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Chapter 35 - Editing Brahms

from Part V - Reception and Legacy

Published online by Cambridge University Press:  15 May 2019

By
Michael Struck
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

Is it appropriate to include a chapter on editing Brahms’s music in a book about Brahms in Context? In fact, it is not only appropriate but indispensable because it concerns what Brahms left for the present day: his notated music. Furthermore, from the first compositional idea through to publication, his works existed in the ‘context’ of his contemporaries: friends, acquaintances, copyists, publishers, proofreaders, performers, concert organisers, musicians and critics. Finally, the ‘context’ should not be limited to his contemporaries because we also need to investigate how his now ‘historic’ scores were edited after his death and continue to be edited today in the light of philological and editorial premises and methods. Naturally, the question of ‘suitable’ editing arises, and this must reflect knowledge of current Brahms philology.

Keywords

Brahmscontexteditingscorephilologycompositionperformancesketchengraving
Type
Chapter
Information
Brahms in Context , pp. 347 - 356
Publisher: Cambridge University Press
Print publication year: 2019

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References

Further Reading

Behr, J. and Kirsch, K., ‘Ein bislang unbekannter Korrekturabzug zum 2. Klavierkonzert op. 83 von Johannes Brahms’, in Goltz, M., Sandberger, W. and Wiesenfeld, C. (eds.), Spätphase(n)? Johannes Brahms’ Werke der 1880er und 1890er Jahre (Munich: Henle, 2010), 157–69Google Scholar
Kirsch, K., Von der Stichvorlage zum Erstdruck. Zur Bedeutung von Vorabzügen bei Johannes Brahms (Kassel: Bärenreiter, 2013)Google Scholar
Kirsch, K., ‘Korrekturphase – Erprobungsphase. Zur Werkentstehung zwischen Redaktion und Interpretation am Beispiel ausgewählter Korrektur- und Aufführungsabzüge von Johannes Brahms’ Werken’, in Krämer, U., Raab, A. et al. (eds.), Das Autograph – Fluch und Segen. Probleme und Chancen für die musikwissenschaftliche Edition (Mainz: Schott, 2015), 167–90Google Scholar
Krummacher, F., Struck, M. et al. (eds.), Johannes Brahms. Quellen – Text – Rezeption – Interpretation (Munich: Henle, 1999)Google Scholar
Oechsle, S., Struck, M. and Eich, K. (eds.), Brahms am Werk. Konzepte – Texte – Prozesse (Munich: Henle, 2016)Google Scholar
Pascall, R., ‘Brahms and the Definitive Text’, in Pascall, R. (ed.), Brahms: Biographical, Documentary and Analytical Studies (Cambridge: Cambridge University Press, 1983), 59–75Google Scholar
Pascall, R., ‘The Editor’s Brahms’, in Musgrave, M. (ed.), The Cambridge Companion to Brahms (Cambridge: Cambridge University Press, 1999), 250–67Google Scholar
Struck, M., ‘Progression und Regression: Vom Quellenwert der Autographe für die Edition Brahms’scher Werke’, in Krämer, U., Raab, A. et al. (eds.), Das Autograph – Fluch und Segen. Probleme und Chancen für die musikwissenschaftliche Edition. (Mainz: Schott, 2015), 143–66Google Scholar
Struck, M. and Eich, K., ‘Zur Edition der Musik von Johannes Brahms’, in Emans, R. and Krämer, U. (eds.), Musikeditionen im Wandel der Geschichte (Berlin & Boston: De Gruyter, 2015), 564–83Google Scholar

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