Titles of Brahms facsimile editions collected by Music Collection are few but the contents are rich. Some enlightening passages from the titles highlighted below offer a few glimpses of Brahms’ characters.
Johannes Brahms autographs: facsimiles of eight manuscripts in the Library of Congress.
New York: Garland Pub, 1983.
Call Number: MuR 785.71 B81 score
Introduction by James Webster
Eight Brahms autographs include Sextet in B-flat major for two violins, two violas, and two violoncellos, Op. 18;
Quintet in F Minor for two violins, viola, violoncello, and Piano, Op.34; Waltzes, Op.39; Waltzes (simplified),
Op.39; Trio in E-flat major for violin, horn, and piano, Op.40; Trio in C major for violin, violoncello, and piano,
Op.87; Intermezzo in A minor for piano, Op.118, No. 1; Intermezzo in B minor for piano, Op. 119, No. 1.
“Brahms’s autographs are interesting not merely for their testimony to his continuing compositional activity in the ‘fair-copy’ stage and the concomitant insight into his processes of musical thinking and revision, but also for their authority regarding his intentions for performance.” ~ James Webster
Symphony no. 1 in C minor, op. 68: the autograph score.
New York: Pierpont Morgan Library in association with Dover Publications, 1986.
Call Number: MuR 784.2184 B81 s9 no1 M2-4 score
Introduction by Margit L. McCorkle
“The holograph of Brahm’s First Symphony presented here documents the final stages in the evolution of a landmark work
that holds a uniquely significant position in the development of the composer’s illustrious career. Not only did this revealing
manuscript serve as the engraver’s model for the preparation of the first edition of the symphony, but its third and fourth
movements were also used as the conductor’s score for the several crucial trial performances given prior to its publication.”
~ Margit L. McCorkle
Sonate für Klavier und Violine Nr. 1 G-Dur, Opus 78: Faksimile nach dem Autograph der Wienbibliothek im Rathaus,
Musiksammlung, Wien.
Laaber: Laaber-Verlag, 2013.
Call Number: MuR 787.2183 B81 s6 op.78 score
Preface by Julia Fischer
Introduction by Eberhard Hüppe (translation by J. Bradford Robinson)
“Now let us turn to the writing in the autograph. Here the music was written in a dark-brown ink that may appear black when the
nib was freshly dipped in the inkwell or when the writing proceeded slowly. This was followed by a darker ink and by blue-grey
pencil for the purpose of corrections. … … Traces of erasure and heavy cancellations show that the process of compositional
refinement was still underway while the music was being written out.” ~ Eberhard Hüppe
Variationen und Fuge über ein Thema von Händel : für Klavier : B-Dur, Opus 24 : Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington.
Laaber: Laaber-Verlag, 2014.
Call Number: MuR 786.21825 B81 v2 score
Introduction by Frédéric Döhl (translation by Andrew Clifford Larson)
“The autograph proves to be a fascinating document, by the innumerable corrections and alterations Brahms
undertook in the script of the Handel Variations until its printing in the middle of 1862. It offers a rare glimpse into
the composer’s workshop. Tempo markings, fingerings, and dynamic elements such as slurs were changed, and
transitions were added like between the variations no. 11 and 12.” ~ Frédéric Döhl“
Violinkonzert D-Dur, Opus 77: mit einer Auswahl aus der Stichvorlage der Violinstimme : Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington.
Laaber: Laaber-Verlag, 2014.
Call Number: MuR 784.272186 B81 c7 op.77 score
Preface by Julia Fischer
Introduction by Stefan Drees (translation by Andrew Clifford Larson)
“In order to document the cooperation of Brahms and Joachim some characteristic passages from this undated
manuscript of 24 pages, purchased by the Library of Congress (Washington, D.C.) in 1963, were included in the present edition. In addition to the actual notation, significant alterations in the violin part can be found, which had been written down by an unidentified copyist in brown ink. These had been entered by Joachim in black ink and pencil. Furthermore, there are modifications by Brahms in pencil and blue crayon, as well as editorial revisions in Keller’s hand, entered in red ink, and occasionally also in pencil.” ~ Stefan Drees
Dedel, Peter.