Brahms, Johannes: Serenade
for Piano 4 hands
playing score
In contrast to earlier works it bears a clear styltistic relation to the Viennese Classic. The motivic-thematic affinity to the final movement of Haydn's last symphony is obvious, but also connections to Beethoven's Secon Symphony can be demonstrated - as, for example, by a comparison of the second scherzo with the trio from Beethoven's scherzo movement. What makes this work so fascinating is the fact that Brahms did not just copy these models, but instead presented the old-fashioned 'serenade' genre with new possibilities through a circumspect expansion of the classical tonal language.
Brahm's autograph manuscript from 1859 served as the principal source for the present edition. Additionally, the first edition from December 1869 and, in case s of doubt, the orchestral score were consulted. The occasional fingerings are from Brahms.
In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.
During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.
When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.
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