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The origins of Brahms‘ g minor Quartet op. 25 go back to the 1850s, although the work was not finished until fall 1861. The composer held his new work in high esteem, even putting it on the program of his first public appearance in Vienna as pianist and composer one year later.To this day it is the most popular of the three Brahms piano quartets, not least because of its dazzling final movement, a Rondo alla Zingarese.
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EAN: 9790201801971
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The Sonata in G major owes its epithet “Rain Song Sonata” to two melodies from Brahms’ “Rain Songs” op. 59 nos. 3 and 4 which are quoted at the beginning of the last movement. An ornamental leaf with the first 24 bars of the “Adagio” was recently re-discovered and has been reproduced as a facsimile in this edition. It shows the connection between the work and Clara Schumann and her youngest son. Felix, Brahms’ godson and a talented violinist, was seriously ill and died before the work was completed. In a letter of dedication on the reverse of the leaf, Brahms expresses his deepest sympathy and his best wishes. This single edition from the volume containing all of Brahms’ violin sonatas (HN 194) contains a preface by Wolfgang Sandberger, illuminating the genesis of the “Felix Sonata”.
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EAN: 9790201800752
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Brahms’s First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood”. So Brahms made overtures to other publishers, but then Simrock finally agreed to take it on. The critics were initially rather sceptical towards this Sextet op. 36, but Brahms’s friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colours. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.
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EAN: 9790201870830
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Brahms’s First String Sextet became very popular after its publication in 1861, yet his publisher Simrock still hesitated when the composer offered him a second such work in 1865, “in the same cheerful mood”. So Brahms made overtures to other publishers, but then Simrock finally agreed to take it on. The critics were initially rather sceptical towards this Sextet op. 36, but Brahms’s friends thoroughly approved of it. Clara Schumann praised its accomplished motivic work, while others enthused about its magical sound colours. This practical edition by Katrin Eich, based on the Brahms Complete Edition, now offers performers the opportunity to form their own opinion, whether in performance or by perusing our study edition. The parts include player-friendly cue notes and have excellent page-turns.
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EAN: 9790201810836
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As with the g minor Quartet op. 25, the origins of opus 26 reach back into the 1850s. However, it assumed its final shape only in summer and fall 1861. While in her first evaluation of the work Clara Schumann felt that the piece would “grow on the listener once he knows it perfectly and has often heard it;” Brahms’ friend Joseph Joachim wrote to him after a hasty perusal that he had “grown more and more favourable towards the A major Quartet. The tone of great intimacy and delicacy alternates beautifully with a fresh love of life.” With its use of a “brighter” key, opus 26 is clearly the more accessible of the two adjacent piano quartets.
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EAN: 9790201802756
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Having already published single volumes of our Urtext editions of opus numbers 76, 79 and 116–119 with the up-to-date musical text in the Complete Edition, we are now rounding off this Brahms project by publishing the revised volume of collected works, available as a classic paperbound, clothbound or handy study edition. An open invitation to all those who wish to immerse themselves in Brahms’ fascinating piano cosmos.
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EAN: 9790201805658
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Brahms mainly composed the eight Piano Pieces op. 76 in summer 1878 in the summer resort of Pörtschach at Lake Wörth. Theodor Billroth, a close friend, was enthusiastic about the new works: “These are magnificent pieces, beautiful and interesting to play. They lie so well under the hand for those who are a little used to Schumann’s and Chopin’s technique that it is a pleasure to practise them.” As the volume “Piano Pieces” was published in 2011 as part of the Johannes Brahms Complete Edition (HN 6014), we are now replacing the previous volume HN 118 with this new one, presenting these “magnificent pieces” in the musical text of the Complete Edition, accompanied by revealing commentaries detailing their genesis and publication.
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EAN: 9790201811840
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Johannes Brahms’ summer sojourn in 1893 in Bad Ischl was productive. Alongside the pieces op. 118, he also wrote his last cycle of piano pieces, opus 119. The composer wrote to Clara Schumann of the opening work, saying that it was teeming with dissonances and that: “every measure and every note must sound like a ritardando, as if one wanted to suck the melancholy out of each single one, with lust and pleasure out of the aforementioned dissonances!” Yet opus 119 contains something for every mood: No. 3 surprises with its lively and light C major, and the cycle is completed with the defiant rhapsody in E flat major. Our revised edition, based on the Brahms Complete Edition, is an invitation to pianists to rediscover Brahms’ complex cosmos.
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EAN: 9790201812502
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The Sextet in B-flat major was already judged to be “one of the most beautiful works by this young composer” after its initial performances in early 1861. It was popular with both public and press, and has retained this status to the present day. The publisher Simrock was so impressed by it that he accepted Brahms’s suggestion that he should publish a score of it alongside the individual parts – something that was by no means usual at the time. The numerous differences between these two first editions of 1861 continue to present problems to Brahms researchers today. Brahms specialist Katrin Eich has already taken on the task of editing the work for the Brahms Complete Edition, and this new Urtext edition provides the best possible musical text for performance. Naturally, it is available in both score and parts.
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EAN: 9790201810829
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Shortly after a rather unsuccessful performance of his Piano Concerto no. 1, Johannes Brahms wrote to Joseph Joachim in 1859: “... a second one will sound different”. Nevertheless, a good 20 years elapsed before that second concerto finally took form, and only in 1881 was he able to announce: “I wanted to tell you that I have written a very small piano concerto with a tiny little delicate Scherzo”. Our study edition of this by no means small symphonic concerto is based on the musical text in the recently published volume that is part of the Brahms Complete Edition (HN 6020). It is a companion to our piano reduction (HN 1231) and offers all those who wish to study the complex score of this great piano concerto an ideal, practical and affordable means of doing so.
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EAN: 9790201872315
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Johannes Brahms’s piano sonatas were among the 20-year-old composer’s first publications. They were written in 1852–53; with the slow movement of this C major Sonata, which uses the song “Verstohlen geht der Mond auf”; bearing the earliest date, April 1852. With this passionate and highly virtuosic Sonata, Brahms introduced himself to the great of the musical world of his day, including the Schumanns in Düsseldorf. Clara Schumann wrote afterwards that “... the whole is full of exuberant fantasy, intimacy of expression and mastery of form”. Brahms’s op. 1 now appears in a separate Henle Urtext edition, revised using the musical text of the Brahms Complete Edition. The sonatas op. 2 and op. 5 will follow.
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EAN: 9790201812885
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Nous proposons ici une édition en fac-similé reliée de lin rouge du manuscrit des fantaisies op. 116 nos 1 à 7 pour piano seul de Johannes Brahms. L'impression en cinq couleurs reproduit le manuscrit autographe qui fut acquis en 1926 par l'actuelle bibliothèque nationale et universitaire Carl-von-Ossietzky de Hambourg et est conservé dans le fonds des archives Brahms. Le fac-similé trouve toute sa valeur non seulement en raison de la qualité exceptionnelle de son impression, mais aussi par la postface détaillée et scientifiquement documentée de l'éditeur, Bernhard Stockmann. Cette impression en fac-similé fut récompensée en 1997 du prix de l'édition musicale allemande. La presse spécialisée vante cette édition, la qualifiant de «véritable rareté d'une qualité inégalable en termes de techniques d'impression et de qualité de rendu».
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EAN: 9790201832104
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Piano trios belong among the great genres of Classical chamber music, and Brahms, too, turned his attention to this genre early on. He wrote his opus 8 in fall and winter 1853/54, thus at the age of 20. The two other piano trios were created 28 years later, namely op. 87 in C major, and 32 years later, op. 101 in c minor. Brahms was working on another Trio, in E flat major, at the same time that he was working on the C major Trio; however, it seems to have been destroyed. He returned to his first piano trio in 1889 and revised it so thoroughly that he wrote to Clara Schumann: “I have re-written my B major trio.” The Henle Urtext edition reproduces the second version of the Trio op. 8 (published in 1891) first, then follows this up with a reprint of the first version in its Appendix.
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EAN: 9790201802459
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In order to also promote the circulation of his works outside the concert hall, Johannes Brahms made piano arrangements of many of his orchestral works. As the composer, he was able to take greater liberties than any other arranger would have been able to take. And it is precisely due to Brahms’ creative ideas in the piano scoring that his arrangements have enjoyed renewed interest in the music world over the past decades. With our Urtext edition of the Symphonies Nos. 3 and 4, based on the musical text in the Johannes Brahms Complete Edition, our catalogue now contains all four symphonies in the authentic piano arrangements made by the composer. Once again, Andreas Groethuysen has kindly provided the fingerings.
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EAN: 9790201811994
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This Trio’s unusual scoring for horn, violin and piano prompted speculation early on about a possible background to it that had no connection with music. Brahms’s biographer Max Kalbeck saw in it a lament for the composer’s mother, recently deceased, to whom he had supposedly played folk songs on the horn in his childhood. There is no doubt that Brahms loved the sound of the natural horn, and bestowed several of his most inspired melodies on the instrument. Horn players justifiably adore this Trio op. 40, and this Henle Urtext edition now offers an optimal basis for studying and performing this masterpiece. This edition follows the musical text of the New Brahms Complete Edition and thus guarantees the greatest fidelity to the sources and reflects the current state of research. The pianist Klaus Schilde has added helpful fingerings to the piano part. Extra parts are also provided for the alternative scoring authorised by Brahms (with viola or cello instead of horn). Read more about this edition in the Henle Blog.
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EAN: 9790201808116
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Brahms began his career as a pianist. His contribution to the piano music of the 19th century is significant in two respects: following Schubert and Schumann he cultivated the small, lyrical form, while as Beethoven’s successor he admitted large forms such as the piano sonata and variation cycle. His two variation cycles op. 21, published in 1862, place great demands on the performer. In the first cycle, on a lyrical theme in D major, the technique of figurative and contrapuntal alterations is highly developed. The “Variations on a Hungarian Song” should be a refreshing challenge for the advanced pianist, owing to their metrical features and their virtuoso temperament. We were able to engage Canadian musicologist Margit L. McCorkle as the editor. Together with her husband she also compiled the “Thematic-Bibliographic Catalogue” of Brahms’s works.
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EAN: 9790201804392
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Johannes Brahms’s late chamber works are surely among the most splendid music ever written for the clarinet. In the last years of his life, Brahms seems to have become weary of composing – but fortunately for posterity, in 1891 he met the solo clarinettist of the Meiningen court orchestra, Richard Mühlfeld, whose mellifluous art of performance captivated him and inspired him to new works. The Trio op. 114 is melancholy and autumnal in character, and is loved by all clarinettists. It is now available from Henle in a revised edition. Brahms’s manuscript of his op. 114 lies in Munich, the home city of G. Henle Publishers. The musical text follows that of the New Brahms Complete Edition, and thus guarantees the highest degree of precision and reflects the current state of research. The pianist Klaus Schilde has added valuable fingerings to this Urtext edition. Read more about this edition in the Henle Blog.
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EAN: 9790201811253
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Johannes Brahms’s piano sonatas opp. 1, 2 and 5 were among the first works that the then 20-year-old composer published. Much of the music of the f-minor Sonata is closely connected to Brahms’s visit to Robert and Clara Schumann in Düsseldorf in the autumn of 1853. There are indications that the young Brahms was inspired by Robert Schumann’s Sonata op. 14 – which was also in f minor. The music critic Eduard Hanslick also believed that he could discern the influence of Brahms’s older colleague when he wrote about the Sonata op. 5: “The whole of Brahms is here, though still under the spell of Schumann”. This revised Urtext edition is based on the musical text of the New Brahms Complete Edition. The fingerings are by Andreas Boyde and offer the performer highly ingenious solutions to mastering this piano work that is so symphonic in scope.
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EAN: 9790201812908
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Johannes Brahms’s Piano Quintet is not only one of the mightiest works in its genre but a climax in his chamber music œuvre. This new volume adopts the definitive text from the New Complete Edition of Brahms’s Works.
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EAN: 9790201802510
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“No opus number” is what 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 fact that 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 without a doubt amongst Brahms’ best-known compositions. Brahms himself made an arrangement of the dances 1–10; originally for piano four hands, for solo piano. We are now publishing a revised version of these impressive 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.
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EAN: 9790201805603