Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. Truly remarkable is the unique Performance Practice Commentary. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. 120 back into players? hands.An important part of this edition is the extensive preface. This Bärenreiter edition aims to bring the neglected Violin Sonatas Op. Yet for the Violin version the composer revised the original Clarinet part much more extensively than he did for the Viola version and also rewrote the Piano part to achieve a thoroughly convincing Violin and Piano idiom. While the Clarinet and Viola versions havedeveloped a rich performance tradition the Violin version is almost unknown. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year.Brahms conceived an alternate version of the works for Viola from the beginning and already before the publication of these two versions he intended to do another one for Violin a version which was to require changes and was to result in an independent edition.

For Violin and Piano-Brahms had already announced his ?retirement? from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld.

Editors an end has a start rar