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Brahms Reinecke Brahms Clarinet Sonatas Reinecke Sonata ‘Undine’ Introduzione ed Allegro appassionato Michael Collins Michael McHale clarinet piano Johannes Brahms, c.1890 Brahms, Johannes AKG Images, London / De Agostini Picture Library / A. Dagli Orti Johannes Brahms (1833 – 1897) Sonata, Op. 120 No. 1 21:53 in F minor • in f-Moll • en fa mineur for Piano and Clarinet 1 Allegro appassionato – Sostenuto ed espressivo 7:56 2 Andante un poco Adagio 4:57 3 Allegretto grazioso 4:03 4 Vivace 4:56 Sonata, Op. 120 No. 2 20:24 in E flat major • in Es-Dur • en mi bémol majeur for Piano and Clarinet 5 Allegro amabile – Tranquillo 8:00 6 Allegro appassionato – Sostenuto – Tempo I 5:01 7 Andante con moto – Allegro – Più tranquillo 7:21 3 Carl Reinecke (1824 – 1910) Undine, Op. 167 19:49 in E minor / E major • in e-Moll / E-Dur • en mi mineur / mi majeur Sonata for Piano and Clarinet 8 Allegro 6:43 9 Intermezzo. Allegretto grazioso – Più lento (quasi Andante) – Tempo I 3:26 10 Andante molto tranquillo – Molto vivace – Tempo I 3:44 11 Finale. Allegro molto (agitato ed appassionato, quasi Presto) – Un poco più tranquillo – Più animato – Più lento 5:53 12 Introduzione ed Allegro appassionato, Op. 256 7:46 for Clarinet and Piano Herrn Musikdirector Kammervirtuosen MÜHLFELD Adagio – Allegro appassionato ma non troppo presto – Molto più presto TT 69:55 Michael Collins clarinet Michael McHale piano 4 Brahms / Reinecke: Clarinet Sonatas etc. Brahms: Sonatas for Piano and Clarinet in and cello, Op. 114 and the Clarinet Quintet, F minor and E flat major, Op. 120 Op. 115 were composed that summer, and The comeback from self-imposed artistic first performed, together, in December. retirement has rarely had richer consequences Three years passed before Brahms wrote than in the case of Johannes Brahms to Mühlfeld from Bad Ischl to inform him (1833 – 1897). Late in 1890 he was planning of ‘two modest sonatas with piano’. On his will and declaring that his compositional 23 September 1894 Brahms and Mühlfeld career was at an end. The will was drawn up performed the two works privately in the following May; but that was after he had Berchtesgaden; further such performances, to visited the ducal court of Meiningen in March Clara Schumann and others, led to numerous 1891, where among other things he listened revisions which are reflected in the autograph to the clarinettist Richard Mühlfeld play manuscripts. The first public performances privately for him. Mühlfeld (1856 – 1907) had were given by Brahms and Mühlfeld in the Saal been principal clarinettist of the Meiningen Bösendorfer in Vienna on 8 and 11 January Court Orchestra since 1879, and Brahms had 1895; and the sonatas – effectively the first of already encountered his playing in the early their kind – were published, for viola as well as 1880s, when its conductor, Hans von Bülow, clarinet, as Op. 120 by Simrock in June 1895. had put the orchestra at his disposal for Brahms’s own version for violin was published private trials of his music (such as the Fourth a month later. Symphony, in late October 1885). Brahms’s music for clarinet, then, is The March 1891 meeting was an intimately bound up with the performance style opportunity for Brahms to discuss the of a single player, and we may consequently instrument and its potential; and Mühlfeld’s intuit something of Mühlfeld’s playing from playing now impressed him sufficiently to Brahms’s music. The manuscript of the prompt him to pick up his composing pen E flat Sonata is dedicated ‘To Herr Richard again. The Trio for piano, clarinet (or viola), Mühlfeld, master of his beautiful instrument’; 5 and Brahms dubbed Mühlfeld ‘Fräulein rather than as a composite of three individual Klarinette’. His performance style was said movements. Continuity, in the form of a to be dramatic and moving, and tooth marks kind of circularity, is further assured by the on a surviving mouthpiece from one of his variation structure of the final movement: the eighteen-keyed Ottensteiner instruments fourteen-bar theme opens on the dominant suggest the use of vibrato. and closes with a tentative plagal cadence The music of the two sonatas is not which takes the melody back to the note on without drama – both the first movement which it begins. of the F minor and the central scherzo of the Continuity in a broader sense might E flat Sonata are markedAllegro appassionato – be expected of Op. 120 No. 1. Brahms but the overriding tone of the clarinet writing had previously used the key of F minor in is one of lyrical expressivity, perhaps most his Piano Sonata, Op. 5 (1853) and Piano evident in the serene music of the first Quintet, Op. 34 (1862 – 64); in Michael movement of the work in E flat. In contrast Musgrave’s words, he associated this key with to the conventional four-movement design of ‘passionate, rhetorical expression and formal its companion, Op. 120 No. 2 is cast in only adventure’. And looking further back, to that three movements, and the outer movements, ‘giant’ who for so long inhibited Brahms’s marked Allegro amabile and Andante con creativity, we find that F minor was the key moto (later Allegro, but finallyPiù tranquillo), of the sonata by Beethoven the nickname are decidedly muted in relation to the stormy of which – ‘Appassionata’ – foreshadows E flat minor scherzo, with trio in B major – a Brahms’s own first movement performance key carefully ‘prepared’ in the first movement direction. recapitulation when the second theme, cast Yet despite the marking, the clarinet’s as a subtle canon between clarinet and piano initial theme in Op. 120 No. 1, following bass, at first returns in the enharmonic upon a piano opening in unison octaves equivalent, C flat major. (another link to the beginning of the This kind of tonal planning, along with Piano Quintet), is more wistful than the fact that all three movements are in the passionate. Moreover, and despite the work’s tonic key, assists the sense that Op. 120 conventional title, the key of F minor actually No. 2 unfolds as a single, continuous design holds little overall sway. The first movement 6 ends on F major harmony; the second and Vivace, but the clarinet’s second phrase third movements are both in the relative is already directed to be grazioso. ‘Never major, A flat; and after these the key signature sing louder than lovely’, the soprano Isobel of four flats is cast off altogether, so that the Baillie used to say; maybe Mühlfeld, at least finale proceeds in an untrammelled F major. as Brahms composed for him, would have Continuity from movement to movement agreed. here is perhaps even more palpable than in Op. 120 No. 2, despite the broader tonal Reinecke: Sonata for Piano and Clarinet, scheme; and a vital factor is precisely the Op. 167 ‘Undine’; Introduzione ed Allegro timbre of the clarinet. All passion is spent appassionato, Op. 256 by the end of the first movement, where The prodigious output of the composer, the clarinet, sotto voce, intones the opening conductor, pianist, and teacher Carl Reinecke piano motto over sustained chords, coming (1824 – 1910) has not fared as well as the to rest on a prolonged C, its own first note. music of Brahms, though the chamber The second movement theme (uncannily music has perhaps proved relatively more prescient of a later, more popular clarinet durable. Brahms and Reinecke knew and melody, ‘Stranger on the Shore’!), announced corresponded with each other, having first immediately by the soloist, retraces some of met in 1853. And as Director of the Leipzig the melodic ground of this motto, heading Gewandhaus from 1860 to 1895, Reinecke again toward the same C. promoted Brahms’s works, including the The second movement ends in the same Deutsches Requiem, conducting the first way as the first, with a last minute recollection complete performance of it on 18 February of the opening, though the closing C is now 1869. succeeded by the tonic note, A flat: and this The two works recorded here foreground same note will be the springboard for the the virtuosic potential of the clarinet more clarinet’s melody in the succeeding Allegretto obviously than do Brahms’s sonatas, but grazioso. Only between this and the ensuing neither is without intrinsic musical interest finale is there no kind of timbral or registral either. Reinecke knew Schumann, and some continuity, so that the major mode finale of the formal peculiarities of that composer’s stands somewhat apart. It may be marked Kreisleriana can be felt in the Sonata Undine 7 (the reference is to the mythical water Op. 92 composition for piano and orchestra. sprite made famous in the work of Friedrich The basic form of Reinecke’s piece is slow de la Motte Fouqué and E.T.A. Hoffmann, introduction in C minor followed by an though the sonata does not propose a definite allegro movement in sonata form, which programme). This is especially so in the two moves conventionally from minor to major, inner movements, which juxtapose fast and only to revert to C minor for its conclusion. slow music in unexpected ways. This formal scheme, albeit simple, is made the The second movement Intermezzo proceeds vehicle for an impressive display of thematic like a conventional scherzo – trio – scherzo transformation, whereby the principal (ABA) form until the reprise of the scherzo theme of the Allegro is rigorously derived leads without a break into a B major Più from the quasi-improvisatory opening of the lento (quasi Andante) section the status of Introduction; the turn figure common to which as a true ‘intermezzo’ is revealed both is the clearest clue to the connection.
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