Sikorski / hl / 50601277
Trio in A Minor for Violin, Violoncello and Piano four-hands (After the Concerto for Violin, Violoncello and Orchestra op. 102)
$52.00
Johannes Brahms, Cord Garben
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Softcover The adaptation of Brahms'' four symphonies by the composer Friedrich Hermann (1828-1907), written during the composer''s lifetime and published one year after his death, in 1898, are exemples of how this orchestral effect can be created through the addition of another pianist. Hermann called them ''works for pianoforte 4 hands with violin and violoncello.'' Members of piano trios have repeatedly expressed the desire for a usable chamber version of the Double Concerto, Op. 102 of Brahms; this wish is now being granted for the first time with the transference of the orchestral material in the spirit of Friedrich Hermann. Taking the concerto character into consideration, the solo parts are only added to complete the piano part in the grand tutti of the first movement and in other brief tutti sections; this work is not to be regarded as a piano trio in the traditional sense. In a few places, the dynamics (originally conceived for the large orchestral apparatus) have been carefully adjusted to fulfil the requirements of balance and transparency so necessary in chamber music. (Cord Garben)Softcover The adaptation of Brahms'' four symphonies by the composer Friedrich Hermann (1828-1907), written during the composer''s lifetime and published one year after his death, in 1898, are exemples of how this orchestral effect can be created through the addition of another pianist. Hermann called them ''works for pianoforte 4 hands with violin and violoncello.'' Members of piano trios have repeatedly expressed the desire for a usable chamber version of the Double Concerto, Op. 102 of Brahms; this wish is now being granted for the first time with the transference of the orchestral material in the spirit of Friedrich Hermann. Taking the concerto character into consideration, the solo parts are only added to complete the piano part in the grand tutti of the first movement and in other brief tutti sections; this work is not to be regarded as a piano trio in the traditional sense. In a few places, the dynamics (originally conceived for the large orchestral apparatus) have been carefully adjusted to fulfil the requirements of balance and transparency so necessary in chamber music. (Cord Garben)
Series: String Ensemble
Voicing/Instrument: Score & Parts
