In 1894 Johannes Brahms asked the clarinettist Richard Mühlfeld to visit him during his beloved summer sojourn in Ischl, adding “It would be really wonderful if you brought your B flat clarinet with you, and if you were in no great hurry” – for the two Sonatas op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: “The sonatas [...] are wonderful and will cause a great sensation”. Our edition of this work, today part of the clarinettist’s core repertoire, continues the revision of Brahms’s Duo Sonatas following the text in the new Brahms Complete Edition.
目录/详情
- Clarinet Sonata f minor op. 120,1
- Clarinet Sonata E flat major op. 120,2
前言
Johannes Brahms (1833 – 97) wrote the Sonatas for Clarinet (or Viola) and Piano op. 120 during the summer of 1894 in Ischl, directly motivated by a renewed encounter with Richard Mühlfeld, the clarinettist of the Meiningen Hofkapelle. Mühlfeld’s incomparable playing had already inspired Brahms to compose the Clarinet Trio op. 114 and the Clarinet Quintet op. 115 in 1891. … 更多
版本评注
关于作曲家
Johannes Brahms
His significant output comprises chamber music, piano works, numerous choral compositions and songs (including settings of folk-song lyrics), as well as large-scale orchestral works in the 1870s and 1880s. His compositions are characterized by the process of developing variation. He is considered an antithesis to the New German School around Liszt, and an advocate of “absolute” music.
| 1833 | Born in Hamburg on May 7, the son of a musician. His first piano instruction with Willibald Cossel at age seven, then with Eduard Marxen; first public performances from 1843. |
| 1853 | Concert tour through German cities; he meets Schumann, who announces him as the next great composer in his essay “Neue Bahnen” (“New Paths”). A lifelong, intimate friendship develops with Clara Schumann. |
| 1854–57 | Piano Concerto No. 1 in D minor, Op. 15. |
| 1857–59 | Choir director, pianist, and teacher at the royal court in Detmold. |
| 1859–61 | Director of the Hamburg Women’s Choir. |
| 1860 | Manifesto against the New Germans around Liszt. |
| 1863 | Cantata “Rinaldo,” Op. 50. |
| 1863–64 | Director of the Wiener Singakademie. |
| 1868 | Partial performance in Vienna of “A German Requiem,” Op. 45 (the complete work premiered in Leipzig in 1869) |
| 1871–74 | Artistic director of the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna. |
| 1873 | Haydn Variations, Op. 56a, for orchestra. |
| from 1877 | His symphonic output begins with the Symphony No. 1 in C minor, Op. 68 (begun 1862); composition of the Symphony No. 2 in D major, Op. 73; the Symphony No. 3 in F major, Op. 90 (1883); and Symphony No. 4 in E minor, Op. 98 (1884–85): cantabile themes, chamber-music-like style. |
| from 1878 | Travels in Italy. |
| 1878 | Violin Concerto in D major, Op. 77, for Joseph Joachim. |
| 1881 | Piano Concerto No. 2 in B-flat major, Op. 83, with a scherzo movement. |
| 1886 | Honorary president of Vienna’s Tonkünstlerverein (Association of Musicians). |
| 1897 | Four Serious Songs, Op. 121. Dies in Vienna on April 3. |
关于作者
Egon Voss (Editor)
Dr. Egon Voss, born in 1938 in Magdeburg, did a secondary school teaching degree in Detmold (Staatsexamen in 1961) and studied German, philosophy and pedagogy in Kiel and Münster (Staatsexamen 1964). He subsequently studied musicology in Cologne, Kiel and Saarbrücken and completed his doctorate in 1968.
In 1969 Voss became a scholar at the Richard Wagner Complete Edition in Munich, since 1981 he has been its Head. From 1989 to 1990 he was the dramaturg at the Théȃtre la Monnaie/de Munt Brüssel, and from 1996 to 2002 a lecturer at the post-graduate programme “Textkritik” at the Ludwig-Maximilians-Universität in Munich. Voss is a member of the advisory board for the edition “Richard Wagner, Sämtliche Briefe” as well as the journals “wagnerspectrum” and “The Wagner Journal”. He has published several books and a great many essays on Wagner, Schumann, Bach and other composers and musicological topics.
Klaus Schilde (Fingering)
Prof. Klaus Schilde, born in 1926, spent his childhood in Dresden. There he was greatly influenced by Walter Engel, who taught him the piano (Kodaly method), composition and violin. From 1946–1948 he studied at the music conservatory in Leipzig with Hugo Steurer. After moving to the west in 1952 he studied with Walter Gieseking and Edwin Fischer, as well as with Marguerite Long, Lucette Descaves and Nadia Boulanger in Paris.
Schilde won numerous prizes. From 1947 onwards he gave concerts as a soloist and chamber musician on almost every single continent with renowned orchestras. He taught at the music conservatories in East Berlin Detmold, West Berlin, Munich, Tokyo (Geidai) and Weimar. From 1988–1991 he was President of the Staatliche Hochschule für Musik und Theater in Munich, where he also taught for decades as a professor. There are numerous radio and television broadcasts with Klaus Schilde as well as CD recordings. Schilde has contributed fingerings to almost 100 Henle Urtext editions.
Prof. Klaus Schilde passed away on 10 December, 2020.
Die Henle-Ausgabe erfreut wieder einmal.