Brahms?s famous Horn Trio op.40 composed in 1865 for the natural horn is a work of considerable significance within the composer?s output. Up until now the work was believed to have a strong emotional connection to the death of his mother three months earlier.However Christopher Hogwood draws on a newly discovered source for this Bärenreiter publication a source that has not been available for any previous edition. We now learn that Brahms wrote at least the trio movement some twelve years earlier in 1853 and that it was originally intended for solo piano. This piano movement is printed in the appendix.This Urtext edition offers notonly the standard instrumentation of violin horn and piano but also the alternative scoring for violoncello or viola instead of horn. The variants found in the violoncello and viola parts are shown as ossias in the score.The introduction (Eng/Ger) describes the compositional process includes information on the performance and publication history of the work and offers comments on performance practice. A critical commentary with facsimile pages of the manuscript rounds off this pioneering edition.Appendix with the 1853 piano version of the trio movementIncludes alternative parts for violoncello and viola

Partisans de longue date de Alexander Goehr, le Nash Ensemble, commandé cette corne trio avec le Festival de Cheltenham pour marquer 80e anniversaire du compositeur. Comme dans '... kein Gedanke, nur ruhiger Schlaf', Goehr a encore une fois retourné àla musique de Messiaen à son point de départ. / Violon, Cor Et Piano

'Hamlet-Echos' vient du grand opéra 'Hamlet' dans laquelle Christian Jost interprète la tragédie de Shakespeare comme 'l'histoire d'un voyage surréaliste intérieur'. En ayant Hamlet chanter d'une voix féminine, Jost souligne la validité universelle de cette déclaration. Le bilinguisme intentionnel signifie dialogue intérieur d'Hamlet dans lequel la partie d'alto rejoint commentateur. / Violon, Cor Et Piano