Johannes Brahms
Chaconne from Partita no. 2 d minor, Arrangement for Piano, left Hand
The d-minor Chaconne is undoubtedly the most famous movement of all of Bach’s 6 Sonatas and Partitas for violin solo. So it is hardly surprising that it has seen many arrangements. Johannes Brahms marvelled at how a single staff of music could offer “a whole world of the deepest thoughts and the mightiest emotions”. He promptly made his own arrangement; it is for left hand alone, in order to come close to the restrictive framework of the original. He wrote enthusiastically: “A similar degree of difficulty, the manner of technique, the arpeggios – everything comes together to make me feel like a violinist!” This Henle Urtext edition by Valerie Woodring Goertzen is based on the text of the new Brahms Complete Edition. In her foreword she also offers fascinating details about the compositional history of this unusual work.
About the Composer
Johann Sebastian Bach
For many musicians he is “the Alpha and Omega of all music” (Max Reger). Except for operas, Bach composed masterpieces for every ensemble and genre of his age. His catalogue of works contains almost 1,100 entries, including the great Passions of St. Matthew and St. Johan, the Goldberg Variations, the Brandenburg Concerti, or hundreds of singular cantatas. As organist in Mühlhausen and Weimar he creates primarily organ compositions, concerti, and works of chamber music. Later, as music director in Köthen and for the decades he serves as cantor in Leipzig, he composes chiefly sacred vocal compositions and keyboard works. His later, contrapuntally complex compositions exert an enormous influence on the compositional styles and practices of later generations.
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.
About the Authors
Markus Bellheim (Fingering)
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