Brahms composed his ?Violin Sonata In A Major? during the summer of 1886. The work quickly became part of the standard repertoire and has remained so until today. It is presented here in a fine Bärenreiter Urtext edition and comes with an unmarked Urtext part as well as a second part marked with fingering and bowing by Clive Brown which are based on the practices of Brahms? contemporaries.An important part of this edition is the extensive preface. Firstly it informs about the works? origins its compositional process pre-publication performances its publication history as well as early reception. Truly remarkable is theunique 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 Joseph Joachim and other 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.

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.

for Flute Choir. Par BRAHMS JOHANNES. The Symphony No. 2 of Johannes Brahms was composed in 1877, premiered in December of that year. The Allegretto grazioso (3rd movement), arranged here for flute choir, is reminiscent of the Slavonic Dances of Antonin Dvorak. The flute orchestra version is arranged for six C flute parts, two alto flutes, two bass flutes and a contrabass flute. Increasing the number of players in each section will give added depth to the full and rich sound of this arrangement. / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes

Arrgt: Michel Hanon. Par BRAHMS JOHANNES. Formation : Musique de Chambre, Duo - Instrumentation :Duo de Bassons : 2 Bassons - Niveau de Difficulté : 2/6 - Facile - Durée : 1 mn 15 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Johannes BRAHMS - Arrangeur : Michel HANON / Niveau : Facile / Classique / Répertoire / 2 Bassons

Arrgt: Michel Hanon. Par BRAHMS JOHANNES. Formation : Musique de Chambre, Quatuor - Instrumentation :Quatuor de Hautbois : 4 Hautbois - Niveau de Difficulté : 2/6 - Facile - Durée : 1 mn 25 s - Style Musical : Classique - Catégorie : Arrangement - Compositeur : Johannes BRAHMS - Arrangeur : Michel HANON / Niveau : Facile / Classique / Répertoire / 4 Hautbois

Revised edition of HN 119-In 1879 about ten years before Johannes Brahms composed his late melancholic piano pieces he wrote the two Rhapsodies op. 79 two markedly passionate and comparatively extensive works. In a letter to the convalescent ClaraSchumann Brahms spoke in a typically understated fashion about the two pieces ?with which you can really run riot and test whether the course of treatment has actually had any effect?. We prefer to agree with Brahms? friendElisabeth von Herzogenberg: ?the fact that the g minor is my favourite does not make me insensitive towards the intensely prickly beauty of the one in b minor?. Both of these popular works have now been revised on the basis of thenew Brahms Complete Edition.

Johannes Brahms’ late Piano works in the form of the two editions HN 36 (paperbound) and 37 (clothbound) have been a cornerstone of the Henle catalogue ever since the early 1950s. In 2011 the volume with Pianopieces (HN 6014) was published in the new Brahms Complete Edition an edition of these important works that reflected the latest in scholarly research. Having already published single volumes of the Urtext editions ofopus numbers 76 79 and 116 119 with the up-to-date musical text in the Complete Edition Henle are now rounding off this Brahms project by publishing the revised volume of collected works available as a classicpaperbound clothbound or handy study edition. An open invitation to all those who wish to immerse themselves in Brahms’ fascinating Piano cosmos.

?No opus number? is what Johannes Brahms gave his astonished publisher to understand when he offered him the Hungarian Dances for publication in 1869. He placed a great deal of importance on the factthat he had merely ?set? popular Hungarian melodies and not composed new works as such. As true as this reservation is it did not affect the success of these works. The Hungarian Dances are today withouta doubt amongst Brahms? best-known compositions. Brahms himself made an arrangement of the dances 1 10 originally for Piano four hands for solo Piano. Henle are now publishing a revised version of theseimpressive pieces with the up-to-date text in the new Brahms Complete Edition. Rolf Koenen?s fingerings provide the best possible help for mastering these complex works.

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale

Revised edition of HN 120-Johannes Brahms presumably wrote the Fantasies op. 116 at the same time as the Intermezzi op. 117 in the summer of 1892 in Bad Ischl. His sojourn in the Salzkammergut obviously inspired Brahms to write music for solo piano asa year later he worked on other cycles when he was there. Amongst these late melancholy piano pieces op. 116 is in particular characterised by opposites. Four “dreamy” – according to Clara Schumann –intermezzi are juxtaposed with three “deeply passionate” capricci. Seven pieces in true Brahms’ style which are also accessible to non-virtuosos due to their medium level of difficulty. Our revision contains themusical text of the new Brahms Complete Edition.

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown’s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary & parts (BA9049) and Violin & Piano reduction (BA9049-90) and study score (TP949) available for sale

Johannes Brahms' Violin Concerto written for his friend Joseph Joachim has remained a standard in the concert literature since its first performance. No scholarly critical edition of this work has ever been published and therefore the many sometimes conflicting sources have never been evaluated for a critical performing edition. Not only Brahms' autograph score solo part and autograph Piano reduction but also his personal copies of the first edition score as well as the first edition orchestral parts have all been consulted. Clive Brown?s edition offers insights into the genesis of the composition and the working relationshipbetween Brahms and Joachim. The critical commentary comments on all discrepancies in the sources. The critical edition of Brahms' own Piano reduction is at the same time a performing edition and includes an informative introduction as well as comments on performance practice. In addition the Piano reduction includes a separate brochure with not only the well known Joachim cadenza but also those by J. Halir H. Heermann L. Auer and F. Busoni. An informative preface (Ger/Eng) with references to performance practice and a critical commentary are included in the edition First scholarly critical edition of this standard work Critical commentary (Eng) Insightful comments on performance practice An Urtext Violin part and an additional Violin part marked with fingering and bowing suggestions by Joseph Joachim Valuable cadenza brochure with cadenzas by Joachim Halir Heermann Auer and Busoni Full score critical commentary