Brahms, Johannes. (1833–1897). Scherzo es-Moll Op. 4 Faksimile des Autographs Herausgegeben von Margot Wetzstein.. Hamburg: J. Schuberth. [1987]. Oblong folio. Original publisher's orange mabled boards. 19 pp. Corners lightly bumped, else fine.
A highly attractive 3-color collotype facsimile of the 1851 autograph, the earliest work of Brahms known to survive in manuscript (op. 1, 2, & 3 postdate op. 4). The composer's playing of this work for the violinist Joseph Joachim, and later, for Liszt and Schumann, were decisive landmarks of recognition in his early career.
A highly attractive 3-color collotype facsimile of the 1851 autograph, the earliest work of Brahms known to survive in manuscript (op. 1, 2, & 3 postdate op. 4). The composer's playing of this work for the violinist Joseph Joachim, and later, for Liszt and Schumann, were decisive landmarks of recognition in his early career.
Brahms, Johannes. (1833–1897). Scherzo es-Moll Op. 4 Faksimile des Autographs Herausgegeben von Margot Wetzstein.. Hamburg: J. Schuberth. [1987]. Oblong folio. Original publisher's orange mabled boards. 19 pp. Corners lightly bumped, else fine.
A highly attractive 3-color collotype facsimile of the 1851 autograph, the earliest work of Brahms known to survive in manuscript (op. 1, 2, & 3 postdate op. 4). The composer's playing of this work for the violinist Joseph Joachim, and later, for Liszt and Schumann, were decisive landmarks of recognition in his early career.
A highly attractive 3-color collotype facsimile of the 1851 autograph, the earliest work of Brahms known to survive in manuscript (op. 1, 2, & 3 postdate op. 4). The composer's playing of this work for the violinist Joseph Joachim, and later, for Liszt and Schumann, were decisive landmarks of recognition in his early career.