CLP BRAHMS SONATAS OP. 120

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CODIGO: 32010BR001

Brahms had already announced his „retirement“ from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renew...

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Brahms had already announced his „retirement“ from composition when in
the spring of 1894 he played chamber music with the cellist Robert
Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently
renewed his enthusiasm for Mühlfeld’s much admired playing and inspired
him to write two clarinet sonatas in the summer of the same year. Brahms
and Mühlfeld premiered the works and played them in several performances
until the sonatas op. 120 were first published in June of 1895. They remain
pivotal works in the clarinet’s recital repertoire establishing the clarinet
sonata as a distinct and viable chamber music genre. An important part of
this edition is the extensive preface. Firstly it informs about the sonatas‘
origins, their compositional process, pre-publication performances, their
publication history as well as early reception. Truly remarkable is the unique
Performance Practice Commentary. Here the editors start from the premise
that already a few decades after Brahms death, a widening gulf developed
between the composers expectations and the performance practices of the
early 20th century. On the basis of manifold sources which include memoirs
by pupils and chamber music partners, treatises and essays, early instructive
editions and historical recordings, the editors deal with key issues in
understanding Brahms notation. By a section-by-section analysis of rhythm
and timing, dynamics and accentuation, dots and strokes, slurring and non
legato, piano pedalling and overholding, piano arpeggiation and dislocation,
clarinet vibrato and portamento, the editors provide an indispensable
assistance for a historically informed interpretation of the work. At the same
time, the edition offers an exciting and often surprising insight into musical
interpretation of the German Romantic Era in general. - A pioneering Urtext
edition - With an extensive Performance Practice Commentary - For further
information on Romantic performance practice we recommend the text
booklet: “Performance Practices in Johannes Brahms‘ Chamber Music”, BA
9600

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