Comparative analysis of performing interpretations of J. Brahms’s Sonata No.2 for clarinet (for alto) with piano

Abstract

The article highlights two unique interpretations of J. Brahms's Sonata No. 2 for clarinet (or viola) with piano, E flat major, op. 120, part 1. The professional activity of a future piano teacher, chamber ensemble or concertmaster class, as well as a performer, is impossible without deep knowledge of works of musical art, which to a large extent takes place with the participation of thinking – the highest manifestation of knowledge. In-depth immersion in the process of understanding the performance interpretations of musical works by various musicians allows you to express yourself most actively in the process of creative educational and practical performance activities.

Sonata No. 2 for clarinet (or viola) in E flat major op. 120 by J. Brahms has long been a favorite work of both clarinetists and viola players. It is mandatory for study in programs of the specialty in music universities, it can often be heard in concert programs of famous soloists. Since the work is actually an equal duet of two soloists – clarinet (or viola) and piano, it also attracts representatives of piano performance. The sonata is one of the composer's mature works and requires a corresponding maturity from the performers as well – both technically and intellectually and spiritually. The genre of piano and chamber sonatas is J. Brahms' favorite, he turns to it throughout his life. In his sonatas, the composer uses the principle of creating a monumental cycle based on songs. For clarinetists and violists, the performance of the Sonata is an important stage in their creative life, a real test of professionalism, artistic taste, intelligence and artistry. For pianists, this chamber sonata is difficult in its massive exposition, its performance requires strong and dexterous hands. Numerous textural details require the pianist to have a clear understanding of the main artistic idea of the work; understanding of the end-to-end development of the thematic material; a sense of the emotional mood of the work as a whole and the intonation-specific content of individual voices.

Johannes Brahms (1833–1897) is one of the most outstanding representatives of German Romanticism. In addition to his work as a composer, he was also known as a pianist and conductor. His works include instrumental, vocal and symphonic opus. The artist managed to create his own, unique, recognizable style literally from a few notes. And although some contemporaries criticized him for lack of originality, even for boringness, his work has long passed the test of time and firmly rooted in the repertoire of performers from all over the world. We can say with confidence that the name of J. Brahms on the concert poster is the best advertisement for this concert.

It is significant that both versions of the Sonata in E flat major – clarinet and viola – were created by J. Brahms himself. First, a clarinet version appeared in 1894, and only later did the composer make an alto version. The first composer was inspired by his friendship with the outstanding clarinetist R. Mühlfeld (for whom he wrote a number of chambers works with the participation of the clarinet, in particular another Sonata – f-moll No. 1, which belongs to the same opus 120 as Sonata No. 2). In the same year 1894, a close friend of J. Brahms – T. Billroth, who was a surgeon, philanthropist and amateur violist, died. In honor of his memory, the composer created alto versions of both clarinet sonatas op. 120. As we can see, both versions refer to the late period of his work. For a comparative analysis of performance interpretations, we decided to focus on two interpretations of the clarinet and viola parts – Martin Frost (clarinet), the piano part is performed by the Chinese pianist Wang Yujia and Nobuko Imai (viola), the piano part is performed by the Filipino pianist Albert Tiu.