![]() 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. 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. Last but not least characteristics of Brahms’ own piano playing as well as that of his circle and contemporaries are discussed. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. tempo, rubato, rhythmic flexibility and articulation. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.Īn 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. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. 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. 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.īärenreiter’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. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Johannes Brahms’ compositions for one instrument and piano have been standards in chamber music literature ever since their inception. ![]()
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