Teaching the piano was an important source of income for Brahms, as it was for many nineteenth-century composers. This gave rise to collections of exercises which at first he only occasionally wrote down, but later shared with other pianists (e. g. Clara Schumann). It was only after he had largely given up this educational and pianistic activity that he considered publishing them. In order to reflect their level, he suggested “all kinds of instruments of torture, from the thumb screw to the iron maiden” for the title page. We are now publishing this collection, which is essential for Romantic piano playing, as an Urtext edition, following the musical text of the New Brahms Complete Edition.
- 難易度 (解説)
- 51 Exercises for Piano
Johannes Brahms was interested in piano exercises almost all of his life. His own finger exercises, at first occasionally written down but probably in large part carried only in his head, were developed for a number of reasons: for his own use as a pianist, for the education of his students, particularly as solutions to individual technical problems experienced by the latter, … 続き
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.|
De uitgave van Henle is voorbeeldig, zoals we van dit gerenommeerde huis gewend zijn. Naast het vertrouwde historisch voorwoord en de bronvermelding verdienen de appendices bijzondere aandacht.