LibGuides: Music: Primary Sources: Brahms, Johannes

Brahms facsimiles

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
	Neue Liebeslieder : Walzer op. 65 Kassel ; Basel ; London ; New York ; Praha : Bärenreiter 2014 Call Number: MuR 783.1442 B81 n4 score For solo soprano, alto, tenor, and bass with piano 4 hands. Contains a facsimile of the holograph, a collection of essays from a symposium held at the Zentralbibliothek Zürich on November 15, 2010, and a recorded performance, all in 1 container (28 x 35 x 4 cm). Essays in German edited by Urs Fischer, Laurenz Lütteken, and Wolfgang Sandberger.