Brass Pack-'Brahms Three Sock it to Me'....has clearly set out to cut the boaring bits and only show the goals ... The arrangement itself is tastefully done and may well inspire young players to listen to the original'. Music Teacher Magazine.Grade: 3 - 6

Cette pièce a été l'une des chambre de Brahms matures oeuvres écrites en 1891. Il est considéré par beaucoup comme une de ses oeuvres plus belles chambre et comme un digne successeur de l'oeuvre de Mozart dans le même genre. Cette pièce est pleine de chaleur et d'émotion et est une addition bienvenue à n'importe quel répertoire clarinettistes. / Clarinette En La Et Piano / niveau : Elementaire / Recueil

Avec les cours de diction enregistrés par Irene Spiegelman, professeur de diction allemende au Metropolitan Opera, et l'accompagnement piano enregistré par Laura Ward, cette sélection des chansons de Brahms est une excellente introduction. Le livre reprend les cours de diction et le partitions pour chant et piano. / Chant Et Piano / Partition + Cd

A luxurious edition of the set of waltzes Op.39 composed by Brahms in 1865 and dedicated to the famous critic Eduard Hanslick.

Strings Pack-'Brahms Three Sock it to Me'....has clearly set out to cut the boaring bits and only show the goals ... The arrangement itself is tastefully done and may well inspire young players to listen to the original'. Music Teacher Magazine.Grade: 3 - 6

Par POOS HEINRICH / BIALAS GUNTER / BRAHMS JOHANNES / . Vier Volksliedsätze/ Feuillet / Choeur

Violinist Simon Fischer is joined by Raymond Fischer performing Johannes Brahmsâ??s three violin sonatas and the fiery Scherzo from the F.A.E. Sonata. Simon Fischer is recognized as one of the pre-eminent musicians of our time enjoying a distinguished and wide-ranging career as a performer educator and recording artist. Raymond Fischer has performed as solo recitalist in the Purcell Room and Wigmore Hall as accompanist and in chamber ensembles in Great Britain Australia and Germany.

with Orchestral Accompaniment-Reprinted from authoritative Breitkopf and Härtel sources this collection features a variety of Brahmss most cherished choral works with orchestral accompaniment. Selections include:- Rhapsodie für eine Altstimme Männerchor und Orchester Op. 53 (Rhapsody for an Alto Mens Choir and Orchestra)- Schicksalslied von Friedrich Hölderlin für Chor und Orchester Op. 54 (Song of Destiny by Friedrich Hölderlin for Choir and Orchestra)- Nänie von Friedrich Schiller für Chor und Orchester Op. 82 (Nänie by Friedrich Schiller for Choir and Orchestra)- Gesang der Parzen von Goethe für sechsstimmigen Chor und Orchester Op. 89 (Song of the Fates by Goethe for Six-Part Chorus and Orchestra)- Ave Maria für Frauenchor mit Orchester oder Orgel-Begleitung Op. 12 (Ave Maria for Womens Chorus with Orchestral or Organ Accompaniment)- Begräbnisgesang für Chor und Blasinstrumente Op. 13 (Funeral Song for Chorus and Wind Instruments)- Gesänge für Frauenchor mit Begleitung von zwei Hörnern und Harfe Op. 17 (Songs for Womens Chorus Accompanied by Two Horns and Harp)- Ellens zweiter Gesang aus Walter Scotts 'Fräulein vom See' von Schubert für Sopran dreistimmigen Frauenchor vier Hörnern und zwei Fagotte Op. 52(Ellens Second Song from Walter Scotts 'Lady of the Lake' by Schubert for Soprano Solo Three-partWomens Chorus Four Horns and Two Bassoons)This edition features a new English translation of the original Editors Commentary as well as new translations of song lyrics.

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

Un an après leur composition, en 1866, Brahms populaires 16 'Valses' op. 39 pour piano à quatre mains arrangée par le compositeur pour piano solo Were, répondant ainsi à la demande de son éditeur pour une version simplifiée. Brahms lui-même décrit comme la première version adaptée pour les 'mains raisonnable', c'est pour les joueurs compétents, et la version de coupe plus facile que 'peut-être pour plus joli des mains:' C'est, pour faire de la musique domestique. Initialement il a décrit cette dernière version à son éditeur comme une 'édition pour enfants'. Les morceaux accrocheurs et musicalement soulevé facilement accessibles sont parmi les oeuvres du compositeur les plus populaires pour piano et étudiants sont particulièrement adaptés et les amoureux du répertoire romantique. Les deux versions du 'Valses' op. 39 (BA 9602, BA 9603) sont disponibles dans des éditions séparées et forme une importante contribution à la série Bärenreiter d'oeuvres de Brahms dans les éditions Urtext savants critiques. Les deux éditions incluent le doigté, une comédie musicale bien présenté et l'agencement optimal page se tourne. Les éditions Urtext sont complétés par des explications sur les pratiques de performance utilisés par Brahms, une préface instructive sur la genèse, les sources et l'importance des travaux en collaboration avec des commentaires sur les sources primaires. - Un travail essentiel dans le répertoire du piano romantique - Toutes les sources connues et les derniers résultats de recherche pris en compte - Le bien-présenté la disposition optimale musicale avec page se tourne - Inclut le doigté - Des suggestions sur la pratique d'exécution et d'interprétation (Ger / Eng) - Briefing avant-propos (Ger / Eng) et des commentaires critiques (Eng) Le rédacteur en chef Christian Kohn a reçu des bourses ainsi que plusieurs grandes gagnantes des concours internationaux de musique en Allemagne. Il a publié 24 CD à ce jour, y compris le premier enregistrement complet des oeuvres duo de piano de Johannes Brahms. Christian Kohn est un conférencier à l'Detmold Musikhochschule. / Piano / Partition

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take 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. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to 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. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- 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: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano