Bärenreiter The Musicians’ Choice The Programme New Publications Sheet Music 1/2015 New Issue Title 1 New Publications 1/2015 · The Programme Contents Strings Ready to Play Brahms: The Works for one Instrument and Piano Christmas Hits for two Flutes. BA 10634 ....................... 26 BA 9429–9433, BA 10907–10908, BA 10911 .......3–6 Tango & Co for Accordion. BA 10617 .................................27 Ševčík: Changing Positions and Preparatory Scale Studies op. 8. BA 9557 .........................................7 Woodwind Sassmannshaus: Violin Recital Album, First Position. Volume 1: BA 9668, Volume 2: BA 9669 ..................8–9 Brahms: Sonatas for Clarinet and Piano. Bach: Air from the Orchestral Suite BWV 1068 BA 10906 ......................................................................3–6 BA 5140 .............................................................................10 Dvořák: Romance in F minor op. 11. BA 9571 ..................11 Choir Suk: String Quartet No. 2 op. 31. BA 9536, TP 536 ....... 12 Haydn: Missa brevis Sti Joannis de Deo ‘Little Organ Mass’ (Hob. XXII:7). Piano Arranged for female choir. BA 5694 ...................... 30 Couperin: Pièces de clavecin. BA 10844 ..........................13 Schütz: Geistliche Chor-Music ......................................... 31 Beethoven: Sonatas op. 27, Nos. 1–2. BA 10853 ...........14 Jansson: Sacred Choral Works. BA 7414–7416 .......32–33 Beethoven: Concerto No. 5 in E-flat major for Pianoforte and Orchestra op. 73 Solo Voice BA 9025-90...................................................................... 15 Schumann: Liederkreis op. 39. BA 7853 ......................... 36 Schubert: Piano Sonata in C minor D 958 BA 10869 ....................................................................16–17 Ravel: Valses nobles et sentimentales Orchestra BA 10826...........................................................................18 Haydn: Symphony in D minor Hob. I:26 BA 10975 ...........................................................................37 Facsimiles Beethoven: Concerto No. 5 in E-flat major for Pianoforte and Orchestra op. 73 Bach: The Well-Tempered Clavier, Part I BA 9025-90...................................................................... 15 BWV 846–869. ISBN 978-3-7618-2368-2 .................19 Mozart: Requiem. ISBN 978-3-7618-2346-0 .......... 28–29 Brahms: New Liebeslieder. Walzer/Waltzes op. 65 Vocal Scores / Opera ISBN 978-3-7618-2364-4 .........................................34–35 Handel: Agrippina HWV 6. BA 4092-90 ........................38 Gluck: Armide. BA 5846-90 .............................................. 39 Organ An Easy Handel Organ Album. BA 11213 ........................ 20 Contemporary Music ........................................40 Organ Events. BA 11220 ....................................................... 21 Frescobaldi: Organ and Keyboard Works II Study Scores BA 8413 ..............................................................................22 Froberger: New Edition of the Complete Works, Beethoven: The Five Piano Concertos. TP 920 ............ 41 Volume V.2. BA 9212 ......................................................23 Smetana: Vltava/The Moldau. TP 558 ........................... 42 Handel: Water Music HWV 348–350. BA 9254 ........... 24 Janáček: Taras Bulba. TP 842 .............................................43 Complete Editions .................................................25 Your Contacts ............................................................44 New Issue Title New Publications 1/2015 · The Programme 2 Johannes Brahms The Works for one Instrument and Piano New Issue Title 3 New Publications 1/2015 · The Programme Johannes Brahms Johannes Brahms: The Works for one Instrument and Piano Johannes Brahms’ compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself. Excerpts from: Brahms, Sonata in G major for Violin and Piano op. 78 · BA 9431 Vl: The harmonic is marked in all editions before 1933 except in that of Auer (who provides no fingering here, implying performance in 1st position, with an open D string in b. 2) and Schultze-Biesantz (performance in 3rd position with 1 on d``); Flesch suggests 1 on d`` with the harmonic as a bracketed option; Telmányi marks the harmonic (and an open D string in b. 2) but did not use these fingerings in his recording. Among recorded violinists, Szigeti (in his 1951 recording) employed the harmonic here and elsewhere, where other recorded violinists use stopped notes. In A Modern School for the Violin (London, 1909) August Wilhelmj and James Brown explain: ‘The student cannot too soon learn that a harmonic note, when once set in vibration, will (provided the bowing remains smooth and free from sudden changes of pressure) continue to sound for some little time after the finger has been removed from the string. The importance of this fact will be realised when practising passages [...] which contain a fourth finger octave harmonic, immediately succeeded by a stopped note one second below. In such passages the finger must on no account slide from the harmonic to the next note, but must actuallyNew leave Issue the Title string, and then without hurry, find, and drop firmly into, its new place on the string.’ (Book 2a, p. viii) Whether this practice was universal, or whether, as in the case of larger intervals (see 5 below), a slide might sometimes also have been made on tones and semitones is unclear. New Publications 1/2015 · The Programme 4 Johannes Brahms The New Urtext Editions © Clive Brown Neal Peres Da Costa Kate Bennett Wadsworth © Keith Saunders © Emily Ding Bärenreiter’s pioneering new scholarly-critical editions A similar approach has been used for the violoncello of Brahms’ works for one instrument and piano sonatas, drawing on performance markings by Robert are edited by a team of musicologists who are also Hausmann (for whom Brahms wrote the Sonata in performers. They offer today’s musicians not just a F major), Hugo Becker, with whom Brahms performed it, reliable musical text based on all known sources, but and Julius Klengel who was also close to his circle. also a comprehensive approach to the works, which aims to place them in their historical context and to Bärenreiter’s new Brahms complex also importantly elucidate the complex of meanings that the composer brings two neglected works back into the player’s hands, wished his notation to convey to performers. namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms’ In addition to the musical text these editions offer arrangements for violin and piano unaccountably an informative Introduction laying out the genesis, disappeared from the standard repertoire early in the 20th publication history and reception of the works. century. In these versions Brahms did not simply adjust At the same time there is a complete list of the the solo part for the violin, he made many alterations to sources, an explanation of the editorial procedures the piano part, casting thought-provoking light on the and a Critical Commentary. Also, each volume clarinet and viola versions. contains a detailed discussion of specific performing practice issues raised by individual works. • A pioneering set of Urtext editions • String editions include an Urtext solo part and a second An integral part of Bärenreiter’s Brahms publication part with fingering as well as performance markings complex is a text booklet which approaches general • Each edition offers a preface on performance th performance practice issues of the 19 century with practice aspects pertaining to the respective works regard to e.g. tempo, rubato, rhythmic flexibility and • A separate text booklet includes pioneering texts articulation. Furthermore musicians will find valuable on general issues of performance practice in the information concerning vibrato, portamento and 19th century as well as on specific issues with regard bowing. Last but not least characteristics of Brahms’ to Johannes Brahms’ chamber music own piano playing as well as that of his circle and contemporaries are discussed. The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim’s pupils Leopold Auer and Ossip Schnirlin New Issue Title as well as those by Brahms’ associate Franz Kneisel. 5 New Publications 1/2015 · The Programme Johannes Brahms Brahms in Bärenreiter Urtext Editions: The Works for one Instrument and Piano Sonata in E minor Sonatas for Violin and Piano for Violoncello and Piano op. 38 arranged by J. Brahms Edited by Clive Brown, Neal Peres after op. 120 Da Costa and Kate Bennett Wadsworth Sonata in F minor, Sonata in E-flat major BA 9429 With an Urtext solo part as well as a second Edited by Clive Brown and Neal Peres Da Costa part with performance markings With an Urtext solo part as well as a second BA 9429 * · approx. € 12.95 part with performance