Clarinet Sonatas (Brahms)
Encyclopedia
The Clarinet Sonatas, Op. 120, Nos. 1 and 2 are a pair of works written for clarinet
and piano
by the Romantic
composer Johannes Brahms
. They were written in 1894 and are dedicated to the clarinetist Richard Mühlfeld
. The sonatas stem from a period in Brahms’s life where he “discovered” the beauty of the sound and color of the clarinet. The form of the clarinet sonata
was largely undeveloped until after the completion of these sonatas, after which the combination of clarinet and piano was more readily used in composers’ new works. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire.
for an arts festival and was captivated by performances of the Weber Clarinet Concerto
and the Mozart Clarinet Quintet
. The solo clarinetist was Richard Mühlfeld, and Brahms began a fond friendship with the man whom he so admired. The beautiful tone of “Fräulein Klarinette” (as Brahms would nickname Mühlfeld) inspired him to begin composing again less than a year after he retired. The fruits of their friendship were a few remarkable additions to the still modest clarinet repertoire of that time, including the Clarinet Sonatas. In the summer of 1894 at his Bad Ischl
retreat, Brahms completed the sonatas. They were first performed privately for Duke Georg
and his family in September of that year. Brahms’s experience in writing his Clarinet Quintet
three years earlier led him to compose the sonatas for clarinet and piano because he preferred the sound over that of clarinet with strings. It is interesting to note that the keys of the sonatas—F minor and E-flat major—correspond to the keys of the two clarinet concertos Weber produced. Brahms also produced a transcription of these works for viola
with alterations in order to better suit the solo part to a string instrument.
The first movement is in sonata form
. It begins with a solo piano introduction in three parallel octaves, outlining a recurring motif throughout the movement. The clarinet then enters with the slurred first theme. The piano takes over the theme, with the clarinet playing more of an embellishing role. It was normal in clarinet music before the sonatas for the soloist to play mostly, if not always, the melody. Brahms did not reduce the scope of the piano part to accommodate for the clarinet, but created a more equal and harmonious relationship between soloist and accompanist. The quiet transition between the two themes is in D-flat major and features staggered entrances between the hands of the piano. The second theme introduces dotted rhythms and is marked marcato
, contrasting with the first theme. It passes through many key areas quickly before finally resting on C minor.
The development begins by expanding on ideas heard in the introduction and transition. The piano plays with staggered hand entrances and joins the clarinet in recalling the second bar of the introduction. The music makes a false movement towards A-flat major, instead landing on E major. The introduction material takes over and winds down to pp. A subito forte evokes the second theme combined with staggered entrances from both piano hands and clarinet. The second theme is finally presented and leads to the recapitulation.
The introduction is restate forte in the key of C-sharp minor. Brahms brings the key back around to F minor and the first theme, transition, and second theme are heard again. Tonally, this section does not stray far from F although the music goes through major and minor sections. A final statement of the first theme leads into the coda, marked Sostenuto ed espressivo. The coda is slower in tempo and based on material from the introduction. The movement ends quietly in F major.
The second movement is in ternary form
. The clarinet introduces a simple descending theme decorated with turns. The piano writing is sparse in the in the first theme area. This A section is repeated twice, once ending on a half cadence and the other with a perfect authentic cadence on the home key of A-flat major.
The B section is characterized by faster rhythmic and harmonic motion. The piano plays sixteenth notes outlining the harmonies while the clarinet continues playing a slurred melody. The harmony descends in an imitation of the A section melody through the keys D-flat major, C-flat major, and A major. The clarinet gets a chance to play the sixteenth notes that the piano had before the modulation to E major.
The A melody returns in the piano in the “wrong” key of E major, moves to C major, and finally back to the A-flat major. The A section is then restated in its entirety with a more active piano accompaniment. A short interlude of sixteenth notes in the piano alludes to the B section and a final iteration of the melody ends the movement.
The third movement is also in ternary form. The A section consists of an eight bar melody played by the clarinet, and then traded off to the piano with the clarinet lending supporting lines. A forte repeated section inverts the melody and the second ending leads to the B section.
The piano takes up a descending line syncopated between the two hands while the clarinet adds a low supporting line confined within the space of a minor third. Another repeated section lets the clarinet play the descending melody. After the repeat, the melody from the A section returns and ends the movement.
The final movement is in an altered rondo form that can be described as A B A’ C B’ A’’. The movement begins with three accented Fs in a piano introduction serving as a sort of call to identify the first theme. The A theme is marked leggero in the clarinet and is mostly eighth notes in stepwise motion. The contrasting B theme is made up of quarter note triplets and is more slurred and leisurely. After a bombastic return to A’, the quiet C theme is played in the piano and then handed off to the clarinet. The clarinet then plays the “call” from the introduction while the piano states the B theme again. Finally, the final A’’ section ends with a coda and the sonata is finished in F major.
Clarinet
The clarinet is a musical instrument of woodwind type. The name derives from adding the suffix -et to the Italian word clarino , as the first clarinets had a strident tone similar to that of a trumpet. The instrument has an approximately cylindrical bore, and uses a single reed...
and piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
by the Romantic
Romantic music
Romantic music or music in the Romantic Period is a musicological and artistic term referring to a particular period, theory, compositional practice, and canon in Western music history, from 1810 to 1900....
composer Johannes Brahms
Johannes Brahms
Johannes Brahms was a German composer and pianist, and one of the leading musicians of the Romantic period. Born in Hamburg, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene...
. They were written in 1894 and are dedicated to the clarinetist Richard Mühlfeld
Richard Mühlfeld
Richard Mühlfeld was a German clarinettist who inspired Johannes Brahms and Gustav Jenner to write chamber works including the instrument...
. The sonatas stem from a period in Brahms’s life where he “discovered” the beauty of the sound and color of the clarinet. The form of the clarinet sonata
Clarinet Sonata
A clarinet sonata is piece of music in sonata form for clarinet, often with piano accompaniment.The Clarinet Sonatas by Brahms are of special significance to the clarinet repertoire...
was largely undeveloped until after the completion of these sonatas, after which the combination of clarinet and piano was more readily used in composers’ new works. These were the last chamber pieces Brahms wrote before his death and are considered two of the great masterpieces in the clarinet repertoire.
Background
By 1890, Brahms vowed to retire from composing, but his promise was short lived. In January 1891 he made a trip to MeiningenMeiningen
Meiningen is a town in Germany - located in the southern part of the state of Thuringia and is the district seat of Schmalkalden-Meiningen. It is situated on the river Werra....
for an arts festival and was captivated by performances of the Weber Clarinet Concerto
Clarinet Concerto No. 1 (Weber)
Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 for the clarinettist Heinrich Bärmann in 1811. The piece is considered a gem in the instrument's repertoire. It is written for clarinet in B-flat. The work consists of three movements in the form of fast, slow,...
and the Mozart Clarinet Quintet
Clarinet Quintet (Mozart)
Wolfgang Amadeus Mozart's Quintet for Clarinet and Strings, K. 581, was written in 1789 for the clarinetist Anton Stadler. A clarinet quintet is a work for one clarinet and a string quartet . Although originally written for basset clarinet, it is almost always played on a clarinet in A or B-flat...
. The solo clarinetist was Richard Mühlfeld, and Brahms began a fond friendship with the man whom he so admired. The beautiful tone of “Fräulein Klarinette” (as Brahms would nickname Mühlfeld) inspired him to begin composing again less than a year after he retired. The fruits of their friendship were a few remarkable additions to the still modest clarinet repertoire of that time, including the Clarinet Sonatas. In the summer of 1894 at his Bad Ischl
Bad Ischl
Bad Ischl is a spa town in Austria. It lies in the southern part of Upper Austria, at the Traun River in the centre of the Salzkammergut region. The town consists of the Katastralgemeinden Ahorn, Bad Ischl, Haiden, Jainzen, Kaltenbach, Lauffen, Lindau, Pfandl, Perneck, Reiterndorf and Rettenbach...
retreat, Brahms completed the sonatas. They were first performed privately for Duke Georg
Georg II, Duke of Saxe-Meiningen
Georg II, Duke of Saxe-Meiningen , was the penultimate Duke of Saxe-Meiningen, reigning from 1866 to 1914.-Family and early life:...
and his family in September of that year. Brahms’s experience in writing his Clarinet Quintet
Clarinet Quintet (Brahms)
Johannes Brahms's Clarinet Quintet in B minor, Op. 115 was written in 1891 for the clarinettist Richard Mühlfeld. It is widely regarded as Brahms's supreme achievement in chamber music.The piece is known for its autumnal mood...
three years earlier led him to compose the sonatas for clarinet and piano because he preferred the sound over that of clarinet with strings. It is interesting to note that the keys of the sonatas—F minor and E-flat major—correspond to the keys of the two clarinet concertos Weber produced. Brahms also produced a transcription of these works for viola
Viola
The viola is a bowed string instrument. It is the middle voice of the violin family, between the violin and the cello.- Form :The viola is similar in material and construction to the violin. A full-size viola's body is between and longer than the body of a full-size violin , with an average...
with alterations in order to better suit the solo part to a string instrument.
Sonata No 1 in F minor, Op. 120, No. 1
The Sonata No. 1 in F minor, Op. 120, No. 1 consists of the following movements:Allegro appassionato
in F minor, in 3/4 timeThe first movement is in sonata form
Sonata form
Sonata form is a large-scale musical structure used widely since the middle of the 18th century . While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement...
. It begins with a solo piano introduction in three parallel octaves, outlining a recurring motif throughout the movement. The clarinet then enters with the slurred first theme. The piano takes over the theme, with the clarinet playing more of an embellishing role. It was normal in clarinet music before the sonatas for the soloist to play mostly, if not always, the melody. Brahms did not reduce the scope of the piano part to accommodate for the clarinet, but created a more equal and harmonious relationship between soloist and accompanist. The quiet transition between the two themes is in D-flat major and features staggered entrances between the hands of the piano. The second theme introduces dotted rhythms and is marked marcato
Marcato
Marcato is a musical instruction indicating a note, chord, or passage is to be played louder or more forcefully than surrounding music. The instruction may involve the word marcato itself written above or below the staff or it may take the form of an accent mark, ^ , an open vertical wedge...
, contrasting with the first theme. It passes through many key areas quickly before finally resting on C minor.
The development begins by expanding on ideas heard in the introduction and transition. The piano plays with staggered hand entrances and joins the clarinet in recalling the second bar of the introduction. The music makes a false movement towards A-flat major, instead landing on E major. The introduction material takes over and winds down to pp. A subito forte evokes the second theme combined with staggered entrances from both piano hands and clarinet. The second theme is finally presented and leads to the recapitulation.
The introduction is restate forte in the key of C-sharp minor. Brahms brings the key back around to F minor and the first theme, transition, and second theme are heard again. Tonally, this section does not stray far from F although the music goes through major and minor sections. A final statement of the first theme leads into the coda, marked Sostenuto ed espressivo. The coda is slower in tempo and based on material from the introduction. The movement ends quietly in F major.
Andante un poco Adagio
in A-flat major, in 2/4 timeThe second movement is in ternary form
Ternary form
Ternary form, sometimes called song form, is a three-part musical form, usually schematicized as A-B-A. The first and third parts are musically identical, or very nearly so, while the second part in some way provides a contrast with them...
. The clarinet introduces a simple descending theme decorated with turns. The piano writing is sparse in the in the first theme area. This A section is repeated twice, once ending on a half cadence and the other with a perfect authentic cadence on the home key of A-flat major.
The B section is characterized by faster rhythmic and harmonic motion. The piano plays sixteenth notes outlining the harmonies while the clarinet continues playing a slurred melody. The harmony descends in an imitation of the A section melody through the keys D-flat major, C-flat major, and A major. The clarinet gets a chance to play the sixteenth notes that the piano had before the modulation to E major.
The A melody returns in the piano in the “wrong” key of E major, moves to C major, and finally back to the A-flat major. The A section is then restated in its entirety with a more active piano accompaniment. A short interlude of sixteenth notes in the piano alludes to the B section and a final iteration of the melody ends the movement.
Allegretto grazioso
also in A-flat major, in 3/4 timeThe third movement is also in ternary form. The A section consists of an eight bar melody played by the clarinet, and then traded off to the piano with the clarinet lending supporting lines. A forte repeated section inverts the melody and the second ending leads to the B section.
The piano takes up a descending line syncopated between the two hands while the clarinet adds a low supporting line confined within the space of a minor third. Another repeated section lets the clarinet play the descending melody. After the repeat, the melody from the A section returns and ends the movement.
Vivace
in F major, alla breveAlla breve
In music, alla breve Italian: at the breve] refers to a musical meter notated by the time signature symbol , which is the equivalent of 2/2. Alla breve is a "simple-duple meter with a half-note pulse"...
The final movement is in an altered rondo form that can be described as A B A’ C B’ A’’. The movement begins with three accented Fs in a piano introduction serving as a sort of call to identify the first theme. The A theme is marked leggero in the clarinet and is mostly eighth notes in stepwise motion. The contrasting B theme is made up of quarter note triplets and is more slurred and leisurely. After a bombastic return to A’, the quiet C theme is played in the piano and then handed off to the clarinet. The clarinet then plays the “call” from the introduction while the piano states the B theme again. Finally, the final A’’ section ends with a coda and the sonata is finished in F major.
Sonata No 2 in E-flat major, Op. 120, No. 2
The Sonata No. 2 in E-flat major, Op. 120, No. 2 is in three movements.- Allegro amabile
- Allegro appassionato-Sostenuto-Tempo I
- Andante con moto - allegro