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
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
Coffee will be available for registered delegates in CAC3001A from 8.30am
Session 1: 09.00–10.30 | Reflections on Brahms’s Piano Music (Chair, Janet Schmalfeldt)
Kenneth DeLong (University of Calgary), Of Ballads, Songs, and Rhapsodies: Genre Designations in Brahms’s Late Piano Music
Tekla Babyak (Davis, CA), Rehearing Brahms’s Klavierstücke. The Eternal Recurrence of Reflection
Theodora Serbanescu-Martin (Cornell University), Recomposing Brahms’s Op. 116 Capriccios: “Hidden” Virtuosity, Brahmsian Lateness and the Aesthetic of Impossibility
10:30–10:45: Refreshments
Session 2: 10.45–12.15 | Form and Models (Chair, Walter Frisch)
Benedict Taylor (Edinburgh University), Mendelssohn, Brahms, and the ‘Romantic Turn’ in the New Formenlehre: Formal Elision in the Chamber Music for Strings
Jennifer Shafer (University of Delaware), Johannes Brahms and Chopin’s Op. 55, No. 1: A Long-Term Development
Risa Okina (Temple University), The Musical Uncanny and its Hermeneutic Implication in the First Movement of Brahms’s Piano Quartet in G minor, op. 25
12.15–12.55 Catered Lunch
1:00–2:00: Lunchtime Recital, Winifred Smith Hall
Brahms, Sonata for Violin and Piano in G major, Op. 78,
Brahms, Sonata for Cello and Piano in F major, Op. 99
Haroutune Bedelian, Violin, Sarah Koo, Cello Lorna Griffitt, Piano
Sponsored by UCI Illuminations, this lunchtime recital is free and open to the public.
Session 3: 2.15–3.45 | Nostalgia and Historicism (Chair, Valerie Woodring Goertzen)
Joanna Chang (Duke University), Contextualizing Brahms’s Handel Variations: Volkmann’s Variations on a Theme by Handel Op. 26 (1856) and Emanuel Moór’s Variations and Fugue on a Hungarian Theme Op. 24 (c. 1889) Reconsidered
Jane Hines (Princeton University), The Apollonian/Dionysian Dialectic in the Works of Johannes Brahms and Max Klinger
Refreshments: 3:45–4:00
Session 4: 4.00–5.00 | Brahms and Nationalism (Chair, David Brodbeck)
Jon Banks (Anglia Ruskin University), Brahms’s Hungarian Dances and the Early Gypsy Band Recordings
Refreshments: 5.00–5.30
Keynote Lecture No. 1: “Brahms and the Theory of Romantic Form,” Professor Julian Horton, Durham University | 5.30–6.30, Winifred Smith Hall
Sponsored by UCI Illuminations, this keynote lecture is free and open to the public.
Welcome wine reception: 6.30–7.30, Contemporary Art Centre
Saturday 2 February
Coffee will be available for registered delegates in CAC3001A from 8.30am
Session 5a: 09.00–10.30 | After Brahms/Re-Composing Brahms I (Chair, Nicole Grimes)
Ryan McClelland (University of Toronto), Distancing Brahms: Formal Processes in Wolfgang Rihm’s Nähe fern 1–4
Refreshments: 10.30–10.45
Session 5b: 10.45–11.45 | After Brahms/Re-Composing Brahms II (Chair, Styra Avins)
Martha Sprigge (University of California, Santa Barbara), Brahmsian Templates of Grief: Rudolf Mauersberger’s Musical Responses to the Dresden Firebombing
Daniel Beller-McKenna (University of New Hampshire), Aimez-vous Brahms: The History of a Question
Refreshments: 11.45–12.15
Session 6: 12.15–1.15 | Lecture Recital, Winifred Smith Hall (Chair, Valerie Woodring Goertzen)
Katherina Uhde (Valparaiso University), Michael Uhde (Hochschule für Musik Karlsruhe), and Larry Todd (Duke University), Exploring Eduard Reményi’s, Joseph Joachim’s, and Anonymous’s style hongrois, or, hypothesizing what Brahms could have heard in 1853
Lunch: 1.15–2.30
Session 7a: 2.30–4.00 |Brahms and Literature and Art (Chair, Marie Sumner Lott)
Reuben Phillips (Princeton University), Brahms in Schumann’s Library
Martin Ennis (University of Cambridge), Secrets of the Grave: New Light on Textual Precedents for Brahms’s Ein deutsches Requiem
Styra Avins (New York), Brahms and Graphic Arts
Refreshments: 4.00–4.15
Session 7b: 4.15–5.15 | Brahms and Literature and Art II (Chair, Benedict Taylor)
Rose Mauro (University of Massachusetts, Worcester), Brahms, Goethe, Schubert; or the Undoing of “Classical” Music
James Lea (Royal Welsh College of Music and Drama), His “Dark Familiar”: Brahms and Modernist American Poetry
Refreshments: 5.15–5.45
Keynote Lecture No. 2: “Femininity, Fragments and Fingers: Reconstructing Brahms’s Intellectual World,” Dr Natasha Loges, Royal College of Music | 5.45–6.45, Winifred Smith Hall
Sponsored by UCI Illuminations, this keynote lecture is free and open to the public.
Conference Dinner
Sunday 3 February
Coffee will be available for registered delegates in CAC3001A from 8.30am
Session 8: 09.00–11.00 | Brahms and Narrativity (Chair, Ryan McClelland)
Janet Schmalfeldt (Tufts University), Brahms and the Unreliable Narrative
Robert Snarrenberg (Washington University in St Louis), Syntax and Discourse in Songs by Brahms
Timothy Gonzalez (Temple University), Brahmsian Expressivity: Revelation through Kristeva’s Revolution
Refreshments: 11.00–11.30
Session 9: 11.30–1.30 | Liberalism/nationalism/social and political issues/universalism (Chair, Sanna Pederson)
Robert Michel Anderson (University of North Texas), “Real German Folklore” or “Unfortunate Brahmin-Decadence”? Brahms’s Vocal Quartets and the Nationalist Politics of Hausmusik
Sara McClure (University of Kansas), “The exile listens secretly… and shakes his head”: Johannes Brahms, Duke Georg II, and German Nationalism
Jacob Gran (Louisiana State University), From Arcadia to Elysium: Beethoven, Brahms, and Universal History
Vasiliki Papadopolou (Austrian Academy of Sciences, Vienna), The “new Johannes in the tone desert” or Brahms on his way “to Immortality”? Sociological Discourses in the Viennese Press around Johannes Brahms
~ End of conference ~
