Daniel Beller-McKenna
Associate Professor, University of New Hampshire

 

 

 

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Contact:
Music Department
University of New Hampshire
Durham, NH 03824
(603) 862-1667

dbmk@cisunix.unh.edu

     
   

BOOK
Brahms and the German Spirit. Harvard University Press, 2004.

Click here to visit the auxiliary website for the book

ARTICLES/REVIEWS

"Distance and Disembodiment: Harps, Horns, and the Requiem Impulse in Schumann and Brahms." Journal of Musicology 22(2005): 47-89.

"Reminiscence in Brahms's Late Intermezzi." American Brahms Society Newsletter (Autumn, 2004) 6-9.

“I am/was the Walrus.” Current Musicology (2002): 47-68.

“Review of Walter Everett, The Beatles as Musicians: The Quarry Men through Rubber Soul.” MLA Notes (March, 2003).

"The Rise and Fall of Brahms The German." Journal of Musicological Research 10 (2001): 1-24.

“Revisiting the Rumor of Brahms’s Jewish Descent.” American Brahms Society Newsletter. Autumn, 2001: 5-6.

"Wilhelm Furtwängler's Brahms Essays of 1933-34: The Clash of Political and Cultural Nationalism." American Brahms Society Newsletter. Autumn, 2000: 1-3.

"Beatle-John's Alter Ego." Music & Letters 80 (1999): 254-268.

"Brahms's Choral Music." In Cambridge Companion to Brahms. Edited by Michael Musgrave. Cambridge: Cambridge University Press, 1999. 171-194.

Seven essays on Brahms's choral music for The Compleat Brahms. Edited by Leon Botstein. New York: Norton, 1999. 334-44, 347-49, 354-57, 360-63, 390-92.

"Brahms's Motet Es ist das Heil uns kommen her, op. 29, no. 1 and the 'Fundamental Essence of Music.' " In Brahms Studies 2. Edited by David Brodbeck. Lincoln: University of Nebraska Press, 1998. 31-62.

"How deutsch a Requiem? Absolute music, Universality, and the Reception of Brahms's Ein deutsches Requiem, op. 45." 19th Century Music 22 (1998): 3-19.

"The Great Warum?: Job, Christ, and Bach in a Brahms Motet." 19th Century Music 19 (1996): 231-251.

"Reconsidering the Identity of an Orchestral Sketch by Brahms." Journal of Musicology 13 (1995): 508-536.

"Brahms on Schopenhauer: The Vier ernste Gesänge, op. 121 and Late Nineteenth-Century Pessimism." In Brahms Studies 1. Edited by David Brodbeck. Lincoln: University of Nebraska Press, 1994. 170-188.

"Is Brahms's Music Timeless? Perhaps, but Not in These Pieces." New York Times, 30 November 1997, Arts and Leisure section.

"Brahms, the Bible, and Robert Schumann." American Brahms Society Newsletter 13 (Autumn, 1995): 1-4.

"Mozart's Kyrie Fragments and Late Eighteenth Century Viennese Church Style." Mitteilungen der Internationalen Stiftung Mozarteum 39 (1991): 81-94.