Klarinet Archive - Posting 000872.txt from 2002/10

From: The Ciompi Family <deal5@-----.net>
Subj: Re: [kl] Beethoven "clarinet" concerto
Date: Thu, 31 Oct 2002 15:41:32 -0500

All good points Mark. My violist friends consider the Brahm's sonatas as much
their own property as we do. As for how they sound on each instrument, here's
a bold, controversial asessment from one who has played them often:

Opus 120 #1 in f minor.
First movement -I think this sweeping , heavy movement actually works as
well if not better on the viola than on clarinet. The two main themes are
very "violaistic" and the power demanded in some areas has always struck me
as hard to achieve on the clarinet.

2nd movement - Pure clarinet lines that are perfect for our legato and
dynamic control. Like a lesson on how to write for our insrument. A very poor
2nd on the viola.

3rd movement - A toss up . The opening is much purer on the clarinet, but
again the sweep of the movement and the very long lines work very well on the
viola. Listen for yourselves.

4th movement - I think the melody line and the "ring" we can give to the
three repeated note motif favors the clarinet. The movement is so symphonic
and the piano part so thick that every player must feel overwhelmed
sometimes, be they clarinetists or violists.

Opus 120 #2 in Eb

First movement - this gorgeous, wistful melody must have been at least
somewhat influenced by Muhlfeld's playing. It is pure clarinet, and this is
the one movement that I cannot conceive of being played on ANY other
instrument.
What a joy. A disappointment on the viola.

2nd movement - A definite edge to the viola. I find this the most
unclarinetistic movement of the two sonatas. Very hard breath control-wise
and in a key that sounds a bit hollow and strained on the clarinet. The
sostenuto middle section is better on the clarinet. The key is still
troublesome, but the "singing" melody is almost reverent and church like. Its
lyric, understatedness is better on clarinet.

3rd movement - A success on both instruments with a nod to the clarinet. The
theme is beautiful on both instruments. I like all the variations better on
clarinet, save the last one which is so hard to sustain while we are frankly
a little tired at this point. It is easier and perhaps more successful on the
viola.

In the final Allegro it's a toss up. The viola seems to sound best in
minor keys anyway. As it switches to major , the clarinet always seems to
shine more. The arpeggios are good on both inst5ruments with the final bars
best on the brilliant clarinet that can dig deep for those remarkable last
11 bars. Just don't be too flat on that final low F!

Naturally this is my opinion, not yours. If I have the temerity to make
such judgements it's because I don't take myself too seriously. As a player,
not an observer, I know the performance practise and what it takes to
actually make it a reality. These comments are at least informed, if not
universally correct.

Thanks for reading,

Arturo

Mark Charette wrote:

>
>
> The viola versions of Op 120 Nos 1 & 2 are by Brahms himself if my memory
> serves right, so the "reverse arrangements" theory is _not_0 so obvious.
>
> Bill - there are a selection CDs of Op. 120 Nos 1 & 2 for Viola. In fact,
> if you talk to a viola player and mention Brahms, they'll wax ecstatic
> over the 2 "Viola" sonatas ... and they'll appear on most recordings of
> viola music.
>
> If you bemoan the lack of classical repertoire for the clarinet, look at a
> viola music catalog someday ...
>
> Mark C.
>
> ---------------------------------------------------------------------

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