Violin Sonatas No. 2, Op. 100 • No. 3, Op

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LM/LSC-2619 BRAHMS VIOLIN SONATAS Nos.2 and 3

sph ae, Henryk Szeryng, violinist Artur Rubinstein, pianist

© © ¥ YS 4 BR fhob Produced by Max Wilcox * Recording Engineer: Anthony Salvatore desi] Johannes Brahms, the man whom Schumann hailed as a wondrous genius “over whose Here the idyllic mood gives way to unrest and passion, and the imposing cradle the Graces and Heroes stood watch,” was plagued by an astonishing lack of embraces four full, strongly contrasted movements. In its totality, this work reaffirr self-confidence. His habit of destroying completed manuscripts which failed to meet Schumann’s early judgment that Brahms’ sonatas are “veiled symphonies” and th his own inordinately high expectations persisted to the end of his days. This doubting, he could make the piano “an orchestra of lamenting and loudly jubilant voices.” gentle self-deprecating attitude came perhaps into clearest focus when he undertook a com- Strikingly different, too, is the role assigned tc the violin here. In place cf the A major position for string instruments. In a letter to Clara Schumann, to whom he ofieri echo and caressing countermelody it provides in the first movement of the poured out his intimate thoughts and deepest concerns, he once wrote: “It is a very sonata, the violin launches into a passionate statement that grows gradually more different matter to write for instruments whose natute and sound one only has a eloquent as the piano passes from subdued accompaniment to energetic participation. chance acquaintance with, or only hears in one’s mind—or to write for an instrument In the development, the themes are elaborated over an insistent pedal point extending that one knows as thoroughly as I know the piano.” over forty-six measures, in a manner that is a marvel of constructive invention and Since this letter was written in 1887, one might observe that this “chance acquaint- harmonic imagination. By contrast, the Adagio is simplicity itself, a tender cantabile, ance” consisted of the violin concerto (1878) and a wealth of chamber music for repeated in somewhat altered form before gently dying away. A most unconventional different instrumental combinations, to say nothing of the four symphonies. Even Scherzo follows, in which the two instruments are cavorting on a restlessly chromatic more pertinent, by 1887 Brahms had already completed two of his published violin terrain. Here the composer’s description “Un poco presto e con sentimento” conveys sonatas—after the destruction, in characteristic fashion, of three earlier efforts—and something of the peculiar nature of this music that is more mysterious and eerie than was near to completing his third. Fortunately, neither his contemporaries nor pos- merely playful. In the finale the piano erupts tempestuously from its hitherto some- terity shared the composer’s pessimistic views. By common judgment, inis first sonata what restrained role. The two instruments sustain their violent, defiant contest for violin and piano, in G, Op. 78, already showed that Brahms not only had con- throughout this movement’s restless pages, only momentarily detained by a chorale- quered the thorny problem of balancing the two instruments, brt had carried the like secondary theme. Even the ending is an explosion of violent chords. achievements of Mozart and Beethoven, to whom he was deeply indebted, a step In its scope and in its technical demands, Brahms’ D minor sonata—and to a lesser further by infusing the classical forms with glowing romantic concent. | extent its A major counterpart—often challenges the limitations of chamber music. Brahms a powerful, The Sonata No. 2 in A, Op. 100, was written during the summer of 1886 at the pic- It reveals an inner tension and expressive strength which mark classic turesque Swiss resort of Thun, where Brahms spent three consecutive summers. A though certainly not typical, figure of romanticism. At the crossroads of the serene mood, perhaps influenced by the tranquility of the surroundings, suffuses the and romantic paths, his music responds rewardingly to varying interpretations. In in a united spirit work. The piano dominates the first movement by introducing both themes and by this recording, Artur Rubinstein and Henryk Szeryng approach it fervor allied assuming the commanding role in their development. The succeeding Andante is of full-blooded romanticism—with rich singing tone and deep emotional actually two movements in one—a dialogue between a songful andante melody and to the spirit of performing virtuosity which, for all their adherence to the classic a vivace section which repeatedly interrupts the lyric flow with an almost impudently forms, is inherent in Brahms’ soaring and boldly conceived sonatas. playful spirit. The final Allegretto grazioso reaffirms the sonata’s idyllic character. Notes by GEORGE JELLINEK A luscious melody, emerging from the violin’s ripe low register, is contrasted witha — livelier secondary subject. In a sustained mood of wistfulness and contentment, the work ends with an inspired coda. Hear these other masterpieces for piano and violin recorded by Artur Rubinstein and Henryk Szeryng: The Sonata No. 3 in D Minor, Op. 108, which wa, begun at Thun shortly after Beethoven SONATA No. 8/ Brahms SONATA No. 1 LM/LSC-2620 Op. 100 but only completed two years later, is a work of a wholly different character. Beethoven ‘‘SPRING" and “KREUTZER" SONATAS LM/LSC-2377