UNIVERSITY OF CINCINNATI

Date: November 18, 2004 I, Kyung ju Lee ______, hereby submit this work as part of the requirements for the degree of: Doctor of Musical Arts in: Performance It is entitled:

An analysis and comparison of the and viola versions of the Two for clarinet (or Viola) And Op.120 by .

This work and its defense approved by:

Chair: Catharine Carroll Lee Fiser Steven Cohen

2

AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSION OF THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP. 120 BY JOHANNES BRAHMS.

A document submitted to the

Division of Graduate Studies and Research of the University of Cincinnati

In partial fulfillment of the requirements for the degree of

DOCTOR OF MUSICAL ARTS

In the Performance Studies Division of the College-Conservatory of Music

2004

by

Kyungju Lee

B.M., Yeungnam University, 1996 M.M., University of Cincinnati, 2000 A.D., University of Cincinnati, 2002

Committee Chair: Catharine Carroll, D.M.A.

2 3

ABSTRACT

Johannes Brahms was one of the first to appreciate fully the viola’s potential, allowing the instrument a chance to shine in his . Although Brahms’ Two

Sonatas in f-minor and E-flat major, Op.120, were originally written for clarinet and piano, they are also greatly loved in the viola repertoire. Upon examination of the clarinet and

viola versions of the sonatas, Brahms seems to have been keenly aware of the potential of

each instrument. He intentionally sought different effects from these two instruments by

composing two different versions. Each version is different not only with regard to its tone

color or timbre, but also regarding practical techniques, such as vibrato, lip pressure, leap

shifting, volume, and range. In my document, I will observe the differences between the

clarinet and the viola versions, especially focusing on the unique characteristics of the each

instrument. Then I will investigate why Brahms made such alterations for the viola, and I

will also discuss how and why identical passages can sound and be expressed differently

according to the instrument.

In the first part of my document, I will provide a short historical background of the Op. 120

sonatas. I will also identify some of the ’s musical idiosyncrasies, concentrating

especially on his chamber music and his high regard for the role of the clarinet and the

viola in these works. Secondly, I will compare the clarinet and viola versions of these

sonatas and point out the possible reasons for the differences between these versions.

Finally, the third part will focus on how identical passages can be heard and expressed

differently according to each instrument.

3 4

4 5

ACKNOWLEDGEMENTS

My sincere appreciation and special thanks go to my committee, Mr. Lee Fiser, Mr. Steven Cohen and my deepest thanks go to my advisor, teacher, and committee chair, Dr. Catharine Carroll. Many thanks for your interest in my work and invaluable assistance. Thank you to my friend, Hayoung Choi, for her guidance and support in the preparation of this paper and answering all of my questions on writing a document. Thank you to my friend, Carl Larson for generously sharing his expertise and scholarly insight.

Thank you to my family, Jiyeon Oh, Keysang and Siwon Yoo, for being the closest family in the Cincinnati. You made my stay in Cincinanti seem like home.

Thank you to Pastor Mose’s family, Deacon Lee and Kyung Kim, Deacon Ahn’s family and the entire power mission church member for all your prayers, sacrifices and encouragement.

Thank you to Mr. Kawasaki, who supported and encouraged me to continue my professional development. Without your patience, understanding, and support, I would not have completed all of my degree.

A very special thanks goes to Mom, Dad, and Brother’s family for their continued support through all of my education. Thank you for your words of encouragement and comport through every hurdle I thought was difficult.

Finally, my greatest thanks goes to God, who has always been there for me. Without His inspirations, I could not be able to end my doctoral program

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TABLE OF CONTENTS

1. INTRODUCTION……………………………………………………………….7

2. CHAMBER MUSIC WRITING OF JOHANNES BRAHMS…………………..10

His late years……………………………………………………………………..11

Brahms and Herr Mühlfeld………………………………………………………13

Brahms and Viola………………………………………………………………...16

3. COMPARISON OF THE VIOLA AND THE CLARINET VERSIONS OF THE

TWO SONATAS…………………………………………………………………19

Differences between the two versions…………………………………………….21

Sound, Tone color…………………………………………………………………27

Range, Wide leap………………………………………………………………….31

Vibrato…………………………………………………………………………….35

4. CONCLUSION………………………………………………………………..….37

5. BIBLIOGRAPHY…………………………………………………………..….…38

6 7

Johannes Brahms was one of the first composers to appreciate fully the viola’s potential,

allowing the instrument a chance to shine in his chamber music. His two sonatas in

and E-flat major, Op.120, represent the most substantial contribution of any of the great

nineteenth-century composers to the viola . Although Brahms’ two sonatas were

originally written for clarinet and piano, they are also greatly admired and serve as an

important part of the viola repertoire.1 From the early nineteenth century, violists began to

transcribe works originally written for other instruments, such as the Six Suites

(BWV 1007-12) and Three Sonatas for Viola da gamba and Cembalo in G Major, ,

and G Minor by J.S. Bach. Editions of the six for the viola appeared early in

the twentieth century, including one published in the United States in 1916 by G.

Schirmer.2 Editions for the viola and piano of the Viola da gamba sonatas appeared before

World War II, most notably one arranged by Ernst Naumann and published by Breitkopf &

Härtel. Four Romantic pieces in today’s repertoire, were not originally written for the viola:

Beethoven’s Notturno, Op.42 (arranged from the Trio for , Viola, and Cello, Op.8),

Schubert’s (written for a fretted cello called an arpeggione), and of

course, the two sonatas by Brahms (written for clarinet). These transcriptions are an

important part of the viola literature.3

Many transcribed works for viola were arranged by other composers or violists; however, Brahms transcribed the sonatas in F Minor and E-flat Major for the viola

1Riley, Maurice W. The history of the viola (Ann Arbor, Michigan: Braun-Brumfield, 1980), 189.

2Ibid., 113.

3Ibid., 187.

7 8

himself.4 Besides simply transcribing the clarinet part, Brahms added new passages and changed registers to make them more idiomatic toward the viola.5 Many critics, listeners, and performers prefer a specific version according to their tastes. For example, Malcolm

Macdonald actually expresses a preference for the viola, “whose darker, huskier tone seems to suit their elusive moods even better than the veil and silken clarinet.”6 Michael Freyhan

expresses his preference for viola in his journal: “the sonatas are just as much a gift for

viola players, however, and many insist that the radiant warmth of the viola is even more

appropriate to the music than the cool, liquid timbre of the clarinet.”7 On the contrary,

Bruno Giuranna mentions “many of the sudden octave displacements and register changes in the viola part that destroy the musical continuity of several melodic phrases.”8 A German

clarinetist, Dieter Klöcher, remarked on his recording:

Viola compensates for the loss of the wind instrument except in lower passages, its tone

on the C string is much richer and warmer than that of the clarinet, but on the other

hand, the special quality of the music lends itself to the peculiar timbre of the clarinet

and is better contrasted with some of the strange colorings of the pianoforte.9

4Brahms Sonata No.2 in Eb Major Op.120 for Viola and Piano, The composer’s arrangement of his Sonata for clarinet (or viola) and piano. N. Simrock, (London: Hamburg).

5Giuranna, Bruno. “Masterclass: Brahms’s in E-flat” The Strad 104 (1993), 552-557.

6MacDonald, Malcolm Brahms (London, 1990), 369.

7Freyhan, Michael. “The viola’s champion” The Strad (May 1997), 540-543.

8Giuranna, Bruno. “Masterclass: Brahms’s Viola sonata in E-flat” The Strad 104(1993), 552-557.

9Yates, Richard. “The transcriber’s art: Brahms” The GPA Soundboard ( Spring 2002), 43.

8 9

As the above opinions show, the two instruments possess distinctively different advantages. Each version of the sonata Op. 120 illuminates the many contrasting characteristics of each instrument. Brahms distributed skillfully the parts which show the contrasting appeal of the two instruments in each version.

In my document, I will observe the differences between the clarinet and the viola versions, especially focusing on the unique characteristics of each instrument. Then I will investigate why Brahms made alterations for the viola, and I will also discuss how and why identical passages can sound and be expressed differently according to the instrument.

Brahms intentionally sought different effects by composing two different versions for these two instruments. I will discuss what these specific effects are. The first part will include a short historical background of the sonata Op.120. I will also provide the composer’s musical characteristics, especially concentrating on his chamber music and his interest in the clarinet and the viola. In the second part, I will compare the differences between the clarinet and viola version written by Brahms. Then, I will point out the possible reasons for the differences in the two versions. The third part will demonstrate how identical passages can sound and be expressed differently on each instrument.

9 10

Johannes Brahms was one of the most skillful and accomplished composers, his great fame stemming from his unparalleled ability to produce solid textures, rich harmonies, and mature melodies. Above all, his ability as an orchestrator sets him apart. Brahms utilized many unique textural possibilities of instrumentation; he generated, shaped, and colored his ideas through the characteristics of each individual instrument to produce his own musical language, a task that would have been impossible had he not been able to appreciate the characteristics of each individual instrument. This ability is particularly well represented in his chamber music such as the G Major String sextets Op.18, F Minor piano Op.34,

Horn trio Op.40, B Major Clarinet Quintet, and two sonatas for clarinet(or viola) and piano

Op.120.10

Brahms had been interested in the chamber music medium since his childhood years.

His first chamber masterpiece was the Piano Trio in B Major, Op.8, which was first performed in New York in 1855. Prior to that, two of his chamber works were played at a private concert (in 1851) and it was as a chamber music player and composer that Brahms introduced himself to in 1862 with the piano quartets Op. 25 and 26.11 He continued to perform in this capacity, eventually partnering with Richard Mühlfeld in the clarinet sonatas at the end of his life. Throughout Brahms’s life the traditional medium of chamber music was often a vehicle for his newest ideas.12 Among his many excellent chamber music

10Lawson, Colin. Brahms: Clarinet Quintet (Cambridge University Press 1998), 20-21.

11Ibid., 23.

12Ibid., 20-21.

10 11

compositions, the chamber works with clarinet from the later years are considered as his

finest masterpieces.13 The clarinet came to be one of Brahms’s favorite instruments, due to

his connection with the clarinetist Richard Mühlfeld. All four compositions with clarinet

were dedicated to this clarinetist. This tradition of remarkable collaboration between

composer and clarinetist dates from over one hundred years prior to that when Mozart

composed a for the clarinetist . This tradition continued with

the partnership between Weber and , between Spohr and Simon

Herstedt, and finally Brahms and Mühlfeld.14

The direction that Brahms’s life took in his later years had a profound impact on his

compositional style, and provided the impetus for the origin of these two sonatas. The

letters of Brahms in his later years are very depressing because of the deaths of many of his

friends.15 Brahms had to lament the loss of many personal relationships. He must have felt great sorrow and fear of life, facing the deaths of these close friends. The loss began with the passing of the pianist Tausig in 1877, followed by the painter Anselm Feuerbach ff91880, and his old friend and Beethoven scholar Gustav Nottebohn in 1882.16 Brahms

hurried to the deathbed of this old friend and was with him during his last days, until his

death, even taking upon himself the trouble and expenses of his funeral.17 His old piano teacher, Marxsen, died in November 1887 at the age of 81 and one of his closest friends,

13Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 41-42.

14Ibid., 32.

15Geiringer, Karl. Brahms, His life and Work (Oxford University Press: New York 1947), 145-368.

16Chissel, Joan. Brahms (University Printing House: Cambridge 1977), 72.

17May, Florence The Life of Johannes Brahms 2 (The New Temple Press: London 1948), 101.

11 12

Pohl died the same year. So the deaths of Tausig, Nottebohn, Marxsen, and Pohl drove him

into the depths of despair.18 The untimely death of Elisabeth von Herzogenberg, a former

piano student of Brahms in Vienna, was an unrecoverable blow.19 Elisabeth was quite

charming, and talented. At first their relationship was not good, even to the extent that

lessons were often terminated rather abruptly. Later on, Brahms later happily accepted her

hospitality.20 They became close friends and often wrote letters to each other. She, along

with Clara Schumann, became one of the closest women in his life. When she died of heart

disease at the age of forty-four, the sorrow for Brahms must have been immeasurable.21

Still, other deaths continued to give Brahms grief: his sister, Elise, the singer Hermine

Spies, and Philippine, the wife of his old friend, Otte Grinm, all died within the next years.22 Brahms put all of this sorrow and passion in his two clarinet (viola) sonatas in 1894.

He had actually retired from composing in 1890. Having vowed to write nothing more after

the G Major Op.111, he just completed some unfinished works, and threw

the rest away. Considering that he was fifty-seven at the time, his declaration is still

regarded as premature; it is understandable from the perspective of the futility that he must

have felt.

Billroch says of him in a letter dated May 28, 1890, after visiting him at Ischl:

“He rejected the idea that he is composing or will ever compose anything.”23

18Ibid., 80.

19Geiringer, Karl Brahms, His life and Work (Oxford University Press: New York 1947), 182.

20Chissel, Joan Brahms (University Printing House: Cambridge 1977), 68.

21Geiringer, Karl Brahms, His life and Work (Oxford University Press: New York 1947), 182.

22Chissel, Joan Brahms (University Printing House: Cambridge 1977), 90.

23Geiringer, Karl Brahms, His life and Work (Oxford University Press: New York 1947), 63.

12 13

To another friend Brahms said in 1891:

“I have tormented myself to no purpose lately, and till now I never had to do so at

all: things always came easily to me.”24

Brahms even began working on his will in 1891, drawing it up in a letter to his publisher

and friend Fritz Simrock on his fifty-eight birthday.25 In it he left high regards for his sister, brother and stepmother. Further, he made donations to various musical associations of

Hamburg and Vienna which supported needy musicians. He also donated books and music, including his valuable collection of original manuscripts to the Gesellschaft der

Musikfreunde.26 However, Brahms destroyed all of the manuscript in his own writing,

which he thought were unworthy to be published. Soon, however, he felt a surge of fresh

creative power. A performance by the clarinetist Richard Mühlfeld (1856-1907) rekindled

his desire to compose. While visiting the ducal Court in March 1891, Brahms was deeply

impressed by the wonderful playing of Mühlfeld, whose tone was particularly suited for the

serious mood of his later compositions.27 Mühlfeld was the principal clarinetist of the

Meiningen court, but he first joined to the court orchestra as a violinist in 1893.28 Brahms

wrote about the impression he got from Mühlfeld’s playing in a letter to Clara Schumann:

“Nobody can blow the clarinet more beautifully than Herr Mühlfeld,” also calling him the

“Nightingale of the orchestra.” With this new stimulation, Brahms abandoned his projected

24Ibid., 64.

25Ibid., 177.

26Ibid., 177-178.

27May, Florence The Life of Johannes Brahms 2 (The New Temple Press: London 1948), 624.

28Neunzig, Hans A. Brahms (Haus Publishing: London, translated by Mike Mitchell, 2003), 143.

13 14

retirement and was motivated to compose the Trio Op.114, the Clarinet Quintet Op.115,

and the two sonatas for piano and clarinet Op.120.29 The clarinet part in all four of his clarinet works were later transcribed for the viola (Brahms’ other favorite instrument) by the composer himself. Unfortunately, the rescoring of the Trio and Quintet has never proved popular. However, the Op. 120 viola sonatas have achieved lasting success, becoming just as standard in the viola repertoire as the clarinet.30 The performance of the

clarinet version of the trio was first performed by Brahms, Mühlfeld and

at the court of the Duke of Meiningen on November 21, 1891. The viola version of the trio

was first performed by three days later.31 The Quintet in B Minor for clarinet and strings, Op. 115, was privately performed on November 24, 1891, again before the court, where the viola version of the Trio was also presented. The performers of this occasion were Mühlfeld, Joachim, Hausmann, and two members of the Meiningen orchestra, Friedhold Fleischauer and Alfons Abbass.32 The Quintet was performed publicly in on December 12, 1891.33 The viola version of the Quintet was also played few days later, but it seems to have been unfamiliar and less captivating to the listeners who were already charmed with the clarinet version of the Quintet. Drinker commented on the viola version: “while the clarinet part may be played on the viola, no one who has heard it

29Ibid., 32.

30Ibid, 42.

31Fay, James. “Brahms’ clarinet works: Manuscripts, Editions and First performances” The Clarinet 19 (July/Aug 1992), 20.

32Ibid., 21.

33Ibid., 21.

14 15

only in this form can fully understand its beauty. It is really a different work.”34 In the summer of 1894, Brahms composed the Sonata Op.120 in F minor and E-flat in Ischl, where he proceeded to compose the and the Clarinet Quintet. They were originally given by Brahms to Mühlfeld. The end of the score of the second sonata includes

Brahms’ inscription: “Mr. Richard Mühlfeld, the master of his beautiful instrument, with sincere appreciation, remembrance, J. Brahms, Ischl, in the summer, 1895.”35 The sonatas

were played at a party at the family Sommerhoff, together with Mozart’s Clarinet Trio. At a

party at Clara’s a short time later, these sonatas as well as Schumann’s Fantasiestücke were

played, and a few days later there was a further performance at Altenstein Castle at the

invitation of the Duke. These sonatas were publicly premiered at the Tonkünstlerrein in

Vienna on January 7th, 1895.36 While representing a culmination of Brahms’s achievement

as a composer of chamber music, the sonatas also occupy a special place in the history of

the clarinet and the viola. The clarinet version of the sonatas represents the first extended

works for the clarinet and piano by composer since Weber’s Grand Duo

Concertante of 1816.37

Alfred Simrock, a leading German publisher, published these sonatas. Simrock was

an important publisher of Brahms’ works, as well one of his close friends; Brahms even

34Drinker, Jr. and Henry, S. The Chamber Music of Johannes Brahms (Greenwood Press: Westport, Connecticut 1974), 128

35Fay, James. “Brahms’ clarinet works: Manuscripts, Editions and First performances” The Clarinet 19 (July/Aug 1992), 21.

36 Collins, H.C. The chamber music of Brahms (Oxford University press London: Humphrey Milford), 61-62.

37 Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 42.

15 16

entrusted him with his financial affairs.38 Simrock received the score and clarinet part of the

sonatas on February 26, 1895, and he received the viola version a few days later. Brahms

delayed the actual publication of the edition for viola and piano as Mühlfeld was on tour

with the clarinet versions.39 Maybe Brahms needed time to add new passages and change

registers to make it more suitable for the viola. While the compositions are designated as

Sonata for Clarinet, Brahms also includes “or Viola” in their titles. The sonatas were first

published in June, 1895 by Simrock, under the title of Zwei Sonaten für Klarinette (oder

Bratsche) und Pianoforte von Johannes Brahms, Op.120, No.1 F moll, No.2 Es dur.40 The sonatas were also arranged for violin, necessitating some alterations in the piano part.41

This violin version was published by Simrock in 1895, but it has been largely ignored. In the viola versions the piano part is unchanged.

Brahms used the viola to its full potential in his chamber music, the instrument shining through not only melodically, but also in the inventive inner parts, parts serving to enliven the timbre and character of his scores. First, let us look at the viola from the viewpoint of Brahms’s immediate predecessors and contemporaries. For a brief survey,

Hector Berlioz in his Grand Traité d’Instrumentation describes viola players as “among the refuse of violinists.”42 In mitigation, however, he also stated:

38Fay, James. “Brahms’ clarinet works: Manuscripts, Editions and First performances” The Clarinet 19 (July/Aug 1992), 20-22.

39Ibid., 22.

40Ibid., 20-22.

41Brahms Sonata No.1 in F minor Op.120 for Violin and Piano, The composer’s arrangement of his Sonata for clarinet and piano. Rev: Oswald Jonas. N.Simrock, (London: Hamburg)

42Freyhan, Michael. “The viola’s champion” The Strad (May 1997), 540-543.

16 17

“Of all the instruments in the orchestra the one whose excellent qualities have been

longest misappreciated is the viola. It is no less agile than the violin, the sound of its

strings is peculiarly telling…and its quality of tone altogether of a profound

melancholy.”43

Wagner makes a similar point about the weakness of not only viola but also violin sound

when writing in support of a new kind of viola, the viola alta, designed for increased

resonance by , a German viola player.44

Brahms seems not to have shared the common view that the viola was a disadvantaged

instrument. As early as his mid-twenties, Brahms had made an expression of faith in the

instrument. In his Serenade Op.16 Brahms omitted the , featuring the viola as a

treble part. He did likewise in the somber opening movement of the German Requiem,

which was started even earlier, though the work took more than a decade to complete.45 In addition, his high regard for the viola is exhibited in works such as his , Op.8 and String quintet Op.11; two string sextets, Op.18 and Op.36; and the string quartets,

Op.51, No.1 and 2 and Op.67. The viola’s main theme in the third movement of the Op.67 string quartet demonstrates this interest, as this particular theme lasts the duration of the movement, while muted violins and cello provide support for this melody. Brahms also

43Ibid., 540.

44Riley, Maurice W. The history of the viola (Braun-Brumfield, Ann Arbor, Michigan, U.S.A., 1980), 228-32.

45Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians 4 Vol. (London 2001), 693.

17 18 proved his understanding of the potential of the viola with his two songs for Contralto,

Viola, and piano Op.91. Karl Geiringer, a Brahms scholar, commented on this work:

…In Op.91, Brahms adds the viola, his favorite string instrument, to the pianoforte

and contralto voice parts. In Cradle song of the Virgin, the second of these two

songs, the wonderful German cradle song, Blessed Joseph, Joseph Dear, is given to

the viola……….How delicately is the soughing of the wind portrayed by the broken

chords gliding across the strings of the viola!46

So far, we have surveyed a short historical background of the Op. 120 sonatas and

Brahms’s interest in the clarinet and viola through his chamber music. In the next chapter, we will examine the difference between the two versions of the sonatas, clarinet and viola, based upon the different characteristics of the instruments.

46Karl Geiringer, Brahms, His life and work (New York: Oxford University Press, 1947), 69.

18 19

Upon examination of the clarinet and viola versions of the sonatas, Brahms seems

to have been keenly aware of the potential of each instrument.47 He intentionally sought different effects for these two instruments by composing two different versions. Each version is different not only with regard to its tone color or timbre, but also regarding practical techniques, such as vibrato, lip pressure, leap shifting, volume, and range. Each score contains passages with different octaves. Even the identical passages of the two versions sound differently according to the character of the instrument. It is not my opinion that Brahms intended one version to be the original and the other to be borrowed. Rather, I believe he composed two characteristic sonatas, one for each instrument, which shares the same melody, harmony, and other musical ideas. Often, when many violists attempt to play

or record these works according to the clarinet version, in the desire to be more faithful to

this original version, they often sound as if they are trying to make the viola mimic the

clarinet, rather than attempting to showcase these pieces as viola works. Bruno Giuranna,

an Italian violist, gives an interesting opinion in his journal:

The first thing you notice when you look at most piano score is that in numerous

places someone has taken the viola part down an octave compared to the original.

We can be certain that this so-called arrangement was not by Brahms… the

composer probably agreed to the publication of the simplified version for

commercial reasons, perhaps became in his day hardly any violists could be

expected to play in high positions, certainly not lyrically or with dolcezza… 48

47Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 15.

48Giuranna, Bruno. “Masterclass: Brahms’s Viola sonata in E-flat” The Strad 104 (1993), 552-557.

19 20

Giuranna points out that most of the editions played today were not arranged by

Brahms. He insists that there is no longer any reason to play the piece in such a way because modern violists are more developed in their skills than those of Brahms’ period. He recommends retaining the original notes as much as possible. Therefore, he feels that the best version is the IMC edition by Milton Katims, a version almost identical to the clarinet version. However, his argument is subject to some objection. One can learn more about the composer’s intentions by examining the original score to these sonatas, which luckily still exist. The engraver’s copies of the original score and solo part, as well as the viola part arranged by Brahms are currently located in Hamburg’s Staats- und niversitätsbibliothek.49

These parts were written by a copyist, containing many corrections and several important alterations in Brahms’ hand. Brahms actively concerned himself with the entire publication process of his music. His works are thus relatively error-free. He routinely kept a copy of the first edition of his publications and he was rigorous at correcting mistakes.50

Considering his meticulous habit on publication, it is far-fetched to think that the viola version is not his own work, which was indeed published when he was alive. Above all, the

IMC edition has some questionable figures to be regarded as Brahms’ own arrangement, which was well versed in the characteristics of the viola, compared with the many other editions, such as Simrock and Peters. Different passages from the clarinet version in such editions are not simply for easier technique. To illustrate this point, imagine a soprano who

49Brahms Sonata No.2 in Eb Major Op.120 for Viola and Piano, The composer’s arrangement of his Sonata for clarinet (or viola) and piano. N. Simrock, (London: Hamburg).

50Robin, Stowell The early Violin and Viola: A practical guide (Cambridge University Press 2001), 164.

20 21 performs an aria originally composed for a castrato; the soprano can indeed sing the work, however, it will no doubt be uncomfortable for her.

Brahms’ principal alteration in the viola part, as compared to the clarinet version, was to change the register of several sections. To contrast the engraver’s copy with most other (save the IMC) editions, the following measures represent where Brahms took the viola part down an octave: F minor sonata: mm.26-35/I, 92-95/I, 125-131/I, 180-186/I, 197-

198/I, 4-7/IV, Eb Major sonata: mm. 18-20/I, 38-43/I, 58/I, 87-93/I, 113-118/I, 147/I, 149-

154/I, 46 from third beat-47/III, 53/III, 143-147/III. (Example 1 through Example 14)

Example 1 (No. 1: mm. 26-35/ I – Viola part)

Example 2 (No. 1: mm. 92-95/ I – Viola part)

Example 3 (No.1: mm. 125-131/ I – Viola part)

21 22

Example 4 (No. 1: mm. 180-186/ I – Vila part)

Example 5 (No. 1: mm. 197-198/ I – Viola part)

Example 6 (No. 1: mm. 4-7/ IV – Viola part)

22 23

Example 7 (No. 2: mm. 18-20/ I – Viola part)

Example 8 (No. 2: mm. 38-43/ I – Viola part)

Example 9 (No. 2: mm. 58/ I – Viola part)

23 24

Example 10 (No. 2: mm. 87-93/ I – Viola part)

Example 11 (No. 2: mm. 113-118/ I – Viola part)

Example 12 (No. 2: mm. 147, 149-154/ I – Viola part)

Example 13 (No. 2: mm. 46 from third beat-47/ III – Viola part)

24 25

Example 14 (No. 2: mm. 53/ III – Viola part)

Example 15 (No. 2: mm. 143-147/ III – Viola part)

Moreover, Brahms added a number of dynamic and expression markings in the engraver’s copy, and even altered the marking of the second movement of the Eb

Sonata. He put Allegro Appassionato on the clarinet version, but on the viola version, he marked Appassionato, ma non troppo Allegro for the tempo marking. Presumably he made these alterations as a result of hearing the pieces played, which was his usual procedure before sending new works to the printer.51 The viola version also incorporates double stops

in some passages. At mm. 147 to 150 in the first movement of f minor Sonata (Example 16),

mm. 126-135 in the second movement of Eb Sonata (Example 17) and he made an octave

at mm. 84 in the third movement of same Sonata (Example 18).

51Ibid., 3.

25 26

Example 16 (No. 1: mm. 147-150/ I – Viola part)

Example 17 (No. 2: mm. 126-135/ II – Viola part)

Example 18 (No. 2: mm. 84 second beat-86/ III – Viola part)

By employing double stops, especially in the first movement of the F Minor sonata mm.

147-150 (Example16), Brahms took full advantage of the viola’s potential, one which is more powerful and more voluminous than single tones of the clarinet. Brahms also extends the viola part in the second movement of E-flat sonata for three more bars than the clarinet after mm.133.

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Example 19 (No. 2: mm. 133-135/ II – Viola part)

Before we discuss reasons that Brahms composed each of the versions differently, let us examine the characteristics of each of the instruments. First of all, the tone color, timbre, and different registers of each instrument are different. Each version leaves a vastly different impression on the listener due to the unique sound that each instrument possesses.

Sound

The viola has dark, warm and rich tone qualities that resemble an alto voice. The

New Grove dictionary defines the viola as “the instrument of the middle, being used for both the alto and tenor registers.”52 This characteristic of viola sound stands out in the depth of the lowest string C and next string D, so both makers and players eagerly seek a clear, beautiful, resonant and powerful tone from the lowest string of the viola.53 As was noticed earlier, the advocates of the viola version attribute their preference to the sound quality of viola, which is rich and warm. Observing the two versions of the Sonatas Op.120, the primary task in arranging for viola was to transpose many passages of the clarinet an octave

52Boyden, David D. and Woodward, Ann M. “Viola” The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie, vol.2, (London: Macmillan), 687.

53Ibid., 687-695.

27 28 lower to take advantage of the rich and dark timbre of the viola. The first movement of the f minor sonata at mm. 26-36 (Example 1), the first movement of the Eb Major sonata at mm.

18-20 (Example 7), and the same movement of the same sonata at mm. 147-154 (Example

12) are places where Brahms has taken the viola part down an octave to bring out the strengths of the viola. In identical passages, these characteristic sounds of each instrument make different impression of the music(this is poor English as well-perhaps you could say-

“In identical passages, the differences in the tone quality of each instrument leave a different impression on the listener?” . Certainly, the viola sound played on the D string in the first movement of the Eb Major sonata at mm 11-12 (Example 20) and the beginning of the f minor sonata with added vibrato leaves a wholly different impression than the clarinet.

Example 20 (No. 2: mm. 11-12/ I – Viola part)

Example 21 (No. 1: mm. 5-12/ I – Viola part)

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A similar effect appears in the first movement of the Eb major sonata at mm. 43-45

(Example 22), in which the phrase on the C string present a deep and rich quality, which is

also present in the opening of his in f-minor. Such density and richness

occurs often in Brahms’ music.

Example 22 (No. 2: mm. 43-45/ I – Viola part)

The clarinet, however, unlike the viola’s alto or tenor register, has the range of a soprano voice. From the remarks of Carl Baermann can be discerned something of the sound of the clarinet of Brahms’s era. When well played, it can achieve such close similarity to a fine singing voice, by virtue of its beauty of tone, which enables the performer to speak to the

heart:

The finer the tone, the more poetic the effect. The tone is fine when it has a full,

vibrant, metallic sound, and retains the same characteristics at all volumes and in

all registers, when the tone dose not deteriorate at full strength, and does not leave

a piercing impression; when it is so expressive and flexible that it can perform all

the notes lightly and smoothly in the quiet passages- in a word, when it resembles a

superlatively fine and full soprano voice. If this register (the best on the clarinet) is fine-

toned, then the lower notes will of themselves also be characteristics and lacks inner life-

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the ‘divine spark’ intrinsic to man as a guarantee of his destiny, ‘the soul’- ten all effort and

striving is of no avail, for this frigid music cannot be touched by the fire of Prometheus.54

The charm of clarinet sound lies in its incisiveness and hollowness. Gevært’s treatise of

1885 explains the sentiments of clarinet:

No wind instrument offers to the composer such manifold technical possibilities as

the clarinet…with its wide compass and diverse tone-colors…and flexibility in the

expression of dynamic nuances… Its tone is soft, yet incisive…and it adjusts itself

admirably to the various forms of musical thought: an expressive interpreter of

solemn song, the clarinet deals easily and naturally with fluent passages, so long as

they are not too far removed from its most usual keys.55

Tovey pointed to Brahms’s demonstration of the different characteristics of the two

instruments from the music:

The viola is querulous and strained just where the cantabile of the clarinet is

warmest. The lowest octave of the clarinet is of a dramatic blue-grotto hollowness

and coldness, where the fourth string of the viola is of rich and pungent warmth. A

comparison of Brahms’s viola part with his original clarinet part makes every

54Baermann, Carl. Vollständige Clarinet-Schule (Offenbach, 1864-75), quated by Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 14-15.

55Gevea, Francois-Auguste. Nouveau traité d’instrumentation (paris, 1885), 92, quated by Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 14.

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difference of this kind vividly real, and these viola versions deserve frequent

performances in public.56

Range, wide leap

In addition, these two instruments have different ranges. The clarinet most likely

possesses a larger range of pitches than any other instrument. The lowest note of the

standard Boehm-system clarinet is (written) e, sounding d for a Bb instrument. At the upper

end of the range the limit is less clearly defined. Most tutors for the instrument give

fingerings to c’’’’ and some virtuosos are prepared to perform a 3rd or more higher.57

Robert Willaman explains how such a wide range can be made by a clarinet in his book:

Two factors acting together make possible the large range of the clarinet, which

embraces forty-five tones extending over nearly four octaves. The fingers operate

directly on seven holes, and indirectly on many other holes covered by padded

keys to change the effective length of the air column. …This is lip and jaw

pressure. It must vary with the altitude of the notes played…As we go up the

scale we must clamp the reed more firmly on the curve of the lay to shorten the

pendulum so it can vibrate faster and thereby produce a higher tone. Very little

56Tovey, D.F., Brahms: Cobbett’s Cyclopaedic Survey of Chamber Music, I, 182.

57Page, Janet K. and Shackleton, Nicholas. “Clarinet” The New Grove Dictionary of Music and Musicians ed. Stenley Sadie, vol.5 (London: Macmillan), 897.

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pressure is required in the bottom register, and the increase necessary from low E to

middle line B flat is relatively small. From that point up the increase of pressure is much

more rapid. By the time high G is reached less than half of the length of the lay is used. For

high C perhaps only 1/8 inch of the reed tip vibrates.58

While the clarinet can cover over four octaves with the variation in the player’s lip pressure

and certain keys, it is difficult for a viola to cover smoothly even three octaves, because the

motion of one’s fingers are limited by string crossings and large shifts. These large leaps

between notes represent a hurdle in negotiating the pitches on a viola. In fact, upon

examination of the viola version of the Op. 120 sonatas, we can recognize that the restricted

range of the viola certainly required all kinds of rewriting of the wide-ranging clarinet line,

often with unsatisfactory results.59The differences between the clarinet and viola in the covering of the notes with wide leaps in between are clearly seen in the first movement of the Eb Major sonata at mm. 43 (Example 24), the same movement of the same sonata at mm. 57-58 (Example 25), mm. 63-64 (Example 26) and from the third beat of mm. 82 through mm.92 (Example 27). The squared parts are places which Brahms has taken the viola part down an octave for different characteristics of each instrument.

58Willaman, Robert. The clarinet & clarinet playing (Carl Fischer Inc.: New York 1954), 241-242. 59Freyhan, Michael “The viola’s champion” The Strad (May 1997), 540-543.

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Example 24 (No2: mm. 43/ I – clarinet part)

Example 25 (No 2: mm. 57-58/I – clarinet part)

Example 26 (No 2: mm. 63-64/I – clarinet part)

Example 27 (No 2: mm. 87-92 from third beat/ I – clarinet part)

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Because of the innate characteristics of the two instruments, the clarinet can easily and naturally negotiate fluent passages compared with viola when it plays fast passages, passages which require lots of string crossing and big shifting (Example 28).60

Example 28 (No.2: mm. 46-53/III-viola part)

60Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 14.

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Vibrato

Another outstanding difference between these two instruments is the vibrato, a tool

which serves as an easily available remedy for monotony.61 Its use in music increases a warm, voice-like quality to the tone and contributes greatly to the intensity and dramatic expression of the sound. In the of instruments, continuous vibrato is almost always implied and expected; many composers will specifically notate instances when vibrato should not be used. Robert Willaman says, in his article, about vibrato in string instrument, “The violin is perhaps the most musical and the most nearly perfect of all instruments. For this very reason it needs vibrato more than any other. On the other hand, vibrato is not encouraged for classical clarinet music, since it is considered to degrade the purity of the clarinet sound. Sherman remarks, in his guide book for clarinet:

…..In winds, specifically in single reed woodwinds, the vibrato and it’s making is

much less difficult to discuss because, within the world of the ‘classical’ clarinet

playing, vibrato is currently not in vogue. Most orchestral players do not use

vibrato, and its distinction keeps the clarinet as the purest of qualities one hears in

the orchestra. …Vibrato is used by clarinetists in the performance of solo and

chamber music, and this use again varies from player to player and from piece to

piece.62

61Willaman, Robert. The clarinet & clarinet playing (Carl Fischer Inc.: New York 1954), 241-242.

62Friedland, Sherman, “Sherman Friedland’s Clarinet Corner” (http://clarinet.cc/archives/cat_studies_technique_and_personalities.html), May 2004.

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While storm-like intensity is felt when the opening of the second movement of E-flat sonata

is played on viola, its softness is emphasized on clarinet.

Example 29 (No. 2: mm. 1-9/ II – Viola part)

In the opening theme of the second movement of the f-minor sonata the appealing power of the viola’s melody with vibrato characterizes the atmosphere of the part.

Ex 30 (No. 1: mm. 1-10/ II – Viola part)

Besides these differences, the two instruments possess many unique characteristics as well. Each version of the Op.120 sonatas demonstrates contrasting qualities through the particular instrument that is featured. Brahms skillfully distributed the parts to exhibit these contrasting qualities.

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Andres Segovia compared transcribing music to translating a poem from one

language to another.63 Even though his is a nice definition, I think more can be said about transcribing music. While a translated poem delivers the same meaning and feeling to the reader even though the accent is changed, transcribed music emanates a completely different feeling with the same melody line. This melody line will have totally different characteristics according to the instrument in question, just as a homonym looks but does not sound the same with respect to its two (or more) definitions. This can be seen especially in these two versions of the Op. 120 sonatas which give very different impressions to the listeners. While the clarinet version is associated with the feeling of hollowness and resonance, the viola version appeals to audiences with its depth and sighing. In that context,

I conclude that Brahms composed two characteristic works, and not just a transcription from the clarinet to the viola version.

63Yates, Richard. “The transcriber’s art: Brahms” The GPA Soundboard ( Spring 2002), 43.

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Bibliography

Adelson, Robert. “The autograph manuscript of Brahms’s Clarinet sonatas Op.120: A preliminary report”, The Clarinet 25 (May/June 1998): 62-65. Avins, Stera. “Performing Brahms’s music: clues from his letters” Performing Brahms, ed. Musgrave, Michael. and Sherman, Bernard D., Cambridge University Press, 2003. 1-10. Botstein, Leon. The complete Brahms New York, N.Y.: W.W. Norton & Company, Inc., 1999. Boyden, David D. and Woodward, Ann M. “Viola” The New Grove Dictionary of Music and Musicians. ed. Stanley Sadie, vol.2, London: Macmillan.687-695. Bozarth, George S. “Editing Brahms’s Music” Brahms Studies vol.2, ed. David Brodbeck, University of Nebraska Press, 1998. 1-30. Bozarth, George S. “ and Brahms’s late chamber music” Performing Brahms ed. Musgrave, Michael and Sherman, Bernard D., Cambridge University Press, 2003. 170- 219. Brown, Clive. “Joachim’s violin playing and the performance of Brahms’s string music” Performing Brahms ed. Musgrave, Michael and Sherman, Bernard D., Cambridge University Press, 2003. 48-98. Brymer, Jack. Clarinet Yehudi Menuhin Music Guides, Macdonald and Jane’s: London, 1976. Burnett, James. Brahms: A Critical Study London: J. M. Dent & Sons Ltd., 1972. Chissel, Joan. Brahms Cambridge: University Printing House, 1977. Collins, H.C. The chamber music of Brahms London: Oxford University press, 1933. Colwell, Richard J. Teaching of instrumental music Meredith Corporation, 1969. Cowden, Robert L. and Muegel, Glenn A. Bowing for better sound N.C.: Elon College, 1971. Dale, Kathleen. Brahms: A biography with a survey of books, editions & recordings Archon Books & Clive Bingley, 1970. Dobree, Georgina. “Breaking the mold: Reflections on the opus 120 sonatas by Brahms” The Clarinet 23 (July/Aug 1996): 38-40 Drinker, Jr. Henry S. The Chamber Music of Johannes Brahms Westport, Connecticut : Greenwood Press, 1974. Gal, Hans. Johannes Brahms: His work and personality, trans. Joseph Stein, New York: Alfred A. Knopf, 1963.

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Geiringer, Karl Brahms, His life and Work New York: Oxford University Press, 1947. Giuranna, Bruno. “Masterclass: Brahms’s Viola sonata in E-flat” The Strad 104 (1993): 552-557. Edwin, Evans. Brahms: Handbook to the Chamber and Orchestral Music of Johannes Brahms London: The New Temple Press, 1933-5. Ferguson, Donald N. Image and structure in chamber music University of Minnesota Press, 1964. Freyhan, Michael. “The viola’s champion” The Strad (May 1997), 540-543. James, Fay. “Brahms’ clarinet works: Manuscripts, Editions and First performances” The Clarinet 19 (July/Auf 1992): 20-23. Kennedy, Michael. “Clarinet” The Oxford Dictionary of Music Oxford New York: Oxford University Press, 1985. 148. Keys, Ivor. Brahms Chamber Music Seattle: University of Washington Press, 1974. Lawson, Colin. The Early Clarinet: A practical guide Cambridge University Press, 2000. Lawson, Colin. Brahms: Clarinet Quintet Cambridge University Press, 1998. May, Florence. The Life of Johannes Brahms 2 London: The New Temple Press, 1948. MacDonald, Malcolm. Brahms New York, 1990. Mazzeo, Rosario. The Clarinet: Excellence and Artistry Alfred Publishing Co. Inc., 1981. Melvin, Berger. Guide to chamber music Mineola, New York: Dover Publications INC., 2001. Moens, G. and Haenen. “Vibrato” The New Grove Dictionary of Music and Musicians ed. Stenley Sadie, vol.5 London: Macmillan, 523-525. Murdoch, William. Brahms London: Rich & Limited, 1978. Musgrave, Michael and Sherman, Bernard D. Performing Brahms Cambridge University Press, 2003. Page, Janet K. and Shackleton, Nicholas “Clarinet” The New Grove Dictionary of Music and Musicians ed. Stanley Sadie, vol.5 London: Macmillan, 895-910. Pascall, R. J. “Ruminations on Brahms’s chamber music” The Musical times 116 (1975), 58-63. Philip, Robert. “Brahms’s musical world: balancing the evidence” Performing Brahms ed. Musgrave, Michael and Sherman, Bernard D., Cambridge University Press, 2003. 349-372. Pitfield, Spencer S. “Clarinet and Piano Music Performance Practice 1880 to 1945” The Clarinet (June 2002), 54-57.

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Rehfeldt, Phillip. New Directions for Clarinet London: University of California Press, 1994. Riley, Maurice W. The history of the viola Ann Arbor, Michigan: Braun-Brumfield, 1980. Ritter “Brahms, Hidemith: Clarinet Sonatas” The American Record Guide (January/Febuary 2001), 101-102. Robertson, Alex. Chamber music Baltimore: Penguin Books, 1963. Robin, Stowell. The early Violin and Viola: A practical guide Cambridge University Press, 2001. Sherman, Bernard D. “How different was Brahms’s playing style from our own?” Performing Brahms ed. Musgrave, Michael. and Sherman, Bernard D., Cambridge University Press, 2003. 1-10. Sherman, Bernard D. “Metronome marks, timings, and other period evidence regarding tempo in Brahms” Performing Brahms ed. Musgrave, Michael and Sherman, Bernard D., Cambridge University Press, 2003. 99-130. Simon, Mark G. “An interview with ” The Clarinet (June 2003), 66-68. Swafford, Jan Johannes Brahms New York: Alfred A. Knopf, 1997. Willaman, Robert. The clarinet & clarinet playing New York: Carl Fischer Inc., 1954. Yates, Richard. “The transcriber’s art: Brahms” The GPA Soundboard (Spring 2002), 43.

(Printed Music)

Brahms Sonata No.1 in F minor Op.120 for viola and Piano, Leonard David edition, International Music Company, New York. Brahms Sonata No.2 in Eb Major Op.120 for Viola and Piano, Leonard David edition, International Music Company, New York. Brahms Sonata No.1 in F minor Op.120 for Clarinet (or Viola) and Piano, The composer’s arrangement of his Sonata for clarinet (or viola) and piano. N. Simrock, London: Hamburg Brahms Sonata No.2 in Eb Major Op.120 for Clarinet (or Viola) and Piano, The composer’s arrangement of his Sonata for clarinet (or viola) and piano. N. Simrock, London: Hamburg. Brahms Sonata No.1 in F minor Op.120 for Violin and Piano, The composer’s arrangement of his Sonata for clarinet and piano. Rev: Oswald Jonas. N. Simrock, London: Hamburg. Brahms Sonata No.2 in E flat major,Op.120 for viola and piano, Milton Katims edition, International Music Company, New York

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