We owe a debt of gratitude to the clarinettist Richard Mühlfeld for making the elderly Brahms so interested in his instrument. In the 1890s the composer wrote the Trio op. 114, the Quintet op. 115 and the Sonatas op. 120 – three gems in the clarinet chamber music repertoire. Brahms also provided a part for viola as an alternative to the clarinet. The revision of our edition of the viola version of opus 120 is based on the musical text of the New Brahms Complete Edition and in many respects contains significant improvements: we were able to consult the autograph for the first time; the newly set piano score now contains the viola part; and viola players can benefit from fingerings and bowings by Tabea Zimmermann in the solo part.
- Clarinet Sonata (Viola) f minor op. 120,1
- Clarinet Sonata (Viola) E flat major op. 120,2
Johannes Brahms (1833–97) wrote the Sonatas for Clarinet (or Viola) and Piano op. 120 during the summer of 1894 in Ischl, directly motivated by a renewed encounter with Richard Mühlfeld, the clarinettist of the Meiningen Hofkapelle. Mühlfeld’s incomparable playing had already inspired Brahms to compose the Clarinet Trio op. 114 and the Clarinet Quintet op. 115 in 1891. … 続き
His significant output comprises chamber music, piano works, numerous choral compositions and songs (including settings of folk-song lyrics), as well as large-scale orchestral works in the 1870s and 1880s. His compositions are characterized by the process of developing variation. He is considered an antithesis to the New German School around Liszt, and an advocate of “absolute” music.
|1833||Born in Hamburg on May 7, the son of a musician. His first piano instruction with Willibald Cossel at age seven, then with Eduard Marxen; first public performances from 1843.|
|1853||Concert tour through German cities; he meets Schumann, who announces him as the next great composer in his essay “Neue Bahnen” (“New Paths”). A lifelong, intimate friendship develops with Clara Schumann.|
|1854–57||Piano Concerto No. 1 in D minor, Op. 15.|
|1857–59||Choir director, pianist, and teacher at the royal court in Detmold.|
|1859–61||Director of the Hamburg Women’s Choir.|
|1860||Manifesto against the New Germans around Liszt.|
|1863||Cantata “Rinaldo,” Op. 50.|
|1863–64||Director of the Wiener Singakademie.|
|1868||Partial performance in Vienna of “A German Requiem,” Op. 45 (the complete work premiered in Leipzig in 1869)|
|1871–74||Artistic director of the Gesellschaft der Musikfreunde (Society of Friends of Music) in Vienna.|
|1873||Haydn Variations, Op. 56a, for orchestra.|
|from 1877||His symphonic output begins with the Symphony No. 1 in C minor, Op. 68 (begun 1862); composition of the Symphony No. 2 in D major, Op. 73; the Symphony No. 3 in F major, Op. 90 (1883); and Symphony No. 4 in E minor, Op. 98 (1884–85): cantabile themes, chamber-music-like style.|
|from 1878||Travels in Italy.|
|1878||Violin Concerto in D major, Op. 77, for Joseph Joachim.|
|1881||Piano Concerto No. 2 in B-flat major, Op. 83, with a scherzo movement.|
|1886||Honorary president of Vienna’s Tonkünstlerverein (Association of Musicians).|
|1897||Four Serious Songs, Op. 121. Dies in Vienna on April 3.|
Die Henle-Ausgabe erfreut wieder einmal.