Klarinet Archive - Posting 000378.txt from 1995/03
From: Jay Winick <winickj@-----.COM>
Subj: Re: Brahms Trio
Date: Mon, 13 Mar 1995 14:52:14 -0500
>I am performing the Brahms Trio on my first doctoral recital in a month. I
>have been examining the overall form of the fourth movement and have come up
>with some possible conclusions. I would be interested in hearing more opinions
>on this topic. My address is berberi2@-----.edu
I am gving two performances of the Op 114 in April. The trio is a very
interesting, if not "great" piece of music. The cellist of my ensemble said
something that is very interesting -- "Only a clarinettist would choose this
piece". At first I was a bit offended, after all it is a great work, however
after working on it for the best part of two months (once a week) I can see
what she (my cellist) is saying.
"Laying under the hands" is a term that string and pianists seem to use
regularly, and like most Brahms the piano part (especially the Andante
grazioso) does not. Likewise, the cello part is filled with awkward shifts
and important notes which do not resonate very easily.
Saying that, if you look at the structure of the piece it is not very
strong, Karl Geiringer's book "Brahms, a life and work" does not regard this
piece highly. Now, my opinion on the piece is much different. I love it.
IMHO the second movement is certainly one of the most beautiful adagios I've
ever heard, certainly on part with any of Mozart's.
While the third movement lacks in development, I think it is a beautiful
melody and trio, and the dying coda is certainly one which can have the
audience on the edge of their seats.
>From a performance standpoint, the last is certainly the most difficult.
Keeping a consistent rhythmic pulse is difficult because of the constant
change from duplet to triplet and back.
Well, back to work.