Brahms’s two sonatas for clarinet and piano, Op 120, composed in 1894, were followed only by the four Serious Songs and a set of organ chorale preludes (some of which may have been written at earlier times). His farewell to chamber music was also his farewell gift to the clarinet. The two works recorded here were preceded by the Clarinet Trio in A minor (Op 114) and the great Clarinet Quintet in B minor (Op 115), and all four masterpieces were inspired by the playing of Richard Mühlfeld, principal clarinettist of the Meiningen Orchestra.
A 19th-century ‘trio sonata’. Isabelle Faust and Alexander Melnikov have already given us an acclaimed version Brahms’s First Violin Sonata, in 2007. They now complete the cycle with the other two sonatas of 1886 and 1888, and add a fascinating rarity dating from 35 years earlier: the ‘F-A-E’ Sonata, a collaborative effort by three composers in honour of the great violinist Joachim, who had to guess who had written which movement! He did so with ease, for the Scherzo is as eminently Brahmsian as the Intermezzo and Finale are Schumannesque. Alexander Melnikov will be contributing his take on a score his mother gave him that belonged to Sviatoslav Richter in September BBC Music Magazine.
Acclaimed instrumentalists, Jacqueline du Pre and Daniel Barenboim, perform earlier masterpieces by Brahms. These sonatas written for cello and piano invoke the romantic style, interpreted superbly by the pair. The performances are expressive, graceful and reveal the pieces’ sheer tonal beauty. A vital addition to any music lover's library.
This is Volume 1 in a new series of British Clarinet Sonatas, featuring the exclusive Chandos artist Michael Collins in works by Bax, Bliss, Howells, Ireland, and Stanford. He is accompanied by the pianist Michael McHale. Their ‘Lyrical Clarinet’ disc received much praise, among others from BBC Music which noted: ‘It’s hard to imagine this programme better played than it is here by Collins and McHale… technically impeccable.’
Among the most cherished of all chamber works, the Quintet was written after Brahms visited the ducal court of Meiningen and heard Richard Mühlfeld, whom he considered one of the greatest woodwind players he had ever heard. It is a heartfelt work, and seems to sum up Brahms's life, with a mood of resignation-without-bitterness prevailing. This is one of Brahms's finest achievements.
Clarinettist Lesley Schatzberger and the Fitzwilliam String Quartet, both of whom have established well-deserved reputations for thoughtfully delivered and historically considered performances, present a new recording of works by Brahms, Mozart, Glazunov and Sweeny.
After titanic contributions to the cello sonata repertoire by Ludwig van Beethoven, few notable additions were made for several decades. Not until 1862 did the cello sonata re-emerge in the hands of Johannes Brahms. His peculiar First Sonata contains only three movements (the Adagio having been omitted for fear of the sonata being too lengthy) and a finale that all but defies formal analysis. Almost a quarter century passed before Brahms again returned to the cello sonata, this time in the key of F major. The second sonata is considerably more challenging for cellists and Brahms' treatment of the instrument is not the exclusively lyrical, sonorous melodies that one might expect. Rather, Brahms incorporates lots of rhythmic, motivic playing and pizzicato passages and rapid bariolage. A "third" cello sonata, which has become increasingly popular in recent years, is Paul Klengel's (whose cello-playing father was much admired by Brahms) transcription of the G major Violin Sonata.
Sergey Khachatryan’s fifth recording on Naïve, and second with his sister, is dedicated to the three luminous and deeply romantic sonatas for violin and piano by Johannes Brahms. Spread over ten years, from 1878 to 1888, the three sonatas are contemporary with his four symphonies and are flanked by the Violin Concerto in D major (1878) and the Double Concerto for violin and cello in A minor (1887).