Format : Reduction
SKU: BR.OB-3210-27
ISBN 9790004300732. 10 x 12.5 inches.
Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.
SKU: BR.OB-3210-15
ISBN 9790004300695. 10 x 12.5 inches.
SKU: BR.OB-3210-23
ISBN 9790004300725. 10 x 12.5 inches.
SKU: BR.OB-3210-19
ISBN 9790004300718. 10 x 12.5 inches.
SKU: BR.OB-3210-30
ISBN 9790004300749. 10 x 12.5 inches.
SKU: BR.OB-3210-16
ISBN 9790004300701. 10 x 12.5 inches.
SKU: AP.36-A134501
ISBN 9781638878902. UPC: 735816433864. English.
Johannes Brahms (1833-1897) composed his Piano Concerto No. 1 in 1858 and performed the work's debut in Hanover, Germany, in 1859, to mixed reviews. The work initially began as a sonata for two pianos, then a four-movement symphony. Under the counsel of friends Julius Otto Grimm and violinist Joseph Joachim, Brahms landed on a three-movement piano concerto. After its fifth performance in December 1861, with Clara Schumann as piano soloist, the work still received mixed audience reception. It has since grown in popularity and has been recognized as a masterpiece. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A134548
UPC: 735816434267. English.
SKU: AP.36-A134502
UPC: 735816433567. English.
SKU: BR.OB-16104-19
ISBN 9790004339435. 10 x 12.5 inches.
The publishers Henle and Breitkopf & Hartel are continuing their collaboration, now with Brahms, by publishing the performance material of the double concerto. Brahms's last work with orchestra was published in the new Brahms Complete Edition in 2002, whereby the editor was able to base himself on newly accessible sources. Of particular interest are the additional performance instructions for the solo violin and solo cello, which were gathered from the first edition of the solo parts. These indications were supplied by the soloists of the first performance, Joseph Joachim and Robert Hausmann. No doubt authorized by Brahms, they communicate valuable insights into the performance practice of the time. The new material also contains a part in which the solo violin and cello are notated one above the other. The trio edition for violin, violoncello and piano (EB 6040), which was made by Brahms himself, has proven itself for chamber performances; it continues to be available.The full score is a conductor's dream: big, bold, and beautifully laid out on glare-free bluff paper. (Strings).
SKU: BR.OB-16104-27
ISBN 9790004339459. 10 x 12.5 inches.
SKU: BR.OB-16104-30
ISBN 9790004339466. 10 x 12.5 inches.
SKU: BR.OB-16104-16
ISBN 9790004339428. 10 x 12.5 inches.
SKU: BR.OB-16104-23
ISBN 9790004339442. 10 x 12.5 inches.
SKU: PR.416416190
UPC: 680160642823. 9 x 12 inches.
Pittsburgh Symphony Orchestra violist Randolph Kelly had premiered Adler's Viola Concerto in 2000, but the orchestra's artistic management preferred that he not perform a contemporary work for his next solo appearance. With that guideline, Kelly contacted Adler, the master of orchestration, to arrange the Brahms Sonata in F minor, Opus 120 for viola and orchestra. In this new setting, The piece promises to bring the lush romantic strains of the famous sonata to a larger audience without upsetting the purists. (Andrew Druckenbrod, Pittsburgh Post-Gazette Classical Music Critic).
SKU: HL.50601277
UPC: 888680743819. 8.25x11.75 inches.
“The adaptation of Brahms' four symphonies by the composer Friedrich Hermann (1828-1907), written during the composer's lifetime and published one year after his death, in 1898, are exemples of how this orchestral effect can be created through the addition of another pianist. Hermann called them 'works for pianoforte 4 hands with violin and violoncello.'Members of piano trios have repeatedly expressed the desire for a usable chamber version of the Double Concerto, Op. 102 of Brahms; this wish is now being granted for the first time with the transference of the orchestral material in the spirit of Friedrich Hermann.Taking the concerto character into consideration, the solo parts are only added to complete the piano part in the grand tutti of the first movement and in other brief tutti sections; this work is not to be regarded as a piano trio in the traditional sense. In a few places, the dynamics (originally conceived for the large orchestral apparatus) have been carefully adjusted to fulfil the requirements of balance and transparency so necessary in chamber music.”(Cord Garben).
SKU: PR.41641619L
UPC: 680160642830. 11 x 14 inches.