Brahms & Schumann: Transcriptions for Viola & Piano

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Release Date: 13th Nov 2015
Catalogue No: 501511
Label: Claves
Length: 62 minutes

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Robert Schumann, Bruno Giuranna: Fantasiestücke for Piano & Clarinet (Violin & Cello ad libitum), Op. 73 (Transcription for Viola)

Work length11:35

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Ettore Causa, Boris Berman

I. Zart und mit Ausdruck

Track length3:16

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II. Lebhaft, leicht

Track length3:40

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III. Rasch und mit Feuer

Track length4:39

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Robert Schuman, Ettore Causa: F.A.E Sonata for Violin & Piano (Transcription for Viola): II. Intermezzo

Work length2:29

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Ettore Causa, Boris Berman

Robert Schumann, Ettore Causa: Adagio & Allegro for Piano & Horn, Op. 70 (Transcription for Viola): Adagio - Allegro

Work length8:26

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Ettore Causa, Boris Berman

Robert Schumann, Ettore Causa: Romances for Oboe & Piano (Violin or Clarinet ad libitum), Op. 94 (Transcription for Viola)

Work length13:26

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Ettore Causa, Boris Berman

I. Nicht schnell

Track length3:37

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II. Einfach, innig

Track length4:35

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III. Nicht schnell

Track length5:14

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Johannes Brahms, Ettore Causa, Boris Berman: Sonata for Cello & Piano No. 1 in E Minor, Op. 38 (Transcription for Viola)

Work length26:52

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Album only

This work is only available as an album download.

Ettore Causa, Boris Berman

I. Allegro non troppo

Track length14:47

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This track is only available as an album download.

Album only

This track is only available as an album download.

II. Allegretto quasi menuetto

Track length5:36

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III. Allegro

Track length6:29

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It was standard practice in the 19th century to expand the possible target public for a work by issuing it in arrangements for different instruments. Thus Schumann’s publisher already issued alternative parts for violin or cello with the first editions of his wind duos, obviously with Schumann’s full consent. Had the viola enjoyed the same popularity in the mid-19th century that it does today, then Schumann’s publisher would undoubtedly have included alternative viola versions too. Let us not forget that Brahms himself stipulated that his late clarinet sonatas could be performed by the viola instead; and even the early Cello Sonata recorded here was soon issued by Simrock in a piano duet arrangement made by Brahms’s trusted editor Robert Keller. Our 21st-century notions of “authentic” performance are thus not identical with “authenticity” as Schumann or Brahms would have understood it. Performing their chamber music in arrangements for other instruments – in our case the viola – is thus not just “authentic” in terms of the 19thcentury, but in fact in the spirit of the composers themselves, who never hesitated to allow idiomatic arrangements of their works in order to bring them to a broader audience.

Brahms & Schumann: Transcriptions for Viola & Piano

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