Op. 89. Par BRAHMS JOHANNES. The Three Fates or Parcae were the goddesses of fate in Greek-Roman mythology and sang on themes of curse and fate. The Parzenlied in Goethe?s verse drama ?Iphigenie auf Tauris? is concerned with these themes and became the model for Johannes Brahms?s setting. His Gesang der Parzen (Song of the Fates) op. 89 describes in thrilling eruptive sounds the fight to overcome the mythical curse through the purity of truthful noble actions and the power of hope.With a duration of around 12 minutes the work can be combined with Brahms?s ?German Requiem? in concert. / Date parution : 2023-03-11/ Répertoire / SAATBB et Orchestre

revised single edition from HN 38-Johannes Brahms?s piano sonatas opp. 1 2 and 5 were among the first works that the then 20-year-old composer published. Much of the music of the f-minor Sonata is closely connected to Brahms?s visit to Robert and Clara Schumannin Düsseldorf in the autumn of 1853. There are indications that the young Brahms was inspired by Robert Schumann?s Sonata op. 14 which was also in f minor. The music critic Eduard Hanslick also believed that he could discern theinfluence of Brahms?s older colleague when he wrote about the Sonata op. 5: ?The whole of Brahms is here though still under the spell of Schumann?. This revised Urtext edition is based on the musical text of the New BrahmsComplete Edition. The fingerings are by Andreas Boyde and offer the performer highly ingenious solutions to mastering this piano work that is so symphonic in scope.

German composer and pianist Johannes Brahms’ popularity and influence were considerable even during his lifetime. Brahms composed for Piano chamber ensembles symphony orchestra and for Voice and chorus. Avirtuoso pianist he premiered many of his own works. He worked with some of the leading performers of his time including the pianist Clara Schumann and the violinist Joseph Joachim (the three were close friends). Many of hisworks have become staples of the modern concert repertoire. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the 'Three Bs'.This beautiful edition of Three BrahmsWaltzes includes Lullaby Waltz in B minor and Waltz in D minor arranged for Grade 5 solo Piano.

Sonata WoO postum for Violin and Piano-Edited by Clive Brown and Neal Peres Da Costa with an Urtext solo part as well as a second part with performance markings.Johannes Brahms The Works for one Instrument and Piano:Johannes Brahms? compositions for one instrument and Piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual playerswho first performed these compositions including Brahms himself.The New Urtext Editions:Bärenreiter?s pioneering new scholarly-critical editions of Brahms? works for one instrument and Piano are edited by a team of musicologists who are also performers. They offer today?s musicians not just a reliable musical text based on all known sources but also a comprehensive approach to the works which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis publication history and reception of the works. At the same time there is a complete list of the sources an explanation of the editorial procedures and a Critical Commentary. Also each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter?s Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo rubato rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato portamento and bowing. Last but not least characteristics of Brahms? own Piano playing as well as that of his circle and contemporaries are discussed.The Violin and Viola sonata editions come not only with an Urtext part freed from all editorial emendations but also with an

With opuses 1 2 4 5 and 10 this volume contains virtually all of Johannes Brahms??? early piano oeuvre with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851???53 as a substantial single movement that particularly delighted Robert Schumann leading him to direct the public???s special attention to his young colleague in his famous article ???New Paths??? in 1853. Written the following year the Four Ballades op. 10 complete the volume. Already they strike a new more Romantic note that Brahms described to Clara Schumann thus: ???They are not very difficult and even less difficult tounderstand???. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition with an extensive preface by editor Katrin Eich. With opuses 1 2 4 5 and 10 this volume contains virtually all of Johannes Brahms??? early piano oeuvre with which the budding composer and pianist introduced himself to the public. The Scherzo op. 4 from 1851 stands alongside the sonatas composed between 1851???53 as a substantial single movement that particularly delighted Robert Schumann leading him to direct the public???s special attention to his young colleague in his famous article ???New Paths??? in 1853. Written the following year the Four Ballades op. 10 complete the volume. Already they strike a new more Romantic note that Brahms described to Clara Schumann thus: ???They are not very difficult and even less difficult tounderstand???. This Urtext edition offers a revision of the musical text based on the new Brahms Complete Edition with an extensive preface by editor Katrin Eich.

Par BRAHMS JOHANNES. Brahms? elegy Nänie op. 82, based on the poem by Friedrich von Schiller, was composed in 1880/81 following the death of the painter Anselm Feuerbach, whom Brahms greatly admired. In contrast with the poem, Brahms? Nänie ends full of hope: after earthly decline, beauty can live on in art. As in his Deutsches Requiem op. 45, in Nänie Brahms creates a musical connection between mourning and consolation in an incomparable way. Inspired by the model of classical Roman-Greek laments, the work adopts the classical verse form chosen by Schiller ? surely alluding to Feuerbach?s classically-inspired art.Scored for mixed chorus and orchestra, we are publishing the work in a modern Urtext edition. One or more harps can be used ad lib. The primary source is the first printed edition of 1881. The latest scholarly discoveries as well as practical requirements have been taken into consideration. Performance material is available on sale as well as a vocal score, based on Brahms?s original vocal score, but in a revised performing version. / Date parution : 2023-06-02/ Répertoire / Choeur Mixte SATB et Piano

Arrangement for Piano four-hands-In order to also promote the circulation of his works outside the concert hall Johannes Brahms made Piano arrangements of many of his orchestral works. As the composer he was able to take greater liberties than anyother arranger would have been able to take. And it is precisely due to Brahms’ creative ideas in the Piano scoring that his arrangements have enjoyed renewed interest in the music world over the past decades.Withthis Urtext edition of the Symphonies Nos. 3 and 4 based on the musical text in the Johannes Brahms Complete Edition our catalogue now contains all four symphonies in the authentic Piano arrangementsmade by the composer. Once again Andreas Groethuysen has kindly provided the fingerings.

Brahms? popular 16 ?Waltzes? opus 39 composed in 1866 for four hands were transcribed by Brahms one year later for two hands. At the request of his publisher Brahms also wrote an easier version of the work for solo piano. Brahms himself described the first version as suitable for 'reasonable hands' that is for proficient players and the easier version as 'perhaps for prettier hands' that is for domestic music-making. He initially described the latter version to his publisher as a 'children?s edition'. The catchy and musically easily accessible pieces are among the composer?s most popular works and are particularly suitable for piano students and lovers of the Romanticrepertoire.Both versions of the ?Waltzes? op. 39 (BA 9602 BA 9603) are available in separate editions and form an important contribution to Bärenreiter?s series of Brahms?s works in scholarly-critical Urtext editions. Both editions include fingering a well-presented musical layout and optimum page-turns. The Urtext editions are complemented by explanations on performance practice used by Brahms an informative foreword on the genesis sources and significance of the works together with comments on the primary sources.A key work in the Romantic piano repertoireAll known sources and the latest research findings taken into accountWell-presented musical layout with optimum page-turnsIncludes fingeringSuggestions on performance practice and interpretation (Ger/Eng)Informative foreword (Ger/Eng) and critical commentary (Eng)The EditorChristian Köhn has been awarded several scholarships as well as winning major international music competitions in Germany.He has released 24 CDs to date including the first ever complete recording of the piano duo works of Johannes Brahms. Christian Köhn is a lecturer at the Musikhochschule Detmold.

A pioneering set of Urtext editions.String editions include an Urtext solo part and a second part with fingering as well as performance markings.Each edition offers a preface on performance practice aspects pertaining to the respective works.A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms? chamber music.Bärenreiter?s pioneering new scholarly-critical editions of Brahms? works for one instrument and Piano are edited by a team of musicologists who are also performers. They offertoday?s musicians not just a reliable musical text based on all known sources but also a comprehensive approach to the works which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.The Violin and Viola sonata editions come not only with an Urtext part freed from all editorial emendations but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim?s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms? associate Franz Kneisel. A similar approach has been used for the Violoncello sonatas drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major) Hugo Becker with whom Brahms performed it and Julius Klengel who was also close to his circle.

B-dur Opus 83-Shortly after a rather unsuccessful performance of his Piano Concerto no. 1 Johannes Brahms wrote to Joseph Joachim in 1859: ?... a second one will sound different?. Nevertheless a good 20 years elapsed before thatsecond concerto finally took form and only in 1881 was he able to announce: ?I wanted to tell you that I have written a very small Piano concerto with a tiny little delicate Scherzo?. This Piano reduction of thisanything-but-little symphonic concerto presents the solo part as it appears in the respective recently published volume of the Brahms Complete Edition (HN 6020). Lars Vogt has succeeded in taming the opulent Piano writing withhis fingerings. The refined arrangement of the complex orchestral part for the accompanying second piano stems from Johannes Umbreit.

Revised edition of HN 119-In 1879 about ten years before Johannes Brahms composed his late melancholic piano pieces he wrote the two Rhapsodies op. 79 two markedly passionate and comparatively extensive works. In a letter to the convalescent ClaraSchumann Brahms spoke in a typically understated fashion about the two pieces ?with which you can really run riot and test whether the course of treatment has actually had any effect?. We prefer to agree with Brahms? friendElisabeth von Herzogenberg: ?the fact that the g minor is my favourite does not make me insensitive towards the intensely prickly beauty of the one in b minor?. Both of these popular works have now been revised on the basis of thenew Brahms Complete Edition.

Johannes Brahms’ late Piano works in the form of the two editions HN 36 (paperbound) and 37 (clothbound) have been a cornerstone of the Henle catalogue ever since the early 1950s. In 2011 the volume with Pianopieces (HN 6014) was published in the new Brahms Complete Edition an edition of these important works that reflected the latest in scholarly research. Having already published single volumes of the Urtext editions ofopus numbers 76 79 and 116 119 with the up-to-date musical text in the Complete Edition Henle are now rounding off this Brahms project by publishing the revised volume of collected works available as a classicpaperbound clothbound or handy study edition. An open invitation to all those who wish to immerse themselves in Brahms’ fascinating Piano cosmos.

?No opus number? is what Johannes Brahms gave his astonished publisher to understand when he offered him the Hungarian Dances for publication in 1869. He placed a great deal of importance on the factthat he had merely ?set? popular Hungarian melodies and not composed new works as such. As true as this reservation is it did not affect the success of these works. The Hungarian Dances are today withouta doubt amongst Brahms? best-known compositions. Brahms himself made an arrangement of the dances 1 10 originally for Piano four hands for solo Piano. Henle are now publishing a revised version of theseimpressive pieces with the up-to-date text in the new Brahms Complete Edition. Rolf Koenen?s fingerings provide the best possible help for mastering these complex works.

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale