Reconciling Macro- and Micro-Levels in the First Movement of Brahms’s Piano Concerto in D Minor, op. 15: A Schenkerian Reading

Author

Alexandra Joan, The Graduate Center, City University of New YorFollow

Date of Degree

6-2024

Document Type

Dissertation

Degree Name

D.M.A.

Program

Music

Advisor

William Rothstein

Committee Members

Poundie Burstein

Norman Carey

Eric Wen

Subject Categories

Music Performance | Music Theory

Keywords

J. Brahms Piano Concerto op. 15, Schenkerian Analysis, W. A. Mozart Piano Concerto K. 491, Andras Schiff

Abstract

This dissertation examines the first movement of Johannes Brahms’s Piano Concerto no. 1, op. 15, through a Schenkerian lens. Concertos are relatively unexplored in Heinrich Schenker’s theoretical work. Surprisingly, although Schenker put Brahms on a pedestal throughout his life, he left only a few published analyses of the composer’s music.

Chapter 1 explores the kinship between Schenker and Brahms. Both conceived of the musical work as an organic entity. They also shared an approach to the tonal language based on an eighteenth-century tradition of figured bass and counterpoint. Op. 15 also exhibits an approach to musical form grounded in the eighteenth century, and cadential processes reminiscent of that era.

Chapter 2 offers parallel analyses of the openings of Mozart’s Piano Concerto in C Minor, K. 491, and Brahms’s op. 15, which feature strikingly similar contrapuntal paths to their first half-cadences. In addition to voice leading and prolongation, the analyses address motivic structure and issues of hypermeter.

Chapter 3 presents a detailed, multi-level, voice-leading-centered analysis of the entire movement. Such an approach relates foreground elements to a deep level, expressing an organic coherence that Schenker and Brahms both viewed as foundational. I refer to the ideas of James Hepokoski on form and Joseph Dubiel on motivic structure. My analysis employs the imaginary continuo, which helps to clarify the harmonic syntax of this very large and texturally complex movement. I also argue that the Urlinie (fundamental line) of the movement can fruitfully be read as undivided.

Suggestions for performance are offered throughout the dissertation. Chapter 4 summarizes some of these. It also examines a recent, historically informed recording of op. 15 by András Schiff, relating Schiff’s performance to my analysis and to what is known of Brahms’s performing style.

Recommended Citation

Joan, Alexandra, "Reconciling Macro- and Micro-Levels in the First Movement of Brahms’s Piano Concerto in D Minor, op. 15: A Schenkerian Reading" (2024). CUNY Academic Works.
https://academicworks.cuny.edu/gc_etds/5864