Works for Violin and Piano
Bärenreiter’s editions of Brahms‘ works for violin and piano come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim’s pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms’s associate Franz Kneisel.
Bärenreiter’s Brahms complex also importantly brings two neglected works back into the player’s hands, namely the splendid versions of the op. 120 sonatas, originally written for clarinet or viola and piano. Brahms’ arrangement for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In this version Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part.