The e minor Cello Sonata is the first work for one solo instrument and piano which the meticulous composer also had printed. In summer 1865 Brahms offered it to the publisher Simrock as a sonata “whose two instruments are both absolutely easy to play” – and rightly so: contrary to the later F-major Sonata op. 99 (HN 1135), this early sonata is technically less demanding, yet musically more striking at the same time, so that it is a hit with amateurs and professionals alike. Our new edition is based on the new Brahms Complete Edition and thus boasts, besides in-depth comments, a musical text revised according to the latest scholarly findings; as always, the cello part is enhanced with additional markings.
- Violoncello Sonata e minor op. 38
Johannes Brahms’s (1833 – 97) Cello Sonata no. 1 in e minor, op. 38, originally comprised four movements and took at least three years to complete. According to Brahms’s personal work catalogue, three movements were finished in 1862 and a fourth by the summer of 1865. However, the composer must have removed one of them – probably a slow movement – from the … more
About the composer
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
This recent scholarly publication provides a well-researched historical background to this popular sonata. (...) Details of the various sources on which the edition is based, and individual comments about specific changes in the score are provided. Typically, the edition is beautifully presented, with excellent layout and spacing.
Selbstverständlich sind auch hier gute Lesbarkeit, gute Wendestellen und ein verlässlicher Notentext (der auf der neuen Brahms-Werkausgabe fußt). (...) Eine Neuedition, die höchsten Ansprüchen genügt (...) und nachdrücklich empfohlen sei!
Questa volta la grande casa editrice di Monaco di Baviera provvede a corredare la pubblicazione di un'esaustiva introduzione critica a cura di Johannes Behr e di una parte violoncellistica revisionata da Klaus Kanngiesser. Revisione, quest'ultima, che riteniamo molto interessante per il fatto di rappresentare un coraggioso tentativo di ripulitura dalle incrostazioni della cosiddetta "tradizione". (...) Rispetto alle sia pur validissime soluzioni di Klengel, queste di Kanngiesser, tuttavia, aprono degli spiragli nuovi, specialmente laddove le soluzioni tecniche proposte sono ideate per rendere giustizia alle sottigliezze agogiche della scrittura brahmsiana.