14 Search Results found for: "Brahms cello Sonata in e flat"

14 Search Results found for: "Brahms cello Sonata in e flat"

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14 Items

Brahms, Johannes - Sonata No 1 in e minor Op 38 for Cello and Piano - Henle Verlag URTEXT Edition

Item# 3540 114

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The E minor Cello Sonata is the first work for one solo instrument and pianowhich the meticulouscomposeralso had published. In th eusmmer of 1865, Brahms offered it to the publisher Simrock as a sonata "whose two instruments are both absolutely easy to play" - and rightly so: contrary to the later F Major Sonata, Op. 99, this early sonata is technically less demanding, yet musically more striking at the same time, so that it is a hit with amateurs and professionals alike. Henle's new edition is based on the new Brahms Complete Edition and thus boasts, besides in-depth commentary, a musical text revised according to the latest scholarly findings. Includes a marked and unmarked cello part.

URTEXT edition. Published by G. Henle Verlag.

Editors: Claus Kannglesser, Egon Voss, Johannes Behr, Klaus Schilde


Difficulty: Asta Grade 5

Brahms, Johannes - Sonata No 1 in e minor Op 38 for Cello and Piano - Arranged by Rose - International Edition

Item# 3540 111

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Brahms composed his Sonata for Piano and Cello over 3 years, from 1862 to 1865.  Brahms, a pianist himself, said of the piece that the piano should be an equal partner with the cello, never purely accompaniment.  He also stated that the sonata is, "as far as both instruments are concerned, is certainly not difficult to play." Very few musicians would agree with this statement. Several main themes in this sonata are based on fugues from Bach's 'The Art of Fugue.'

Edited by Leonard Rose. Published by International Music Company.

Difficulty: Asta Grade 5

Brahms, Johannes - Sonata No 1 in e minor Op 38 for Cello and Piano - Arranged by Klengel - Peters Edition

Item# 3540 106

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Brahms composed his Sonata for Piano and Cello over 3 years, from 1862 to 1865.  Brahms, a pianist himself, said of the piece that the piano should be an equal partner with the cello, never purely accompaniment.  He also stated that the sonata is, "as far as both instruments are concerned, is certainly not difficult to play." Very few musicians would agree with this statement. Several main themes in this sonata are based fugues from Bach's 'The Art of Fugue.'

Edited by Klengel. Peters Edition.

Difficulty: Asta Grade 5

Brahms, Johannes - Sonata No 1 in e minor Op 38 for Cello and Piano - Arranged by Van Vliet - Schirmer Edition

Item# 3540 110

Shar: $10.99Sale: $9.89

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Brahms composed his Sonata for Piano and Cello over 3 years, from 1862 to 1865.  Brahms, a pianist himself, said of the piece that the piano should be an equal partner with the cello, never purely accompaniment.  He also stated that the sonata is, "as far as both instruments are concerned, is certainly not difficult to play." Very few musicians would agree with this statement. Several main themes in this sonata are based fugues from Bach's 'The Art of Fugue.'

Edited by Van Vliet. Published by G. Schirmer.

Difficulty: Asta Grade 5

Brahms, Johannes - Sonata in E flat Major Op 120 No 2 for Cello - Transcribed by Wimmer - Arioso Press Publication

Item# 3484 123

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Brahms wrote this beautiful piece late in his life for his friend, the great clarinetist Mhlfeld from Meiningen, for whom he also wrote the Clarinet Trio and the Clarinet Quintet. Brahms fell in love with the range and colors of the clarinet when played by such an artist. Nevertheless, according to the Brahms biographer Malcolm McDonald, he must have had hopes of a wider acceptance of this work. Brahms made his own viola transcription and allowed his publisher Simrock to publish a version for violin.

The reason for this transcription for cello and piano is that this glorious work is only rarely heard, and that the cello brings to it an entirely new sonority and soul. It is hoped that this work will now find a well-deserved place in the still scant cello repertoire.

The premiere was on March 14, 2008 at Harry Wimmer's New York Symphony Space Thalia Theater concert with the assistance of the marvelous pianist Eduard Laurel.

Brahms, Johannes - Trio in E-flat Major Op 40 for Violin, Viola/Cello and Piano - Arranged by Schumann - Peters Edition

Item# 5870 106

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Click here to learn more about the Apprentice and ASTA Sheet Music Difficulty Ratings.

Brahms, Johannes - Sonatas in F Major and E-flat minor, Op 120 - for Violin and Piano - edited by Clive Brown and Neal Peres Da Costa - Barenreiter URTEXT

Item# 1617 162

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*Please Note: Publication has been delayed on this piece of music and we expect to have them by September. If you backorder this item, it will automatically ship as soon as it is available. We apologize for any inconvenience.*

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

Brahms, Johannes - Sonatas in F Major and E-flat minor, Op 120 - for Viola and Piano - edited by Clive Brown and Neal Peres Da Costa - Barenreiter URTEXT

Item# 2615 162

$30.15

Out of Stock



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

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