Paganini Variations op. 35 Edited from the sources by Johannes Behr. Fingering and notes on interpretation by Peter Roggenkamp 布拉姆斯 变奏曲 音符诠释 钢琴独奏 维也纳原典版

帕格尼尼变奏曲》在勃拉姆斯的钢琴作品中占有特殊地位。正如它的标题一样，这是一部供学习的作品，但同时（与 51 首练习曲相比）也适合音乐会演出。这两方面对勃拉姆斯本人也很重要。1862/63 年，当勃拉姆斯计划创作变奏曲时，他仍在着手编纂一套松散的练习曲集，作为钢琴家准备音乐会时的手指练习。1865 年，他最终将这套练习曲重新编排成一部作品，并在音乐会上反复演奏，于 1866 年出版。帕格尼尼变奏曲》对当代钢琴家来说还具有双重意义。任何人在学习这首变奏曲时，都能极大地发展自己的钢琴技巧，同时还能为音乐会创作出非常有效的作品。新版本首次采用了我们已知的所有数据源，甚至包括 1945 年后被认为已经遗失、几年前才在圣彼得堡重新发现的两份早期手稿

作曲家: Brahms, Johannes
编者: Behr, Johannes
校订者: Roggenkamp, Peter
乐器: piano
出版社: Wiener Urtext Edition
原文简介:
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.