Between 1859 and 1885 Johannes Brahms, with his four symphonies, two piano concertos, violin concerto, dances, variations and overtures, became the representative of large-scale orchestral music. In 1887he chose the violin and violoncello as solo instruments for his Double Concerto in a minor op. 102, since he had outstanding soloists at his disposal. After the premiere of Brahms’s second cello sonata, cellist Robert Hausmann had requested a concert piece; while the renowned violinist Joseph Joachim was Brahms’s friend and had premiered his Violin Concerto, among other things. After the dark-hued Fourth Symphony this concerto comes across as strikingly optimistic and conciliatory. We now offer the score, also published as part of our New Complete Edition, in a convenient study edition.
- Concerto for Violin, Violoncello and Orchestra a minor op. 102
The Concerto for Violin and Violoncello with Orchestra, op. 102 – the so-called “Double Concerto” – was written in 1887 during Brahms’s summer vacation at Lake Thun in Switzerland. The compositional work was finished at the latest by mid-July 1887, and the full score was completed by early August. The literature on Brahms frequently repeats a number of speculations … 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.|
This Henle Study Edtion is beautifully presented with excellent historical data as above. The score is 3.5 cm by 5 cm larger than a miniature score. It is very clear and easy to read and it would be a pleasure to use when conducting a performance of the work. The score easily stays open at any page and the publication is lovely to handle, a considerable advantage often forgotten in our computer age.