“Do you love Brahms?” The majority of music lovers will answer “yes”, and they might be thinking of the Waltz op. 39 no. 15 – its gently rocking melody is one of Brahms’s most famous inspirations. Both original versions of this popular miniature for piano solo are now offered by G. Henle Publishers in a practical, stand-alone Urtext edition. The more demanding version in A-flat major (taken from HN 1286) is followed by Brahms’s own easier arrangement in A major (from HN 1287). A must for every Brahms lover!
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Preface
The Waltz op. 39 no. 15 published in the present edition in both the regular and simplified versions, is one of the most popular works by Johannes Brahms (1833 – 97). It comes from the collection of 16 Waltzes op. 39, of which the composer produced different versions, originally for piano four hands (published in 1866), later a version for piano two hands and a … more
About the composer
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. |
About the authors
Rolf Koenen (Fingering)
As a pupil, Prof. Rolf Koenen, born in 1946 in Duisburg, had already had contact with Ewald Zimmermann, the first editor at the young publishing house. He studied the piano at the Folkwangschule in Essen with Detlef Kraus, with Ludwig Hoffmann in Munich and with Maria Tipo in Florence.
He gave concerts in a permanent duo partnership with Hansjörg Schellenberger, who was later to become the solo oboe player with the Berlin Philharmonic, and made several recordings with the Deutsche Grammophon-Gesellschaft, with Denon and Sony. Other chamber music partners included András Adorján, Stefan Dohr, Wolfgang Schulz, Claes H. Ahnsjö. Following a teaching position in Munich, Rolf Koenen was appointed as a professor at the Berlin University of the Arts in 1982.