Correspondence of Johannes Brahms, J. O. Grimm, and Joseph Joachim in the 1850s<\/a><\/p>\n Refreshments: 5.00\u20135.30<\/strong>\u00a0<\/strong><\/em><\/p>\n Sponsored by UCI Illuminations<\/a>, this keynote lecture is free and open to the public.<\/span><\/strong><\/p>\n Welcome wine reception: 6.30\u20137.30, Contemporary Art Centre<\/strong><\/em><\/p>\n \u00a0<\/strong><\/p>\n Coffee will be available for registered delegates in CAC3001A from 8.30am<\/span><\/p>\n Kyle Shaw (California State University, Bakersfield), \u201cA Piece Just About the Logic and Not the Beauty and Warmth\u201d Thomas Ad\u00e8s\u2019s Anti Homage Brahms, op. 21<\/a><\/p>\n Frankie Perry (Royal Holloway, University of London), Serious Preludes for Serious Songs, Detlev Glanert\u2019s \u2018respectful and imaginative\u2019 Orchestral Framing of Brahms\u2019s Vier ernste Ges\u00e4nge<\/a><\/p>\n Ryan McClelland (University of Toronto), Distancing Brahms: Formal Processes in Wolfgang Rihm\u2019s N\u00e4he fern\u00a0<\/em>1\u20134<\/p>\n Refreshments: 10.30\u201310.45<\/strong><\/em><\/p>\n Martha Sprigge (University of California, Santa Barbara), Brahmsian Templates of Grief: Rudolf Mauersberger\u2019s Musical Responses to the Dresden Firebombing<\/p>\n \u00a0<\/strong>Daniel Beller-McKenna (University of New Hampshire), Aimez-vous Brahms: The History of a Question<\/p>\n \u00a0<\/strong>Refreshments: 11.45\u201312.15<\/strong><\/em><\/p>\n Katherina Uhde (Valparaiso University), Michael Uhde (Hochschule f\u00fcr Musik Karlsruhe), and Larry Todd (Duke University), Exploring Eduard Rem\u00e9nyi\u2019s, Joseph Joachim\u2019s, and Anonymous\u2019s\u00a0style hongrois, <\/em>or, hypothesizing what Brahms could have heard in 1853\u00a0<\/strong><\/p>\n Lunch: 1.15\u20132.30<\/strong><\/em><\/p>\n Reuben Phillips (Princeton University), Brahms in Schumann\u2019s Library<\/p>\n Martin Ennis (University of Cambridge), Secrets of the Grave: New Light on Textual Precedents for Brahms\u2019s Ein deutsches Requiem<\/em><\/p>\n Styra Avins (New York), Brahms and Graphic Arts<\/p>\n Refreshments: 4.00\u20134.15<\/strong><\/em><\/p>\n Rose Mauro (University of Massachusetts, Worcester), Brahms, Goethe, Schubert; or the Undoing of \u201cClassical\u201d Music<\/p>\n James Lea (Royal Welsh College of Music and Drama), His “Dark Familiar”: Brahms and Modernist American Poetry<\/p>\n Refreshments: 5.15<\/strong>\u20135.45<\/strong><\/em>\u00a0<\/strong><\/p>\n Sponsored by UCI Illuminations<\/a>, this keynote lecture is free and open to the public.<\/span>\u00a0<\/strong><\/p>\n Conference Dinner<\/strong><\/em><\/p>\n Coffee will be available for registered delegates in CAC3001A from 8.30am<\/span><\/p>\n Janet Schmalfeldt (Tufts University), Brahms and the Unreliable Narrative<\/p>\n Robert Snarrenberg (Washington University in St Louis), Syntax and Discourse in Songs by Brahms<\/a><\/p>\n Sanna Pederson (University of Oklahoma), The Problem of Genre and the Power of Narrative. The Case of the Double Concerto<\/a><\/p>\n Timothy Gonzalez (Temple University), Brahmsian Expressivity: Revelation through Kristeva\u2019s Revolution<\/em><\/p>\n \u00a0<\/strong>Refreshments: 11.00\u201311.30<\/strong><\/em><\/p>\n Robert Michel Anderson (University of North Texas), \u201cReal German Folklore\u201d or \u201cUnfortunate Brahmin-Decadence\u201d? Brahms\u2019s Vocal Quartets and the Nationalist Politics of Hausmusik<\/em>\u00a0<\/em><\/p>\n Sara McClure (University of Kansas), \u201cThe exile listens secretly\u2026 and shakes his head\u201d: Johannes Brahms, Duke Georg II, and German Nationalism<\/p>\n Jacob Gran (Louisiana State University), From Arcadia to Elysium: Beethoven, Brahms, and Universal History<\/p>\n Vasiliki Papadopolou (Austrian Academy of Sciences, Vienna), The \u201cnew Johannes in the tone desert\u201d or Brahms on his way \u201cto Immortality\u201d? Sociological Discourses in the Viennese Press around Johannes Brahms<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n\n\n Program Please note: Handouts are available online for the papers with hyperlinks below. Thursday 31 January Pre-conference welcome and registration Informal dinner for those who are in town \u00a0 All conference sessions take place in the CAC Colloquium Room. Maps are provided in the conference booklet which you will receive upon arrival. Friday 1 February … Continue reading “Program”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"footnotes":""},"class_list":["post-393","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages\/393","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/comments?post=393"}],"version-history":[{"count":38,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages\/393\/revisions"}],"predecessor-version":[{"id":643,"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/pages\/393\/revisions\/643"}],"wp:attachment":[{"href":"http:\/\/brahmsonthepacific.com\/index.php\/wp-json\/wp\/v2\/media?parent=393"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\u00a0<\/strong>Session 2: 10.45\u201312.15 <\/strong>|\u00a0<\/strong>Form and Models (Chair, Walter Frisch)<\/strong><\/h5>\n
1:00\u20132:00: Lunchtime Recital, Winifred Smith Hall<\/strong><\/h5>\n
Session 3: 2.15\u20133.45 <\/strong>|\u00a0<\/strong>Nostalgia and Historicism (Chair, Valerie Woodring Goertzen)<\/strong><\/h5>\n
Session 4: 4.00\u20135.00 <\/strong>|\u00a0<\/strong>Brahms and Nationalism (Chair, David Brodbeck)<\/strong><\/h5>\n
Keynote Lecture No. 1: <\/strong>“Brahms and the Theory of Romantic Form,”\u00a0<\/strong>Professor Julian Horton, Durham University\u00a0|\u00a0<\/strong>5.30<\/strong>\u20136.30, Winifred Smith Hall<\/strong><\/a><\/h3>\n
Saturday 2 February<\/strong><\/h3>\n
Session 5a: <\/strong>09.00\u201310.30 <\/strong>|\u00a0<\/strong>After Brahms\/Re-Composing Brahms I (Chair, Nicole Grimes)<\/strong><\/h5>\n
Session 5b: 10.45\u201311.45 <\/strong>|\u00a0<\/strong>After Brahms\/Re-Composing Brahms II (Chair, Styra Avins)<\/strong><\/h5>\n
Session 6: 12.15\u20131.15 <\/strong>|\u00a0<\/strong>Lecture Recital, Winifred Smith Hall (Chair, Valerie Woodring Goertzen)<\/strong><\/h5>\n
Session 7a: 2.30\u20134.00 <\/strong>|<\/strong>Brahms and Literature and Art (Chair, Marie Sumner Lott)<\/strong><\/h5>\n
\u00a0<\/strong>Session 7b: 4.15\u20135.15 <\/strong>|\u00a0<\/strong>Brahms and Literature and Art II (Chair, Benedict Taylor)<\/strong><\/h5>\n
Keynote Lecture No. 2: “Femininity, Fragments and Fingers<\/span>: Reconstructing Brahms\u2019s Intellectual World,” Dr Natasha Loges, Royal College of Music\u00a0|\u00a0<\/strong>5.45<\/strong>\u20136.45, Winifred Smith Hall<\/strong><\/a><\/h3>\n
Sunday 3 February<\/strong><\/h3>\n
Session 8: 09.00\u201311.00<\/strong>\u00a0<\/strong>|\u00a0<\/strong>Brahms and Narrativity (Chair, Ryan\u00a0McClelland)<\/strong><\/h5>\n
Session 9: 11.30\u20131.30\u00a0<\/strong>|\u00a0<\/strong>Liberalism\/nationalism\/social and political issues\/universalism (Chair, Sanna\u00a0<\/strong>Pederson)<\/h5>\n
~ End of conference ~<\/h6>\n
<\/figure>\n","protected":false},"excerpt":{"rendered":"