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Brahms, Johannes: Souvenir de la Russie.
Six fantasies for Piano 4 hands
playing score
Cranz issued Brahms's arrangements no differently from those by his other composers, namely, undated and without plate numbers. He also hid the names of the authors of these numerous prints behind the collective nom de plume 'G. W. Marks'. In Brahms's oeuvre the category of pseudonymously published arrangements is, for the most part, shrouded in pbscurity, especially as his holographs for these works are presumably lost. Only the present style, Souvenir de la Russie, stands out from the other arrangements of his early period as there are number of clues and cross-relations that establish Brahms's authorship almost beyond question.
This practical edition is based on Kurt Hofmann's reprint of the first edition. Numerous engraver's errors in that editi on have been corrected, inadvertent omissions, obvious inconsistencies of phrasing, and similar items have been altered without comment to make them conform with parallel passages.
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.
