Brahms, Johannes - Sonata in D minor, Op 108 - for Violin and Piano - edited by Clive Brown and Neal Peres Da Costa - Barenreiter URTEXT

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About This Item

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 players who 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 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.

Bärenreiter’s new Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.

• 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

Warranty Info

Sheet Music Return Policy
If you are not satisfied with this item for any reason, you may return it for a full refund within 30 days of purchase. Unless the music received is defective or has been shipped in error, all returned music will be subject to a restocking fee of $2.00 per title.

If you have any questions about this product's warranty or to make a return, please contact our Customer Service Department at 800.793.4334 or email us at [email protected]
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 players who 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 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.

Bärenreiter’s new Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.

• 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
Sheet Music Return Policy
If you are not satisfied with this item for any reason, you may return it for a full refund within 30 days of purchase. Unless the music received is defective or has been shipped in error, all returned music will be subject to a restocking fee of $2.00 per title.

If you have any questions about this product's warranty or to make a return, please contact our Customer Service Department at 800.793.4334 or email us at [email protected]

Question By:
POPULAR SHAR STAFF QUESTION
From ANN ARBOR, MI

Asked On: 07/13/2016

What does Urtext mean? What makes this edition different than the others?

SHAR Answer:

Urtext basically means that this music is the earliest version of this piece of music, to which later versions can be compared. It serves as a baseline; it gives musicians and scholars an idea for the composer’s original intent. The reason that one would purchase an Urtext edition of music would be so that he or she has a musical text which solely reflects the composer’s intentions; creative interpretation can then be built upon those intentions. While it’s useful to purchase an Urtext edition so that one may get a feel for a composer’s intentions, it’s no guarantee of the composer’s exact writings. When a piece of music is edited or altered, it’s common for editors to add or subtract to the music as well as to edit performance methods. In many cases, it can be useful to purchase a thoroughly edited and altered version of a piece of music, because perhaps it will contain fingerings, bowings or musical performance ideas that will be useful to the performer or student who’s using it. Editions that are edited or arranged may also contain a different cadenza for a concerto. When deciding which edition to buy, it really does come down to personal preference.

It’s also worth noting that there’s more than one publisher of the Urtext version of music. Some well-known publishers of Urtext versions include Henle, Bärenreiter and Breitkopf, among others.

This comes from the G. Henle Verlag Publisher’s website: “There is no such thing as the one valid Urtext version of a musical composition, because the Urtext edition is not the same as a composer's manuscript. (Unfortunately even today many musicians believe this to be the case, for the word "Urtext" [original text] probably also supports this idea.) In most cases the Urtext editor has to choose between different readings in the primary sources: What is "correct", what is "wrong"? Often there is no clear answer. At all events, a good Urtext edition justifies the decision made (and printed).”

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