Brahms had in fact wanted to stop composing in 1890, but his encounter with the clarinettist Richard Muhlfeld inspired him so much that he produced several works in a row for him over a brief period of time. The melodious Quintet op. 115 has been popular with musicians and audiences alike since its premiere in 1891. Even prior to printing - and presumably with a view toward further dissemination of the work - an alternate version was written with viola instead of clarinet, premiered by no less than Joseph Joachim and authorized by Brahms. The Henle study edition, revised according to the text of the New Brahms Complete Edition, thus also documents for the first time the viola variants of the solo part in the ossias. In a brief preface, editor Kathrin Kirsch provides insight into the genesis of the work and discusses interesting variants of transmission in the Comments.
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The genesis of the Fourth Symphony possibly goes back to the 1870s when Brahms was studying the Bach Cantata “Nach dir, Herr, verlanget mich,” whose chaconne theme forms the nucleus of the finale. Around 29 August 1885 Brahms wrote to Hans von Bülow from Mürzzuschlag in Styria: “However I have a few entr'acts – which together form what one would usually call a symphony. [...] I am afraid [...], it takes after the climate in this region – the cherries do not ripen here.” Yet we are by no means speaking of “sour” cherries here. The work is today a part of the canon of classical-romantic symphonies. Our handy and inexpensive priced study edition is based on the musical text in the Johannes Brahms Complete Edition (HN 6015).
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Total performance time - ca. 15:30
I. Theme from J.F.K (4:45)
II. Motorcade (3:55)
III. Arlington (6:25)
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Nine works originally composed for film, TV drama and ads. Arrangements to concert versions were prepared by the composer.
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Critical Edition. Revision approved by The Ives Society, 2001.
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The German Requiem is not a Mass in the traditional liturgical sense; rather, Brahms sets a very personal and carefully-assembled group of texts from the Lutheran Bible in this seven-movement work for soloists, choir and large orchestra, centring around themes of transience, grief and consolation. As one of the most affecting sacred works of all, the German Requiem has overcome all linguistic barriers and achieved worldwide success, reflecting the composer's comment that “as concerns the text, I confess that I would happily leave out the 'German' and simply substitute 'humanity'.” Our study edition adopts the musical text of the New Brahms Complete Edition (Henle edition HN 6029) and thus is of the highest musicological accuracy. The informative preface not only describes the genesis of the German Requiem reflecting the latest research, but also looks critically at the legends, suppositions and preconceptions that have surrounded the work from the outset.
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Performance time - ca. 8:10
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Performance time - ca. 7:30
John Williams won his first Oscar® for his scoring and adaptation of Jerry Bock's original music for Fiddler on the Roof. Here is the music he wrote for the opening credits and establishing scenes, performed on the 1971 soundtrack by Isaac Stern. Also includes If I Were a Rich Man; To Life; Miracle of Miracles; Sunrise, Sunset; Matchmaker; Tradition.
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One of America's most historic moments was accompanied by this very unique work, composed especially for the occasion and performed by a quartet of America's finest artists – Yo-Yo Ma (cello), Itzhak Perlman (violin), Anthony McGill (clarinet), and Gabriela Montero (piano). This authentic version of Maestro Williams' monumental work is a stunning display of emotion, musical power and grace.
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A ballet in two acts, written between 1917 and 1919. Words by G. Martinez Sierra after a story by D. Pedro Antonio de Alarcon. Edited by Yvan Nommick.
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HPS 663
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HPS 1208
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In his preface to the new critical edition of the 'Seventh Symphony', Dr. Reinhold Kubik (editor and vice-president of the International Gustav Mahler Society) reflects on the reception of Mahler and the discussion between the publisher and Erwin Ratz, the editor of the first critical edition, and sums up the following: “In the meantime, the standard of other complete editions with their comprehensive critical apparatuses has found acceptance in the Mahler edition as well. Times have changed: Mahler now ranks among the most successful composers and has become important for the publishers. Objections have been removed. As a consequence, it was high time to do justice to this work by thoroughly preparing a new edition including a new musical typography and performance material that is consistent with the score. It is hard to believe but checking through the sources again uncovered a host of passages, mistakes even, that are in need of improvement.” The first performance of this edition took place at the Gasteig Philharmonic Hall on 8 March 2007 with the Bavarian Symphony Orchestra under the direction of Mariss Jansons.
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Performance time - ca. 3:45
Written especially for the rededication of the Statue of Liberty, July 4, 1986.
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Performance time - ca. 4:00
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Performance time - ca. 2:30
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1991 Corrected Edition.
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HPS 1223
Contents: Mongrel Airs • Aria with Walking Bass • Roadrunner.
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HPS 10
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Gnarly Buttons is a 26-minute concerto for clarinet and small orchestra about the enduring influence made on Adams by his father, a clarinetist. It traces the instrument from the innocent and “cool” times of Benny Goodman to Adams' father's struggle with Alzheimer's in a complex world more about the pressing of buttons.
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The composer states that her Cello Concerto is antithetical to her other concertos. “While in the concertos for violin and piano, in the Double Concerto, and in my new sheng concerto I was seeking to merge the solo instrument and the orchestra into a single virtuoso super-instrument, here it's all about the competitive tension between the soloist and the orchestra. The 'aura' of the cello was the initial nucleus and forms the basis of the music, so the whole structure of the piece is thus 'carried' by the cello. However, the orchestra responds to it in an antagonistic way. This antagonism is much stronger than in traditional Classical-Romantic concertos; one could even speak of a 'psychological warfare' between soloist and orchestra. In my cello writing, I often ask the soloist to disguise the nature of the instrument so the perception can be blurred. I try to explore the boundaries of the cello's expressivity and to broaden the definition of 'expression'. Therefore I also use special playing techniques and call for unusual timbres, including noises and rasping sounds. For me, this actually serves the expressivity by suggesting new meanings. The unique artistry of Alban Gerhardt inspired me immensely. Not only his solo part but also the orchestral parts are often characterized by extreme virtuosity, by the idea of the instrumentalists being pushed to the edge.”
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Composed to commission by the BBC Symphony Orchestra, the Los Angeles Philharmonic Orchestra, Symphony Australia and the Sydney Symphony Orchestra in 2005, this work was first performed that year at Barbican Hall, London, with the composer as soloist. Brett Dean comments that “it was a unique privilege and challenge to have the opportunity to approach the form of the viola concerto as both composer and performer. Above all, it filled me with thoughts about my own relationship with this curiously beautiful, somewhat enigmatic instrument of my choosing. Due to the unusually hands-on directness of writing a concerto for oneself, it also inspired thoughts upon the workings of music itself, removed from any sense of external programmatic influences or stories which inform so many of my other pieces.” The opening Fragment serves as a brief introductory satellite of serenity before the orchestra tumbles into the longer second movement, Pursuit. As its name implies, this is a restless ride for all concerned, presenting the solo viola as a harried, lonely figure fighting against the latent threat of the orchestra. The piece closes with Veiled and Mysterious, an extended elegy in which the viola sings an unfolding Klagelied over icy sonorities of solo celli and bowed percussion, and then develops in intensity, to emerge in a large scale tutti section eventally leading to a peaceful, if ambivalent conclusion.
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