In 1894 Johannes Brahms asked the clarinettist Richard Mühlfeld to visit him during his beloved summer sojourn in Ischl, adding “It would be really wonderful if you brought your B flat clarinet with you, and if you were in no great hurry” – for the two Sonatas op. 120 were waiting to be rehearsed. The first performances were given privately directly afterwards and the press enthusiastically reported: “The sonatas [...] are wonderful and will cause a great sensation”. Our edition of this work, today part of the clarinettist’s core repertoire, continues the revision of Brahms’s Duo Sonatas following the text in the new Brahms Complete Edition.
- Clarinet Sonata f minor op. 120,1
- Clarinet Sonata 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.