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Johannes Brahms » Violin Sonata no. 1 in G major
The editions of the sonata presented here, which date from 1918 to 1933 present a number of intriguing differences. Five of them, those of Kneisel/Bauer (Schirmer), Schnirlin/Kahn (Simrock), Flesch/Schnabel (Fischer/Peters), Schulze-Biesantz/Kähler (Litolff), and Telmányi include metronome marks. Another series of metronome tempi for this sonata were given by an anonymous editor in the Musical Herald for 1917 (p. 186) in response to a reader's query. The metronome marks in the various editions register significantly different approaches, notably in the case of the last movement. The Peters edition is particularly informative of Schnabel's approach; the piano part containing many metronome marks within as well as at the beginning of movements. The tempo indications at the beginning of the last movement (supplied independently by Flesch and Schnabel?) differ in the first issues; in more recent reprints of this edition, however, the marking for the third movement in the violin part has been replaced with the one from the piano part (our copy is an earlier printing).
The Telmányi edition is particularly interesting because the editor also recorded this sonata just six years after the publication of the edition. In many respects, however, his recording does not reflect the edition; this is particularly the case with fingering, for while Telmányi's edition contains many of the traditional fingerings, with copious employment of harmonics and open strings, for instance at the beginning of the first movement, he rejected these in his recording in favour of fingerings that more readily permitted the use of continuous vibrato. On the other hand, he still employed a significant amount of portamento, though not always in the places indicated by his printed fingerings.
The following list compares the metronome marks in the journal and the editions (Auer does not provide them). Schnabel's additional metronome marks, which are not reproduced in the violin part or in the table below, have been listed separately.
Movements |
Musical
Herald 1917 |
Kneisel/Bauer
1918 |
Schnirlin/Kahn
1926 |
Flesch/Schnabel
1926 |
Schultze-Biesantz/Kähler
1929 |
Telmányi
1933 |
I : Vivace ma non troppo |
1/2.=54 |
1/2.=54 |
1/2.=50-56 |
1/2.=56 |
1/4=120 |
1/2.=c.54 |
b. 36 con
anima |
|
1/2.=60 |
|
1/2.=63 |
|
|
b. 48 sostenuto |
|
1/2.=54 |
|
|
|
|
b. 107 più sostenuto |
|
1/2.=50 |
|
1/2.=52 |
|
|
b. 118 |
|
1/2.=54 |
|
|
|
|
b. 134 |
|
1/2.=50 |
|
|
|
|
b. 156 Tempo
1o |
|
1/2.=54 |
|
|
|
|
II:
Adagio |
1/8=72 |
1/8=63 |
1/8=56-60 |
1/8=60 |
1/8=76 |
1/8=c.60 |
b.
35 più Andante |
|
1/8=96 |
|
1/4=42
(in piano part only) |
|
|
b.
91 |
|
1/8=80
(see footnote in edition) |
|
quaver
60, but 69 at b. 97 (in piano part only) |
|
|
III:
Allegro molto moderato |
1/4=92 |
1/4=84 |
1/4=69-76 |
1/4=88-96
(100-104 in piano part!) |
1/4=92 |
1/4=c.92 |
b. 113 tranquillo |
|
1/4=80 |
|
1/4=84 |
|
|
b. 124 in tempo |
|
1/4=84 |
|
|
|
|
b. 140 Più moderato |
|
1/4=76 |
|
1/4=80 |
|
|
Schnabel’s additional metronome marks:
I, 54: 1/2.=56; I, 60: 1/2.=50; I, 70: 1/2.=46; I, 82: 1/2.=56; I, 174: 1/2.=63; I, 192: 1/2.=56; I, 198: 1/2.=50; I, 208: 1/2.=46; I, 229: 1/2.=63; I, 230: 1/2.=69
II, 48: 2nd beat, 1/4=46; II, 115: 1/8=60; II, 117: 1/8=56
III, 29: 1/4=88; III, 159: 1/4=72
See also: various excerpts with bowing and fingering (click here ) included in Ossip Schnirlin's Neuer Weg Vol. III (1925).
CB
Opus No: op. 78
Editions
Editor(s) | Title | Publisher | Publication No. | Year | |
---|---|---|---|---|---|
Auer, Leopold | Violin Sonata no. 1 in G major | Carl Fischer | 1917 | View | |
Flesch, Carl | Sonate no. 1 | C.F. Peters | 3901a | 1926 | View |
Kneisel, Franz | First Sonata | Schirmer | 1918 | View | |
Schnirlin, Ossip | Sonate G dur | N. Simrock | 1926 | View | |
Schultze-Biesantz, Clemens | Sonate G dur op. 78 | Litolff | 2734a | 1929 | View |
Seybold, Arthur | Sonata No. 1 | Anton J. Benjamin | 1929 | View | |
Telmányi, Emil | Sonate für Klavier und Violine | Wilhelm Hansen | 3302 | 1933 | View |