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In the United States, critical reception generally seemed to follow the leads of the European critics, although a tendency to dismiss the work as "difficult" and overly "academic" can also be discerned. American concert-hall performance records for the 1870-1900 period are sketchy at best, but the seems to have enjoyed modest popularity until shortly after 1930, when its performances (and those of Brahms' other works as well) skyrocketed, as we shall see. The earliest documented performances were the partial performance of several movements by the New York in January 1875, and the full premiere of the entire work, together with a Bach Cantata and excerpts from Gluck's , by the New York in March 1877. Critics were tame in their enthusiasm, but appreciated the grandeur and earnestness of the work. One rather amusing review came from the , claiming that "it is exceedingly scholarly, but its length and monotonousness are such that it is scarcely likely to impress any but students." Milwaukee, owing perhaps to its German heritage, saw an early premiere of movements 5 and 6 only in October of 1875, and Cincinnati produced a partial performance in 1878, but had to wait until 1884 for the entire work. 1888 marked the full performance of the in both Boston and Chicago, thus guaranteeing a greater audience as well as more critical attention. Again, contradiction was the rule: while the , echoing Hanslick's historical contextualization, emotes that in order to find the equal, we must "go back to the soulful conventionality of Handel and Haydn ... the inspired technique of Mozart's Masses and Requiem ... and the works of the preacher of the musical gospel, Sebastian Bach," another reviewer of the same concert writes in the that "while it shows the hand of a skilled musician, its vagueness and fragmentary themes do not offer much satisfaction."
Essay about Music Appreciation - 961 Words
Essay about Music Appreciation - 522 Words | Majortests
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