Johannes Brahms : Sonata, Op. 120, No. 2

Johannes Brahms:The Works for one Instrument and PianoJohannes 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 EditionsBärenreiter'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 / Violon Et Piano

The Works for one Instrument and PianoJohannes 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 EditionsBärenreiter'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 / Violon Et Piano

En 1894, Johannes Brahms proposa au clarinettiste Richard Mühlfeld de lui rendre visite à Ischl, son lieu de villégiature préféré, en ajoutant: 'ce serait formidable si vous pouviez apporter votre clarinette en sib et si vous n'étiez pas trop pressé' - car les deux Sonates op. 120 étaient prêtes à être testées. Les premières exécutions dans un cadre privé suivirent immédiatement, ce que la presse relata élogieusement: 'Les Sonates [...] sont merveilleuses et feront sensation'. Avec notre édition de ces oeuvres majeures du répertoire des clarinettistes, nous poursuivons notre révision des sonates en duo de Brahms d'après la nouvelle édition complète des oeuvres de Brahms. / Clarinette

Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted viola parts to his two sonatas. In any case the viola and clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms' authorship of the viola parts. They include important differences from the clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from 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. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of 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, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- 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 / Alto Et Piano

Les plus grandes ?uvres pour Piano de Johannes Brahms, arrangées pour Piano Solo / Classique / Partition /

Brahms had already announced his „retirement“ from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld’s much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. Brahms and Mühlfeld premiered the works and played them in several performances until the sonatas op. 120 were first published in June of 1895. They remain pivotal works in the clarinet’s recital repertoire establishing the clarinet sonata as a distinct and viable chamber music genre. An important part of this edition is the extensive preface. Firstly it informs about the sonatas‘ origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from 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. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, clarinet vibrato and portamento, the editors provide an indispensable assistance for a historically informed interpretation of the work. At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general. - A pioneering Urtext edition - 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

Clarinet Sonatas op. 120 Editor: Johannes Behr, Egon Voss Fingering: Klaus Schilde Urtext Edition, paperbound for Clarinet in B flat revised edition replaces HN 274 Pages: 87 (VIII, 59, 20), Size 23,5 x 31,0 cm Order no. HN 987 · ISMN M-2018-0987-8 In 1894 Johannes Brahms asked the clarinettist Richard Mühlfeld to visit him during his beloved summer sojourn in Ischl, adding ?It would be really wonderful if you brought your B flat clarinet with you, and if you were in no great hurry? ? for the two Sonatas op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: ?The sonatas [...] are wonderful and will cause a great sensation?. Our edition of this work, today part of the clarinettist?s core repertoire, continues the revision of Brahms?s Duo Sonatas following the text in the new Brahms Complete Edition.

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 Clarinette. Si l'instrumentation Clarinette correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Clarinette / Chanson En Séparée

Cette edition presente l?une des plus celebres ?uvres pour clarinette du ¬repertoire de musique de chambre du 19e siecle : la premiere sonate pour clarinette et piano (opus 120 N° 1) en Fa mineur de Johannes Brahms. Les playbacks vous permettent de travailler l??uvre systematiquement a trois tempos differents avec un accompagnement professionnel. Chaque playback fait d?abord entendre la version de concert d?un morceau (clarinette et piano). Mais vous y trouverez egalement un accompagnement de piano pour travailler a un tempo lent puis un autre a un tempo intermediaire. Une fois un morceau maîtrise, vous pourrez le jouer au tempo d?origine avec l?accompagnement de piano. Toutes les versions ont ete enregistrees en live. / Partitions classique / Bois / Clarinette / DOWANI

for Clarinet and Piano. Par BRAHMS JOHANNES. / Répertoire / Clarinette et Piano