Johannes Brahms: Sonata in A major for Violin and Piano op. 100: Violin:

Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms? death a widening gulf developed between the composer?s expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms? notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation string instrument fingering string instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight in Romantic musical interpretation.A pioneering Urtext edition.With an unmarked Urtext part.With a second part including fingering and bowing based on the practices of Joseph Joachim and other contemporaries of Brahms.With an extensive Performance Practice Commentary.For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms? Chamber Music? text booklet BA 9600.

Frühfassungen aus Lieder und Gesänge op. 59 (Erstausgabe)-This first edition of the ?Regenlied Cycle? is only available from G. Henle Publishers. In the preface Michael Struck an eminent Brahms scholar writes about the distinctiveness of the work untilnow a completely unknown little song cycle by the composer. In it Brahms sets four texts to music by the poet Klaus Groth whom he greatly admired. In the well-known song cycle Opus 59 published by Brahmshimself the Groth songs are also to be found together with other songs.The reason why Johannes Brahms? Violin Sonata no. 1 in G major op. 78 is also known as the ?Regenlied? Sonata becomes clear on acquiring studying and playing this ?Regenlied Cycle?.

Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the cello part and the composer himself was his partner at the piano. Even though the work was generally received positively, it took some years until it was fully appreciated and gained its irrevocable place in the cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata op. 99 by Hugo Becker and Carl Friedberg, as well as by Julius Klengel. Both cellists, Becker and Klengel, had a connection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such, the Barenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

Description Johannes Brahms: Complete Sonatas And Variations For Solo Piano The most ambitious in scale of Brahms' pieces for piano solo, the sonatas and variations are contained complete within this volume. Songlist Piano Sonata No.1 In C Major Op.1 Piano Sonata No.2 In F Sharp Minor Op.2 Piano Sonata No.3 In F Minor Op.5 Variations And Fugue On A Theme By Handel B Flat Major Op.24 Variations On A Hungarian Song D Major Op.21 No.2 Variations On A Theme By Paganini A Minor Op.35 Variations On A Theme By Robert Schumann F Sharp Minor Op.9 Variations On An Original Theme D Major Op.21 No.1

Sonatas Wq 75-78 Arioso Wq 79 Fantasie Wq 80-Carl Philipp Emanuel Bach's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but alsothe arrangements of the trios Wq 143–145 for Violin and Harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin].

Sonatas Wq 71-74 BWV 1036 Violinsonaten nach den Trios Wq 143-147-Carl Philipp Emanuel Bach's works for Violin and Harpsichord obbligato pervade his entire compositional oeuvre. The earliest works like the Sonata in D minor still numbered BWV 1036 date back to the years of study with his father yet show already a remarkable creative will of his own. The latest work the fantasia 'C. P. E. Bachs Empfindungen' in F flat minor of 1787 is characterized by the composer's highly expressive late style. The new two-volume edition of Wiener Urtext Edition contains C. P. E. Bach's complete works for Harpsichord (Piano) obbligato and Violin. Vol. 1 contains not only the sonatas Wq 71–74 and BWV 1036 but alsothe arrangements of the trios Wq 143–145 for Violin and Harpsichord most of which are included in C. P. E. Bach's autographs as well as a – previously ignored – early version of Wq 71 which like BWV 1036 grants a rare insight into the early works of the composer. Vol. 2 contains the four major sonatas of 1763 which already fascinated Johannes Brahms. Brahms not only played them in concert together with Joseph Hellmesberger but also published two of these sonatas in 1864. This volume concludes with the two late works 'Arioso' and 'Fantasie' of 1781 and 1787 respectively. With these works C. P. E. Bach bridged the gap between the late Baroque sonatas of his father and the early classical 'Klaviersonate mit begleitender Violine' [Piano Sonata with Accompanying Violin].

The E minor Cello Sonata is the first work for one solo instrument and Piano which the meticulous composer also had printed. In summer 1865 Brahms offered it to the publisher Simrock as a sonata “whose twoinstruments are both absolutely easy to play” – and rightly so: contrary to the later F-major Sonata op. 99 (HN 1135) this early sonata is technically less demanding yet musically more striking at the same time sothat it is a hit with amateurs and professionals alike. This Henle edition is based on the new Brahms Complete Edition and thus boasts besides in-depth comments a musical text revised according to the latest scholarlyfindings; as always the Cello part is enhanced with additional markings.

Professionnel ou amateur de Classique vous apprécierez cette partition de musique. Composée par Brahms Johannes et éditée par Henle cette partition est idéale pour les joueurs de Violon. Si l'instrumentation Violon Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Violon Et Piano / Partition