Brahms - Viola Sonatas - Hyperion: CDA67584 - download

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…Power makes a convincing case for these arrangements… His tone is strong… but capable of some variety in colour and expression. Power's musical relationship with Simon-Crawford-Phillips,... — BBC Music Magazine, April 2007, 4 out of 5 stars More…

Release Date: 26th Feb 2007
Catalogue No: CDA67584
Label: Hyperion
Length: 65 minutes

Brahms: Clarinet Sonata No. 1 in F minor, Op. 120 No. 1

Work length21:42

$4.40

$6.00

Lawrence Power (viola), Simon Crawford-Phillips (piano)

I. Allegro appassionato

Track length7:43

$1.10

$1.50

II. Andante un poco adagio

Track length4:54

$1.10

$1.50

III. Allegretto grazioso

Track length3:59

$1.10

$1.50

IV. Vivace

Track length5:06

$1.10

$1.50

Brahms: Clarinet Trio in A minor, Op. 114

Work length23:50

$4.40

$6.00

Lawrence Power (viola), Simon Crawford-Phillips (piano), Tim Hugh (cello)

I. Allegro

Track length7:51

$1.10

$1.50

II. Adagio

Track length7:19

$1.10

$1.50

III. Andantino grazioso

Track length4:16

$1.10

$1.50

IV. Allegro

Track length4:24

$1.10

$1.50

Brahms: Clarinet Sonata No. 2 in E flat major, Op. 120 No. 2

Work length19:50

$3.30

$4.50

Lawrence Power (viola), Simon Crawford-Phillips (piano)

I. Allegro amabile

Track length8:12

$1.10

$1.50

II. Allegro appassionato

Track length4:58

$1.10

$1.50

III. Andante con moto – Allegro non troppo

Track length6:40

$1.10

$1.50

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Without the least need to fall back on any viola jokes, it remains the case that much of repertoire of the by-product of the violin is second hand. Brahmss most important contribution to the viola repertoire were originally conceived for the clarinet, his masterful creations being inspired by the artistry of Richard Mhlfeld, principal clarinettist in Meiningen during the composers close relationship with the citys orchestra in the last years of the nineteenth century. The violas unique timbre instills a greater sense of intimacy to these wonderful chamber works, where the clarinet is more obviously soloistic, and Brahmss pioneering treatment of his chamber instruments as equal contributors to a sublime whole makes the possibility of alternative instrumentations all the more reasonableversions of the Sonatas were also prepared by the composer for violin and piano, while the viola and piano versions recorded here have rightly won for themselves a popular following. Lawrence Power is rapidly establishing himself as one of the most thrilling young performers around. Acclaimed for his recordings of York Bowen and Cecil Forsyth concertos, he now turns to these cornerstones of the viola repertoire. Brahmss magnificent craftsmanship and expression of deep feeling are superbly demonstrated by the players in performances of great intimacy. All of the music on this album is also available as part of the specially priced box set The Complete Brahms Chamber Music: In the last 25 years, Hyperion has managed to persuade some of the finest of chamber musicians to reveal their affection for Brahms in recordings of remarkably consistent quality altogether life affirming music in life enhancing performances: surely one of the best buys of the year? (BBC Music Magazine).

Reviews

April 2007

…Power makes a convincing case for these arrangements… His tone is strong… but capable of some variety in colour and expression. Power's musical relationship with Simon-Crawford-Phillips, and especially with Tim Hugh in the Trio, gives a lot of pleasure.

2010

Viola players have reason to be grateful to Brahms for giving them the chance to perform the two Op 120 sonatas, originally for clarinet.
It's less well known that he similarly provided a viola part as alternative to clarinet for the Op 114 Trio. For the sonatas he reworked the part, adding a few chords and double stops, as well as transposing some of it downwards (to exploit the instrument's generally lower tessitura) but in the Trio he contented himself with a simple transcription. In Lawrence Power's hands the extensive use of the viola's upper register poses no problem; he commands a wide tonal spectrum throughout his range, and there's no sense of strain. The Trio does lose something without clarinet, sounding more monochrome as the viola and cello blend together. This blending can, of course, be an advantage – the two string instruments in octaves, in the Adagio, make a wonderful sound. And this is a very fine performance, of exceptional expressive range, from extreme delicacy to thrilling power.
The sonatas as played here will surely demonstrate (even to clarinettists) that the viola version is in no way second best. Particularly enjoyble in the Second Sonata, is the second movement's dark passion, relieved by glowing intensity in the middle section, where Simon Crawford-Phillips manages exactly to convey Brahms's forte ma dolce e ben cantando. The final variations are just as impressive, each one so well characterised yet perfectly paced so that the coda seems an inevitable climax to the whole work.

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Brahms - Viola Sonatas

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