Clarinet/Viola Sonata No. 2, Op. 120
Composer: Johannes Brahms
Date of Publication: 1894 (transcribed for viola in 1897)
At the start of the 1890s, Brahms had become quite dispassioned with composing, believing his best years to be behind him. He even vowed to never write music again after his String Quartet No. 2 in G major, Op. 111. Fortunately, Brahms's hiatus was brief, picking up the quill again in 1891 after listening to Richard Mühlfeld, a renowned clarinetist perform in Meiningen. Brahms was inspired by Mühlfeld, calling him the "nightingale of the orchestra", and quickly becoming fast friends with him. And so, following his trend of dedicating non-piano works to friends and experts in other instruments, Brahms began composing several works for the clarinet. These works included his Op. 114 A minor trio, Op. 115 quintet in B minor, and most notably, his 2 clarinet sonatas, Op. 120 No. 1 and 2. After finishing his 2 sonatas for piano and clarinet on July 7, 1894, he invited Mühlfeld over to practice them. They would then perform them privately for Duke Georg in September, Clara Schuman in November, and finally publicly premiered the sonatas on January 7, 1895, in Vienna. Later, Brahms, who was quite fond of the viola, transcribed the piece for the viola, an understandable decision given how the clarinet and viola both have the warmest register in the orchestra.
Brahms's Eb sonata's 1st movement follows the standard ABA sonata form in common time. The first theme and is introduced in a tranquil, lyrical motif of a dotted quarter followed by eighth notes. Then, a more airy second theme is introduced, with a key change to Bb major. Following this exposition, the development draws inpiration from the first motif, repeating it with different rhythms, sharing it amongst the piano and clarinet, and answering it with triplet passages. Finally, in the recapitulation, the first and second themes return, but this time, the second theme is played in Eb major, not Bb major. The 2nd movement follows the same sonata form, but instead in 3/4. Brahms. It begins with a fiery, passionate theme played by the clarinet, repeated and developed throught the entire A section. Then, in the B section, Brahms shifts gears entirely, creating a slower, calmer trio with a piano introduction into the clarient solo. Finally, the A section is repeated. In the 3rd movement, the meter changes to 6/8, and Brahms stays in his motivic style for the piece, introducing a theme shared between the piano and clarient in Bb major. The movement then continues with 5 variations on the Bb major theme, with the 5th variation being notably different, modulating to Eb minor and 2/4 time signature. However, as the movement comes to an end, the 5th variation cadences to Bb major, and the key modulates back to Eb major in a coda.
Fun Fact:
Brahms chose to write his sonatas for piano and clarinet rather than clarinet and orchestra, primarily because he liked the sound of the piano better.
Movements:
I. Allegro amiable
II. Allegro appassionato
III. Andante con moto -- Allegro
Comentários