Concerto Re Op. 77 (Joachim)

SKU: BR.OB-16110-15

ISBN 9790004348024. 10 x 12.5 inches.

Johannes Brahms's only violin concerto, one of the most important violin concertos of the 19th century, is now a central repertoire piece. This fact is all the more notable, as, by his own account, Brahms understood all too little about the instrument. The concerto was composed at Worthersee during the summer of 1878 in collaboration with Joseph Joachim, a leading contemporary violinist. The solo part is extremely demanding, with really unusual difficulties. This circumstance did not go unnoticed by the critics of the first performance: Even to Joachim, the battled-seasoned wrestler, the technically difficult and tricky solo part was to be mastered only with obvious effort. Evidencing this close collaboration between composer and performer is not only the work's genesis and publication history, together with its dedication to Joachim, but also its solo cadenza. Based on the New Brahms Complete Edition, this Urtext edition includes both the printed version of Joachim's cadenza as well as its shorter version arranged in 1885 by the violinist Marie Soldat.

SKU: AP.36-A134702

UPC: 659359985690. English.

Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: AP.36-A134701

ISBN 9798888529843. UPC: 659359537080. English.

Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: BR.OB-3210-15

ISBN 9790004300695. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.

SKU: BR.OB-3210-16

ISBN 9790004300701. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.

SKU: BR.PB-5317

ISBN 9790004212356. 6.5 x 9 inches.

Between Beethoven and Brahms, a long neglected workSchumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)

Schumann's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!

SKU: BR.OB-5302-30

ISBN 9790004340066. 10 x 12.5 inches.

Between Beethoven and Brahms, a long neglected workSchumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)

Schumann's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!

SKU: BR.OB-5302-16

ISBN 9790004340028. 10 x 12.5 inches.

Between Beethoven and Brahms, a long neglected workSchumann's last work for solo instrument and orchestra was not given its premiere until 1937, at which time it was also released in an editorially inadequate version. A re-evaluation of Schumann's late oeuvre began in the 1980s, in the wake of which the missing link between the concertos of Beethoven and Brahms (Yehudi Menuhin) also drew increasing attention. Since then, those in the know have come to appreciate the work, whose unique musical and technical demands challenge for both interpreter and listener.This new edition of what is perhaps the most underestimated masterpiece of the Romantic era is the first meticulously prepared Urtext edition of the score. Nothing short of incredible is the fact that the composer's own piano reduction from which Clara Schumann and Joseph Joachim played the piece is being published here for the first time! Thomas Zehetmair, who has significantly contributed to the re-assessment of the concerto, assumed the task of providing a sound technical basis to his revision of the solo part.Perhaps this edition will help stimulate awareness and appreciation of this unjustly forgotten romantic violin concerto described by Menuhin as the missing link between the concertos by Beethoven to Brahms. (John Thomson, Stringendo)

Schumann's last work for solo instrument and orchestra was not given its premiere until 1937. This new edition is the first meticulously prepared Urtext edition of the score and the composer's own piano reduction - from which Clara played the piece!