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Chapter 11 - As Arranger

from Part II - Identities, Environments and Influences

Published online by Cambridge University Press:  15 May 2019

By
Valerie Woodring Goertzen
Edited by
Natasha Loges  and
Katy Hamilton
Natasha Loges
Affiliation:
Royal College of Music, London
Katy Hamilton
Affiliation:
Royal College of Music, London
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Summary

On 22 November 1883, ten days before Hans Richter was to conduct the premiere of Brahms’s Third Symphony Op. 90 in Vienna, Brahms organised a musical evening in the elegant Ehrbar Salon. With the Austrian pianist Ignaz Brüll, he presented the new symphony in his arrangement for two pianos to a distinguished group of invited guests: Hans Richter and his wife Mariska, critic and author Eduard Hanslick and his wife Sophie, historian and composer Carl Ferdinand Pohl, Gesellschaft der Musikfreunde professor Josef Gänsbacher composer and Vienna Conservatory professor Robert Fuchs, physician Josef Standhartner,critic and later Brahms biographer Max Kalbeck and choral conductor and composer Richard Heuberger.

Keywords

BrahmscontextarrangementpianoBrüllfour-handsKellerconcertosymphonyperformance
Type
Chapter
Information
Brahms in Context , pp. 98 - 113
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Draheim, J., ‘Brahms als Bearbeiter’, in Brahms Handbuch, 101–9Google Scholar
McCorkle, M., ‘The Role of Trial Performances for Brahms’s Orchestral and Large Choral Works: Sources and Circumstances’, in Bozarth, G. (ed.), Brahms Studies: Analytical and Historical Perspectives (Oxford: Clarendon Press, 1998), 295–328Google Scholar
Pascall, R., ‘Brahms Arranges His Symphonies’, in Hamilton, K. and Loges, N. (eds.), Brahms in the Home and the Concert Hall (Cambridge: Cambridge University Press, 2014), 137–57Google Scholar
Paskins, H., Hamilton, K. and Loges, N., ‘Brahms and His Arrangers’, in K. Hamilton and N. Loges (eds.), Brahms in the Home and the Concert Hall (Cambridge: Cambridge University Press, 2014), 178–220Google Scholar
Struck, M., ‘Main and Shadowy Existence(s): Works and Arrangements in the Oeuvre of Johannes Brahms’, in Hamilton, K. and Loges, N. (eds.), Brahms in the Home and the Concert Hall (Cambridge: Cambridge University Press, 2014), 110–36Google Scholar
W. Goertzen, V., ‘The Piano Transcriptions of Johannes Brahms’, PhD dissertation, University of Illinois (1987)Google Scholar
W. Goertzen, V., ‘“Auch für vierhändige Seelen genießbar”: Adaptation and Recomposition in Brahms’s Piano Arrangements’, in Oechsle, S. and Struck, M. (eds.), Brahms am Werk: Konzepte – Texte – Prozesse (Munich: Henle, 2016), 221–42Google Scholar
Fuller information is provided in volumes of the Johannes Brahms Gesamtausgabe: Serie IA, Nr. 1 Symphonien Nr. 1 und 2, Nr. 2 Symphonie Nr. 3, and Nr. 3 Symphonie Nr. 4, all ed. R. Pascall (2008, 2013, 2012); Nr. 4 Serenaden und Ouvertüren, ed. M. Musgrave (2012); Nr. 6 Klavierkonzert Nr. 2 Klavierauszug, ed. J. Behr (2014); Nr. 7 Violinkonzert und Doppelkonzert, Klavierauszüge, ed. L. C. Roesner and M. Struck (2010); Serie IIA Nr. 3 Streichquartetten, ed. Jakob Hauschildt (2015); Serie IX, Nr. 1 Arrangements von Werken anderer Komponisten für ein Klavier oder zwei Klaviere zu vier Händen, ed. V. W. Goertzen (2012); Serie IX, Nr. 2 Arrangements von Werken anderer Komponisten für Klavier solo, ed. V. W. Goertzen (2017).Google Scholar

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