Brahms, Johannes. (1833–1897). Quartett (in B dur, No. 3) für 2 Violinen, Bratsche und Violoncell... Op. 67. Berlin: Simrock. 1876. First Edition. Full Score. 8vo. 39 pp. Lithographed. [PN] 7892. An internally pristine copy, with unopened (signatures never cut) pages, loosely contained in original gray publisher's wrappers. Tear to lower wrapper spine and a diagonal tear to upper front wrapper, else fine. Hofmann p. 145, McCorkle p. 287.
Composed in the summer of 1875, the Quartet was first performed on October 30, 1876 at the Berlin Singakademie by the Joachim Quartet. The work is lighthearted and cheerful, "a useless trifle", as he put it, "to avoid facing the serious countenance of a symphony", referring to the work on his Symphony No. 1 which debuted a week later.
Composed in the summer of 1875, the Quartet was first performed on October 30, 1876 at the Berlin Singakademie by the Joachim Quartet. The work is lighthearted and cheerful, "a useless trifle", as he put it, "to avoid facing the serious countenance of a symphony", referring to the work on his Symphony No. 1 which debuted a week later.
Brahms, Johannes. (1833–1897). Quartett (in B dur, No. 3) für 2 Violinen, Bratsche und Violoncell... Op. 67. Berlin: Simrock. 1876. First Edition. Full Score. 8vo. 39 pp. Lithographed. [PN] 7892. An internally pristine copy, with unopened (signatures never cut) pages, loosely contained in original gray publisher's wrappers. Tear to lower wrapper spine and a diagonal tear to upper front wrapper, else fine. Hofmann p. 145, McCorkle p. 287.
Composed in the summer of 1875, the Quartet was first performed on October 30, 1876 at the Berlin Singakademie by the Joachim Quartet. The work is lighthearted and cheerful, "a useless trifle", as he put it, "to avoid facing the serious countenance of a symphony", referring to the work on his Symphony No. 1 which debuted a week later.
Composed in the summer of 1875, the Quartet was first performed on October 30, 1876 at the Berlin Singakademie by the Joachim Quartet. The work is lighthearted and cheerful, "a useless trifle", as he put it, "to avoid facing the serious countenance of a symphony", referring to the work on his Symphony No. 1 which debuted a week later.