Hungarian Dances Version for four hands. Edited from the sources 布拉姆斯 匈牙利舞曲 四手联弹 4手联弹(含以上) 维也纳原典版
在作曲家生前，《匈牙利舞曲》曾以三种不同但真实的版本出版：(1) 全部 21 支舞曲的钢琴二重奏版；(2) 1-10 号的钢琴独奏版；(3) 1、3 和 10 号的管弦乐版。现在，Wiener Urtext 版以新的版本推出了钢琴版（双手和四手），而钢琴二重奏版则首次以乐谱的形式出现，即 primo 和 secondo 在一页中成对出现，而不是像往常那样分隔在不同的页面上。这种布局与勃拉姆斯现存的第一版和第二版亲笔乐谱如出一辙，但却为学习和演奏提供了显著的优势：更清晰地呈现整部作品，更容易确定方向，在一个乐段的休止符时不再需要疯狂地计数，由于纵向格式的乐谱易于辨认，演奏者之间可以更加默契。迄今为止，音乐家们在排练高难度段落时，如果希望找到正确的位置进行联合重奏，就必须费尽心思地计算主声部和副声部的小节和节拍。有了新的乐谱格式，只需用手指点一下位置，即使是异步输入也能轻松完成，就像我们以勃拉姆斯的《匈牙利舞曲第三号》为例所做的完美音乐协调。在勃拉姆斯的《匈牙利舞曲第四号》的开头，二度演奏者占据了主题的主导地位。只需匆匆看一眼乐谱，就足以让主奏者抑制住自己庞大的伴奏部分，从而让演奏旋律的搭档在这个角色上听得一清二楚--这是一种共同的、协调的音乐体验，堪称完美"
作曲家: Brahms, Johannes
编者: Herttrich, Ernst
校订者: Roggenkamp, Peter
乐器: piano (4 hands)
出版社: Wiener Urtext Edition
曲目:
Ungarischer Tanz Nr. 1 g-Moll WoO 1/1 - Ungarischer Tanz Nr. 2 d-Moll WoO 1/2 - Ungarischer Tanz Nr. 3 F-Dur WoO 1/3 - Ungarischer Tanz Nr. 4 f-Moll WoO 1/4 - Ungarischer Tanz Nr. 5 fis-Moll WoO 1/5 - Ungarischer Tanz Nr. 6 Des-Dur WoO 1/6 - Ungarischer Tanz Nr. 7 A-Dur WoO 1/7 - Ungarischer Tanz Nr. 8 a-Moll WoO 1/8 - Ungarischer Tanz Nr. 9 e-Moll WoO 1/9 - Ungarischer Tanz Nr. 10 E-Dur WoO 1/10 - Ungarischer Tanz Nr. 11 d-Moll WoO 1/11 - Ungarischer Tanz Nr. 12 d-Moll WoO 1/12 - Ungarischer Tanz Nr. 13 D-Dur WoO 1/13 - Ungarischer Tanz Nr. 14 d-Moll WoO 1/14| Ungarischer Tanz Nr. 15 B-Dur WoO 1/15 - Ungarischer Tanz Nr. 16 f-Moll WoO 1/16 - Ungarischer Tanz Nr. 17 fis-Moll WoO 1/17 - Ungarischer Tanz Nr. 18 D-Dur WoO 1/18 - Ungarischer Tanz Nr. 19 h-Moll WoO 1/19 - Ungarischer Tanz Nr. 20 e-Moll WoO 1/20 - Ungarischer Tanz Nr. 21 e-Moll WoO 1/21
The Hungarian Dances were published in three different, yet authentic versions during the composers lifetime: (1) all 21 dances arranged for piano duet, (2) nos. 1-10 also for solo piano and (3) nos.1, 3 and 10 as orchestral arrangements. Now the Wiener Urtext Edition presents both the piano versions (for 2 and for 4 hands) in new editions and the piano duet version appears here for the first time in the form of a score, i.e. primo and secondo are set as pairs on one page and not, as usual, separated on facing pages. This layout mirrors that of Brahms surviving autograph of versions 1 and 2 but, additionally, offers significant advantages for study and performance: clearer presentation of the entire composition, easier orientation, no more frantic counting during rests in one part, thanks to the easy legibility of the portrait-format music both players can be more in tune with each other.Perfect Communication. So far, musicians had to painstakingly count bars and beats in case of primo and secondo parts if they wished to find the correct place for joint reentry when rehearsing difficult passages. With the new score format, all you need to do is point a finger to the place, and even asynchronous entries can be easily accomplished, as in our example from Brahms' Hungarian Dance No. 3Perfect Musical Coordination. At the beginning of Brahms' Hungarian Dance No. 4, the secondo player has the thematic lead. One quick glance at the score is sufficient for the primo player to restrain his massive accompanying part to such an extent that his partner playing the melody becomes audible in that role - a joint, well coordinated musical experience brought to perfection.