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Vorwort Der Ihm Eigenen Selbstironie – Das Ma­ Folgenden Johannes Brahms

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Vorwort Der Ihm Eigenen Selbstironie – Das Ma­ Folgenden Johannes Brahms Vorwort der ihm eigenen Selbstironie – das Ma­ Folgenden Johannes Brahms. Briefwech- nuskript des ganzen Werks als „Probe“ sel, Bd. XII, hrsg. von Max Kalbeck, Ber­ bezeichnete und es komplett an Mandy­ lin 1919, Reprint Tutzing 1974, S. 47 ff.). czewski schickte. Dieser begann mit der Nach der Berliner Uraufführung über­ Zwar hatte Johannes Brahms (1833 – 97) Partiturabschrift des Quintetts, vermut­ sandte er ihm am 24. Dezember 1891 im Dezember 1890 seinem Verleger Fritz lich weil Brahms’ damaliger Hauptko­ zunächst die Partiturabschrift des Quin­ Simrock angekündigt, mit dem Kompo­ pist William Kupfer zu dieser Zeit noch tetts als Vorlage für ein geplantes Ar­ nieren aufhören zu wollen, aber schon mit der Abschrift des Klarinettentrios rangement für Klavier zu vier Händen. bald sollte er nochmals tätig werden. Ein befasst war. Nach Abschluss von Satz I Kurz nach der zweiten Aufführung des wichtiger Impuls dafür ging von dem durch Mandyczewski setzte Kupfer die Klarinettenquintetts in Wien gingen am Klarinettisten der Meininger Hofkapelle Abschrift fort und kopierte die Stim­ 23. Januar dann auch die abschriftlichen Richard Mühlfeld aus, den Brahms im men, vermutlich schrieb er auch die al­ Stimmen an Simrock zur Vorbereitung Frühjahr 1891 näher kennen und sehr ternative Solopartie für Viola aus. Wann des Stichs. Vermutlich im Februar 1892 schätzen lernte. Begeistert schwärmte die abschriftlichen Materialien fertigge­ las der Komponist Druckfahnen von er am 17. März in einem Brief an Clara stellt waren, kann nicht genau festge­ Partitur und Stimmen Korrektur, denn Schumann, man könne „nicht schöner stellt werden. Spätestens zu den ersten am 25. Februar beklagte er sich brief­ Klarinette blasen, als es der hiesige Herr Proben der beiden neuen Stücke mit Ri­ lich darüber, dass die Stimmen bereits Mühlfeld tut“. Am 28. Juli versicherte er chard Mühlfeld in Meiningen, die zwi­ in Druck gegangen waren, bevor er die ihr sogar: „Er ist der beste Bläser über­ schen dem 21. und dem 24. November Partitur abschließend korrigiert hat te haupt, den ich kenne“ (Clara Schu- stattfanden, lagen Brahms die abschrift­ (vgl. Briefwechsel XII, S. 61). mann – Johannes Brahms. Briefe aus liche Partitur und die heute verscholle­ Im März 1892 erschien die Erstaus­ den Jahren 1853 – 1896, hrsg. von Bert­ nen abschriftlichen Stimmen des Klari­ gabe des Quintetts in Partitur und Stim­ hold Litzmann, Leipzig 1927, Reprint nettenquintetts vor. men. Sie gibt neben der Klarinette – Hildesheim etc. 1989, Bd. 2, S. 446 f., Brahms holte für diese Proben seinen ebenso wie das Trio op. 114 – im Titel 455 f.). So verdanken wir Mühlfeld mit Freund Joseph Joachim und den Cellis­ explizit „(oder Bratsche)“ als Soloinstru­ Brahms’ Trio op. 114, dem Quintett ten Robert Hausmann aus Berlin nach ment an und enthält in der Stimmen­ op. 115 und den beiden Sonaten op. 120 Meiningen. Joachim schlug Brahms noch ausgabe auch eine eigene Bratschen­ eine ganze Reihe von Kammer musik­ in Meiningen vor, die beiden neuen Wer­ stimme. Es steht zu vermuten, dass die­ werken mit Klarinette, die heute zum ke beim 3. Quartettabend Joachims in se heute wenig bekannte Streicheralter­ Kernrepertoire dieses Instruments gehö­ Berlin öffentlich aufzuführen – als be­ native primär auf Simrocks Wunsch hin ren. setzungsmäßige Ausnahme in der sonst entstand, um dem Werk vor allem im Klarinettentrio und ­quintett entstan­ auf Streicher­Kammermusik beschränk­ hausmusikalischen Bereich eine weitere den wohl weitgehend parallel im Som­ ten renommierten Konzertreihe. Tat­ Verbreitung zu sichern. Dass Brahms mer 1891. Nach der Übersendung des sächlich fand die öffentliche Urauffüh­ bei der brieflichen Diskussion der Titel­ Trios an seinen Vertrauten, den Archivar rung in diesem Rahmen am 12. Dezem­ frage mit Simrock am 23. Januar 1892 und Leiter der Sammlungen der Gesell­ ber 1891 mit Mühlfeld und dem Joa­ zunächst dafür plädierte, die Bratsche schaft der Musikfreunde in Wien, Eu­ chim­Quartett statt. nicht im Titel zu nennen und einen ab­ sebius Mandyczewski, bestellte Brahms Nur wenige Tage später erfolgte am surd hohen Preis nur für diese Einzel­ bei diesem am 21. Juli Notenpapier, das 16. Dezember in Wien bei der mit Brahms stimme vorschlug, mag eine ironische für die Niederschrift des Quintetts vor­ befreundeten Familie Miller zu Aichholz Distanzierung von der alternativen Be­ gesehen war. Am 6. August 1891 sand­ eine Probe des Quintetts in der alterna­ setzung andeuten. An ihrer Autorisierung te Brahms ihm eine „Probe“ des Quin­ tiven Besetzung mit Solo­Bratsche statt kann gleichwohl kein Zweifel bestehen, tetts. Möglicherweise war damit nur ein Klarinette. Vom Rosé­Quartett begleitet da Brahms sie ebenso wie die Klarinet­ (erster) Teil des Autographs gemeint, spielte Joachim die Solopartie. Dasselbe tenfassung vor der Drucklegung erpro­ zu mal sein Hinweis zum Adagio „habe Quartett übernahm am 5. Januar 1892 ben ließ und in Druck gab. Sie wird da­ ich nicht, borge mir eins“ in demselben mit dem Klarinettisten Franz Steiner her in der vorliegenden Edition mitbe­ Brief darauf hindeuten könnte, dass dann auch die Wiener Erstaufführung rücksichtigt und die Abweichungen ge­ Satz II noch fehlte (Johannes Brahms des Klarinettenquintetts, der bereits am genüber der Klarinettenpartie werden im Briefwechsel mit Eusebius Mandy- 19. Januar ein weiteres Konzert in Wien an drei Stellen im Adagio in Ossia­Sys­ czewski, mitgeteilt von Karl Geiringer, folgte, diesmal mit Mühlfeld und dem temen wiedergegeben. in: Zeitschrift für Musikwissenschaft Joachim­Quartett. Das Klarinettenquintett fand schnell 15/8, Mai 1933, S. 350 f.). Wahrschein­ Schon im Sommer 1891 hatte Brahms Verbreitung: Allein zwischen Dezember licher ist jedoch, dass sich das „Borgen“ seinem Verleger Simrock Klarinettentrio 1891 und Mai 1892 erfuhr das Werk elf auf motivische Anspielungen in diesem und ­quintett angekündigt (Brief vom nachgewiesene Aufführungen, darunter Adagio bezieht und Brahms hier – mit 10. August 1891, vgl. dazu hier und im bereits im März/April 1892 auch drei HN_1393_Vorwort.indd 2 22.01.2020 14:06:10 III in London durch das Joachim­Quartett Preface script of the whole work as a “sample”, und Mühlfeld (vgl. Signale für die musi- and had thus sent it complete to Man­ kalische Welt 50/31, April 1892, S. 487). dyczewski. The latter began by making In der Rezeption überstrahlte das Quin­ a copyist’s score of the Quintet, presum­ tett sein Schwesterwerk in Triobeset­ Although Johannes Brahms (1833 – 97) ably because Brahms’s main copyist, zung, mit dem es in der ersten Phase had announced to his publisher Fritz William Kupfer, was still busy at this häufig gemeinsam auf Konzertprogram­ Simrock in December 1890 that he time copying the Clarinet Trio. After men stand. Max Bruch bemerkte im De­ wanted to stop composing, he was soon movement I was completed by Mandy­ zember 1891 in einem Brief an Philipp busy again. An important stimulus for czewski, Kupfer copied the rest of the Spitta: „Das Trio ist ein gutes Werk, wie this came from the clarinettist of the score and the parts, presumably also man es von Brahms erwarten kann. Das Meiningen Hofkapelle, Richard Mühl­ writing out the alternative solo part for Quintett aber scheint mir zu dem Her­ feld, whom Brahms had got to know viola. The precise date of completion of vorragendsten zu gehören, was er über­ better in spring 1891 and had come to these copies remains unknown. At the haupt geschrieben hat“ (Max Bruch admire. He wrote enthusiastically in a latest, the copied score and the now­ und Philipp Spitta im Briefwechsel, hrsg. letter dated 17 March to Clara Schu­ missing copied parts of the Clarinet von Dietrich Kämper, Kassel 2013, Bei- mann that no one could “play the clari­ Quintet were given to Brahms in time träge zur Rheinischen Musikgeschichte net more beautifully than Herr Mühl­ for the first rehearsals of the two new Bd. 175, S. 227). Insgesamt erfuhr das feld does here”. On 28 July he even as­ works with Richard Mühlfeld in Meinin­ Adagio den größten Zuspruch. In der sured her: “He is the best wind player gen, which took place between 21 and Allgemeinen Musikzeitung wurde es whom I know” (Clara Schumann – Jo- 24 November 1891. an die Spitze der bisher komponierten hannes Brahms. Briefe aus den Jahren For these rehearsals, Brahms brought Kammermusik überhaupt gesetzt (Jg. 18, 1853 – 1896, ed. by Berthold Litzmann, his friend Joseph Joachim and the cellist Nr. 51, 18. Dezember 1891, S. 658). Bei Leipzig, 1927, reprint Hildesheim etc., Robert Hausmann from Berlin to Mei­ der Berliner Uraufführung wurde es 1989, vol. 2, pp. 446 f., 455 f.). And so ningen. Whilst still in Meiningen, Joa­ nach besonders heftigem Zwischenap­ we have Mühlfeld to thank for Brahms’s chim suggested to Brahms that the two plaus sogar wiederholt. Trio op. 114, the Quintet op. 115 and new works should be performed publicly Die vorliegende Edition folgt dem the two Sonatas op. 120, a whole series at Joachim’s 3rd quartet evening in Ber­ Text der Johannes Brahms Gesamtaus­ of chamber music works with clarinet lin – as an exception to the usual forces ga be (Serie II, Bd. 2: Streichquintette which now belong to this instrument’s in the renowned concert series, which und Klarinettenquintett, hrsg. von Kath­ core repertoire. was otherwise exclusively for string rin Kirsch, München 2019). Näheres zur The Clarinet Trio and Quintet were chamber music. The public première Textgestaltung und Quellenlage sowie probably largely written in parallel in indeed took place in this series on zur Entstehung,
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