Paganini Variations op. 35 Edited from the sources by Johannes Behr. Fingering and notes on interpretation by Peter Roggenkamp 布拉姆斯 變奏曲 音符詮釋 鋼琴獨奏 維也納原典版

帕格尼尼變奏曲》在勃拉姆斯的鋼琴作品中佔有特殊地位。正如它的標題一樣，這是一部供學習的作品，但同時（與 51 首練習曲相比）也適合音樂會演出。這兩方面對勃拉姆斯本人也很重要。1862/63 年，當勃拉姆斯計畫創作變奏曲時，他仍在著手編纂一套鬆散的練習曲集，作為鋼琴家準備音樂會時的手指練習。1865 年，他最終將這套練習曲重新編排成一部作品，並在音樂會上反復演奏，於 1866 年出版。帕格尼尼變奏曲》對當代鋼琴家來說還具有雙重意義。任何人在學習這首變奏曲時，都能極大地發展自己的鋼琴技巧，同時還能為音樂會創作出非常有效的作品。新版本首次採用了我們已知的所有資料來源，甚至包括 1945 年後被認為已經遺失、幾年前才在聖彼德堡重新發現的兩份早期手稿

作曲家: Brahms, Johannes
編者: Behr, Johannes
校訂者: Roggenkamp, Peter
樂器: piano
出版社: Wiener Urtext Edition
原文簡介:
The Paganini Variations occupy a special place in Brahms‘s piano oeuvre. They are, true to their main title, a work for study, but at the same time (in contrast to, for instance, the 51 exercises) also suited for concert performances. Both aspects were important to Brahms himself, too. When he planned the variations in 1862/63, he was still working on a loose collection of individual exercises Brahms used as finger practice when the pianist prepared for concerts. He eventually reworked this collection of exercises into a work in its own right in 1865, repeatedly playing it in concert and publishing it in 1866. The Paganini Variations are also interesting in their double function for contemporary pianists. Anyone studying them is able to marvellously develop his or her piano technique while at the same time working on a very effective piece for concert events. For the first time, all the sources known to us could be used for this new edition, even two early manuscripts that were thought to be lost after 1945 and were rediscovered in St. Petersburg just a few years ago.