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Published online by Cambridge University Press: 06 August 2018
1 Weston, Pamela, Heroes & Heroines of Clarinettistry: A Selection of Writings (Victoria, BC: Trafford, 2008), 125 Google Scholar.
2 Don Reese, Music in Print Series Online, www.emusicquest.com (accessed 23 January 2018).
3 Clive Brown, ‘Critical Report’, 58.
4 Bärenreiter website description of the score, www.baerenreiter.com/en/shop/product/details/BA10911/Verlag (accessed 8 July 2018).
5 Clive Brown, ‘Performing Practice Commentary’, xiv.
6 Clive Brown, ‘Performing Practice Commentary’, xiv.
7 The sources in which discrepancies arose are the proofs of the clarinet part in A; the separate autograph of the clarinet part; the Stichvorlage of the separate viola part; the Stichvorlage for the version for violin and piano; the first edition of the version for clarinet/viola and piano; and the first edition of the separate clarinet part. Clive Brown, ‘Critical Report’, 60.
8 Clive Brown, ‘Critical Report’, 60, 59.
9 For further investigation of Brahmsian interpretation and style, see Brown, Clive, Da Costa, Neal Peres and Wadsworth, Kate Bennett, Performing Practices in Johannes Brahms’ Chamber Music (Kassel: Barenreiter, 2015)Google Scholar.