Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the cello part and the composer himself was his partner at the piano. Even though the work was generally received positively, it took some years until it was fully appreciated and gained its irrevocable place in the cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata op. 99 by Hugo Becker and Carl Friedberg, as well as by Julius Klengel. Both cellists, Becker and Klengel, had a connection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such, the Barenreiter 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 work's origin, 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 into 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 the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

For Piano, Violin And Horn (Viola / Violoncello). Par BRAHMS JOHANNES. L' instrumentation inhabituelle de ce trio - cor, violon et piano - a de bonne heure fait l' objet de spéculations au sujet d' un arrière-plan extramusical. Le biographe Max Kalbeck y voyait par exemple une plainte du compositeur, qui venait de perdre sa mère, parce que dans son enfance le petit Brahms aurait joué à celle-ci des chants populaires au cor. Ce qui est indiscutable, c' est que le compositeur adorait la sonorité du cor naturel qui lui a inspiré quelques-unes de ses plus belles mélodies. Son Trio op. 40 est à juste titre porté aux nues par tous les cornistes auxquels l' édition Urtext de Henle offre désormais une base idéale pour étudier et interpréter ce chef-d' oeuvre. L' édition reprend le texte musical des nouvelles oeuvres complètes de Brahms, garantie d' une fidélité aux sources et d' une conformité aux recherches les plus récentes. Le pianiste Klaus Schilde a rajouté de précieux doigtés dans la partie de piano. On trouvera en outre les parties instrumentales des versions alternatives (alto ou violoncelle à la place du cor) qui avaient la bénédiction de Brahms./ Répertoire / Piano, Violon et Cor ou Alto ou Violoncelle

Study Score. Par BRAHMS JOHANNES. Après l'édition Urtext nouveau sextuor à cordes de Brahms en op si bémol majeur. 18 (BA 9419, publié en Février 2011), Barenreiter présente maintenant l'édition Urtext nouvelles du sextuor à cordes en sol majeur op. 36. Ces deux sextuors à cordes de Johannes Brahms figurent parmi les points forts de la chaîne de répertoire romantique et certains de la musique de chambre les plus populaires de tous les travaux. Christopher Hogwood a pris toutes les sources connues en considération, y compris les versions pour piano à deux et quatre mains par le compositeur écrit ainsi que d'un ensemble de pièces contemporaines du spectacle qui offre variantes et des idées en pratique la performance durant la vie de Brahms. Le score étude inclut les pages de télécopie, un avant-propos (Ger / Eng) et un commentaire critique (Eng) sur le travail et l'histoire de la composition. / Répertoire / Violon, Alto et Violoncelle

Score + Parties. Par BRAHMS JOHANNES. Bärenreiter's scholarly-critical edition of Brahms' popular Quintet in F minor for piano and strings contains everything a cutting edge Urtext edition is meant to offer. It presents a solid and wellresearched musical text based on Brahms' autograph as well as the first edition, and draws on the autograph of the two-piano version (composed six years later) for purposes of comparison. The edition also contains a discussion of the work's historical context and performance practice as well as a comprehensive Critical Commentary with an evaluation of the sources and alternative readings. The editor, Daniel Boomhower, deals with the conflicting readings between the string parts in the autograph engraver's copy and those found in small print in the first published score as well as in the separate parts for that edition. Relevant readings from the two-piano version appear in the appendix of the Critical Commentary. - New Bärenreiter Urtext edition - Exhaustive study of conflicting readings - Notes on performance practice (Eng/Ger) - Informative Foreword (Eng/Ger) and Critical Commentary (Eng)descriptive text to this edition will be provided on December 20./ Répertoire / Violon (2), Alto, Violoncelle, Piano

The e minor Cello Sonata is the first work for one solo instrument and piano which the meticulous composer also had printed. In summer 1865 Brahms offered it to the publisher Simrock as a sonata 'whose two instruments are both absolutely easy to play? - and rightly so: contrary to the later F-major Sonata op. 99 (HN 1135), this early sonata is technically less demanding, yet musically more striking at the same time, so that it is a hit with amateurs and professionals alike. Our new edition is based on the new Brahms Complete Edition and thus boasts, besides in-depth comments, a musical text revised according to the latest scholarly findings- as always, the cello part is enhanced with additional markings. / Violoncelle Et Piano

Incl. Horn Trio op. 40 and Clarinet Trio op. 114. Par BRAHMS JOHANNES. Brahms's twenty-four chamber works include a number of the most acclaimed masterpieces in the repertoire, and his piano trios ; including the famous Horn and Clarinet Trios ; are among the most admired, performed, and recorded of all. This edition, reprinted from the definitive one prepared by Hans Gàl for Breitkopf & Härtel, presents all five of these brilliant works in an inexpensive yet fine-quality volume. Included are the B Major, C Major, and C Minor Trios (Opp. 8, 87, and 101) for violin, cello, and piano; the E-flat Major Trio (Op. 40) for violin, horn (or cello or viola), and piano; and the A Minor Trio (Op. 114) for clarinet (or viola), cello, and piano. Includes the three great piano trios, the 'Horn Trio' and the 'Clarinet Trio'. Edited by Hans Gal./ Répertoire / Musique de Chambre

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 Violoncelle. Si l'instrumentation Violoncelle Et Piano correspond à ce que vous cherchez, vous en ferez alors un très bon usage. / Violoncelle Et Piano / Partition

Un autre titre de cette série importante, édité par Julian Lloyd Webber. La Sonate de Brahms est l'une des grandes oeuvres du répertoire de violoncelle. / Violoncelle Et Piano

eingerichtet für Violine, Kontrabass und Klavier. Par BRAHMS JOHANNES. Arrangeur: Gjorgji Cincievski/ Répertoire / Violon, Contrebasse et Piano

This text presents beginning cello technique and basic music reading fundamentals. There is an emphasis on using melodies and classical pieces to instruct each new concept. The 28 lessons include basic technique and reading skills, scales in the keys of D, G, C and F and bowing techniques such as dynamic contrast, slurs, accents, and staccato bowing. There are 47 melodies presented including works by Bach, Beethoven, Brahms, Handel, Mozart and other classical composers. The book includes access to online audio containing all of the exercises and pieces recorded with solo cello and piano accompaniment. It is useful as a teaching and practice tool as well as a performance accompaniment track. / Pédagogie / Date parution : 2018-05-04/ Méthode / Violoncelle