UNIVERSITY OF CINCINNATI

Date: November 18, 2004

I, Kyung ju Lee
_________________________________________________________,
hereby submit this work as part of the requirements for the degree of:
Doctor of Musical Arts
in:
Viola Performance
It is entitled:
An analysis and comparison of the clarinet and viola
versions of the Two sonatas for clarinet (or Viola)
And piano Op.120 by Johannes Brahms.

This work and its defense approved by:

Chair: Catharine Carroll

Lee Fiser
Steven Cohen

AN ANALYSIS AND COMPARISON OF THE CLARINET AND VIOLA VERSION OF

THE TWO SONATAS FOR CLARINET (OR VIOLA) AND PIANO OP. 120 BY
JOHANNES BRAHMS.

A document submitted to the

Division of Graduate Studies and Research
of the University of Cincinnati

In partial fulfillment of the

requirements for the degree of

DOCTOR OF MUSICAL ARTS

In the Performance Studies Division

of the College-Conservatory of Music

2004
by
Kyungju Lee

B.M., Yeungnam University, 1996

M.M., University of Cincinnati, 2000
A.D., University of Cincinnati, 2002

Committee Chair: Catharine Carroll, D.M.A.

3
ABSTRACT

Johannes Brahms was one of the first composers to appreciate fully the violas potential,
allowing the instrument a chance to shine in his chamber music. Although Brahms Two
Sonatas in f-minor and E-flat major, Op.120, were originally written for clarinet and piano,
they are also greatly loved in the viola repertoire. Upon examination of the clarinet and
viola versions of the sonatas, Brahms seems to have been keenly aware of the potential of
each instrument. He intentionally sought different effects from these two instruments by
composing two different versions. Each version is different not only with regard to its tone
color or timbre, but also regarding practical techniques, such as vibrato, lip pressure, leap
shifting, volume, and range. In my document, I will observe the differences between the
clarinet and the viola versions, especially focusing on the unique characteristics of the each
instrument. Then I will investigate why Brahms made such alterations for the viola, and I
will also discuss how and why identical passages can sound and be expressed differently
according to the instrument.
In the first part of my document, I will provide a short historical background of the Op. 120
sonatas. I will also identify some of the composers musical idiosyncrasies, concentrating
especially on his chamber music and his high regard for the role of the clarinet and the
viola in these works. Secondly, I will compare the clarinet and viola versions of these
sonatas and point out the possible reasons for the differences between these versions.
Finally, the third part will focus on how identical passages can be heard and expressed
differently according to each instrument.

5
ACKNOWLEDGEMENTS

My sincere appreciation and special thanks go to my committee, Mr. Lee Fiser, Mr. Steven
Cohen and my deepest thanks go to my advisor, teacher, and committee chair, Dr.
Catharine Carroll. Many thanks for your interest in my work and invaluable assistance.
Thank you to my friend, Hayoung Choi, for her guidance and support in the preparation of
this paper and answering all of my questions on writing a document. Thank you to my
friend, Carl Larson for generously sharing his expertise and scholarly insight.
Thank you to my family, Jiyeon Oh, Keysang and Siwon Yoo, for being the closest family
in the Cincinnati. You made my stay in Cincinanti seem like home.
Thank you to Pastor Moses family, Deacon Lee and Kyung Kim, Deacon Ahns family
and the entire power mission church member for all your prayers, sacrifices and
encouragement.
Thank you to Mr. Kawasaki, who supported and encouraged me to continue my
professional development. Without your patience, understanding, and support, I would not
have completed all of my degree.
A very special thanks goes to Mom, Dad, and Brothers family for their continued support
through all of my education. Thank you for your words of encouragement and comport
through every hurdle I thought was difficult.
Finally, my greatest thanks goes to God, who has always been there for me. Without His
inspirations, I could not be able to end my doctoral program

6
TABLE OF CONTENTS

1. INTRODUCTION.7
2. CHAMBER MUSIC WRITING OF JOHANNES BRAHMS..10
His late years..11
Brahms and Herr Mhlfeld13
Brahms and Viola...16
3. COMPARISON OF THE VIOLA AND THE CLARINET VERSIONS OF THE
TWO SONATAS19
Differences between the two versions.21
Sound, Tone color27
Range, Wide leap.31
Vibrato.35
4. CONCLUSION...37
5. BIBLIOGRAPHY...38

Johannes Brahms was one of the first composers to appreciate fully the violas potential,
allowing the instrument a chance to shine in his chamber music. His two sonatas in F Minor
and E-flat major, Op.120, represent the most substantial contribution of any of the great
nineteenth-century composers to the viola sonata. Although Brahms two sonatas were
originally written for clarinet and piano, they are also greatly admired and serve as an
important part of the viola repertoire.1 From the early nineteenth century, violists began to
transcribe works originally written for other instruments, such as the Six Cello Suites
(BWV 1007-12) and Three Sonatas for Viola da gamba and Cembalo in G Major, D Major,
and G Minor by J.S. Bach. Editions of the six Cello Suites for the viola appeared early in
the twentieth century, including one published in the United States in 1916 by G.
Schirmer.2 Editions for the viola and piano of the Viola da gamba sonatas appeared before
World War II, most notably one arranged by Ernst Naumann and published by Breitkopf &
Hrtel. Four Romantic pieces in todays repertoire, were not originally written for the viola:
Beethovens Notturno, Op.42 (arranged from the Trio for Violin, Viola, and Cello, Op.8),
Schuberts Arpeggione sonata (written for a fretted cello called an arpeggione), and of
course, the two sonatas by Brahms (written for clarinet). These transcriptions are an
important part of the viola literature.3
Many transcribed works for viola were arranged by other composers or violists;
however, Brahms transcribed the sonatas in F Minor and E-flat Major for the viola

Riley, Maurice W. The history of the viola (Ann Arbor, Michigan: Braun-Brumfield, 1980), 189.

Ibid., 113.

Ibid., 187.

8
himself.4 Besides simply transcribing the clarinet part, Brahms added new passages and
changed registers to make them more idiomatic toward the viola.5 Many critics, listeners,
and performers prefer a specific version according to their tastes. For example, Malcolm
Macdonald actually expresses a preference for the viola, whose darker, huskier tone seems
to suit their elusive moods even better than the veil and silken clarinet.6 Michael Freyhan
expresses his preference for viola in his journal: the sonatas are just as much a gift for
viola players, however, and many insist that the radiant warmth of the viola is even more
appropriate to the music than the cool, liquid timbre of the clarinet.7 On the contrary,
Bruno Giuranna mentions many of the sudden octave displacements and register changes
in the viola part that destroy the musical continuity of several melodic phrases.8 A German
clarinetist, Dieter Klcher, remarked on his recording:

Viola compensates for the loss of the wind instrument except in lower passages, its tone
on the C string is much richer and warmer than that of the clarinet, but on the other
hand, the special quality of the music lends itself to the peculiar timbre of the clarinet
and is better contrasted with some of the strange colorings of the pianoforte.9

Brahms Sonata No.2 in Eb Major Op.120 for Viola and Piano, The composers arrangement of his Sonata for
clarinet (or viola) and piano. N. Simrock, (London: Hamburg).
5

Giuranna, Bruno. Masterclass: Brahmss Viola sonata in E-flat The Strad 104 (1993), 552-557.

MacDonald, Malcolm Brahms (London, 1990), 369.

Freyhan, Michael. The violas champion The Strad (May 1997), 540-543.

Giuranna, Bruno. Masterclass: Brahmss Viola sonata in E-flat The Strad 104(1993), 552-557.

Yates, Richard. The transcribers art: Brahms The GPA Soundboard ( Spring 2002), 43.

9
As the above opinions show, the two instruments possess distinctively different
advantages. Each version of the sonata Op. 120 illuminates the many contrasting
characteristics of each instrument. Brahms distributed skillfully the parts which show the
contrasting appeal of the two instruments in each version.

In my document, I will observe the differences between the clarinet and the viola
versions, especially focusing on the unique characteristics of each instrument. Then I will
investigate why Brahms made alterations for the viola, and I will also discuss how and why
identical passages can sound and be expressed differently according to the instrument.
Brahms intentionally sought different effects by composing two different versions for these
two instruments. I will discuss what these specific effects are. The first part will include a
short historical background of the sonata Op.120. I will also provide the composers
musical characteristics, especially concentrating on his chamber music and his interest in
the clarinet and the viola. In the second part, I will compare the differences between the
clarinet and viola version written by Brahms. Then, I will point out the possible reasons for
the differences in the two versions. The third part will demonstrate how identical passages
can sound and be expressed differently on each instrument.

10

Johannes Brahms was one of the most skillful and accomplished composers, his great
fame stemming from his unparalleled ability to produce solid textures, rich harmonies, and
mature melodies. Above all, his ability as an orchestrator sets him apart. Brahms utilized
many unique textural possibilities of instrumentation; he generated, shaped, and colored his
ideas through the characteristics of each individual instrument to produce his own musical
language, a task that would have been impossible had he not been able to appreciate the
characteristics of each individual instrument. This ability is particularly well represented in
his chamber music such as the G Major String sextets Op.18, F Minor piano quintet Op.34,
Horn trio Op.40, B Major Clarinet Quintet, and two sonatas for clarinet(or viola) and piano
Op.120.10

Brahms had been interested in the chamber music medium since his childhood years.
His first chamber masterpiece was the Piano Trio in B Major, Op.8, which was first
performed in New York in 1855. Prior to that, two of his chamber works were played at a
private concert (in 1851) and it was as a chamber music player and composer that Brahms
introduced himself to Vienna in 1862 with the piano quartets Op. 25 and 26.11 He continued
to perform in this capacity, eventually partnering with Richard Mhlfeld in the clarinet
sonatas at the end of his life. Throughout Brahmss life the traditional medium of chamber
music was often a vehicle for his newest ideas.12 Among his many excellent chamber music

10

Lawson, Colin. Brahms: Clarinet Quintet (Cambridge University Press 1998), 20-21.

11

Ibid., 23.

12

Ibid., 20-21.

10

11
compositions, the chamber works with clarinet from the later years are considered as his
finest masterpieces.13 The clarinet came to be one of Brahmss favorite instruments, due to
his connection with the clarinetist Richard Mhlfeld. All four compositions with clarinet
were dedicated to this clarinetist. This tradition of remarkable collaboration between
composer and clarinetist dates from over one hundred years prior to that when Mozart
composed a clarinet concerto for the clarinetist Anton Stadler. This tradition continued with
the partnership between Weber and Heinrich Baermann, between Spohr and Simon
Herstedt, and finally Brahms and Mhlfeld.14

The direction that Brahmss life took in his later years had a profound impact on his
compositional style, and provided the impetus for the origin of these two sonatas. The
letters of Brahms in his later years are very depressing because of the deaths of many of his
friends.15 Brahms had to lament the loss of many personal relationships. He must have felt
great sorrow and fear of life, facing the deaths of these close friends. The loss began with
the passing of the pianist Tausig in 1877, followed by the painter Anselm Feuerbach
ff91880, and his old friend and Beethoven scholar Gustav Nottebohn in 1882.16 Brahms
hurried to the deathbed of this old friend and was with him during his last days, until his
death, even taking upon himself the trouble and expenses of his funeral.17 His old piano
teacher, Marxsen, died in November 1887 at the age of 81 and one of his closest friends,
13

Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 41-42.

14

Ibid., 32.

15

Geiringer, Karl. Brahms, His life and Work (Oxford University Press: New York 1947), 145-368.

16

Chissel, Joan. Brahms (University Printing House: Cambridge 1977), 72.

17

May, Florence The Life of Johannes Brahms 2 (The New Temple Press: London 1948), 101.

11

12
Pohl died the same year. So the deaths of Tausig, Nottebohn, Marxsen, and Pohl drove him
into the depths of despair.18 The untimely death of Elisabeth von Herzogenberg, a former
piano student of Brahms in Vienna, was an unrecoverable blow.19 Elisabeth was quite
charming, and talented. At first their relationship was not good, even to the extent that
lessons were often terminated rather abruptly. Later on, Brahms later happily accepted her
hospitality.20 They became close friends and often wrote letters to each other. She, along
with Clara Schumann, became one of the closest women in his life. When she died of heart
disease at the age of forty-four, the sorrow for Brahms must have been immeasurable.21
Still, other deaths continued to give Brahms grief: his sister, Elise, the singer Hermine
Spies, and Philippine, the wife of his old friend, Otte Grinm, all died within the next
years.22 Brahms put all of this sorrow and passion in his two clarinet (viola) sonatas in 1894.
He had actually retired from composing in 1890. Having vowed to write nothing more after
the G Major String Quintet Op.111, he just completed some unfinished works, and threw
the rest away. Considering that he was fifty-seven at the time, his declaration is still
regarded as premature; it is understandable from the perspective of the futility that he must
have felt.
Billroch says of him in a letter dated May 28, 1890, after visiting him at Ischl:
He rejected the idea that he is composing or will ever compose anything.23

18

Ibid., 80.

19

Geiringer, Karl Brahms, His life and Work (Oxford University Press: New York 1947), 182.

20

Chissel, Joan Brahms (University Printing House: Cambridge 1977), 68.

21

Geiringer, Karl Brahms, His life and Work (Oxford University Press: New York 1947), 182.

22

Chissel, Joan Brahms (University Printing House: Cambridge 1977), 90.

23

Geiringer, Karl Brahms, His life and Work (Oxford University Press: New York 1947), 63.

12

13
To another friend Brahms said in 1891:
I have tormented myself to no purpose lately, and till now I never had to do so at
all: things always came easily to me.24
Brahms even began working on his will in 1891, drawing it up in a letter to his publisher
and friend Fritz Simrock on his fifty-eight birthday.25 In it he left high regards for his sister,
brother and stepmother. Further, he made donations to various musical associations of
Hamburg and Vienna which supported needy musicians. He also donated books and music,
including his valuable collection of original manuscripts to the Gesellschaft der
Musikfreunde.26 However, Brahms destroyed all of the manuscript in his own writing,
which he thought were unworthy to be published. Soon, however, he felt a surge of fresh
creative power. A performance by the clarinetist Richard Mhlfeld (1856-1907) rekindled
his desire to compose. While visiting the ducal Court in March 1891, Brahms was deeply
impressed by the wonderful playing of Mhlfeld, whose tone was particularly suited for the
serious mood of his later compositions.27 Mhlfeld was the principal clarinetist of the
Meiningen court, but he first joined to the court orchestra as a violinist in 1893.28 Brahms
wrote about the impression he got from Mhlfelds playing in a letter to Clara Schumann:
Nobody can blow the clarinet more beautifully than Herr Mhlfeld, also calling him the
Nightingale of the orchestra. With this new stimulation, Brahms abandoned his projected

24

Ibid., 64.

25

Ibid., 177.

26

Ibid., 177-178.

27

May, Florence The Life of Johannes Brahms 2 (The New Temple Press: London 1948), 624.

28

Neunzig, Hans A. Brahms (Haus Publishing: London, translated by Mike Mitchell, 2003), 143.

13

14
retirement and was motivated to compose the Trio Op.114, the Clarinet Quintet Op.115,
and the two sonatas for piano and clarinet Op.120.29 The clarinet part in all four of his
clarinet works were later transcribed for the viola (Brahms other favorite instrument) by
the composer himself. Unfortunately, the rescoring of the Trio and Quintet has never
proved popular. However, the Op. 120 viola sonatas have achieved lasting success,
becoming just as standard in the viola repertoire as the clarinet.30 The performance of the
clarinet version of the trio was first performed by Brahms, Mhlfeld and Robert Hausmann
at the court of the Duke of Meiningen on November 21, 1891. The viola version of the trio
was first performed by Joseph Joachim three days later.31 The Quintet in B Minor for
clarinet and strings, Op. 115, was privately performed on November 24, 1891, again before
the court, where the viola version of the Trio was also presented. The performers of this
occasion were Mhlfeld, Joachim, Hausmann, and two members of the Meiningen
orchestra, Friedhold Fleischauer and Alfons Abbass.32 The Quintet was performed publicly
in Berlin on December 12, 1891.33 The viola version of the Quintet was also played few
days later, but it seems to have been unfamiliar and less captivating to the listeners who
were already charmed with the clarinet version of the Quintet. Drinker commented on the
viola version: while the clarinet part may be played on the viola, no one who has heard it

29

Ibid., 32.

30

Ibid, 42.

31

Fay, James. Brahms clarinet works: Manuscripts, Editions and First performances The Clarinet 19
(July/Aug 1992), 20.
32

Ibid., 21.

33

Ibid., 21.

14

15
only in this form can fully understand its beauty. It is really a different work.34 In the
summer of 1894, Brahms composed the Sonata Op.120 in F minor and E-flat in Ischl,
where he proceeded to compose the Clarinet Trio and the Clarinet Quintet. They were
originally given by Brahms to Mhlfeld. The end of the score of the second sonata includes
Brahms inscription: Mr. Richard Mhlfeld, the master of his beautiful instrument, with
sincere appreciation, remembrance, J. Brahms, Ischl, in the summer, 1895.35 The sonatas
were played at a party at the family Sommerhoff, together with Mozarts Clarinet Trio. At a
party at Claras a short time later, these sonatas as well as Schumanns Fantasiestcke were
played, and a few days later there was a further performance at Altenstein Castle at the
invitation of the Duke. These sonatas were publicly premiered at the Tonknstlerrein in
Vienna on January 7th, 1895.36 While representing a culmination of Brahmss achievement
as a composer of chamber music, the sonatas also occupy a special place in the history of
the clarinet and the viola. The clarinet version of the sonatas represents the first extended
works for the clarinet and piano by a major composer since Webers Grand Duo
Concertante of 1816.37
Alfred Simrock, a leading German publisher, published these sonatas. Simrock was
an important publisher of Brahms works, as well one of his close friends; Brahms even

34

Drinker, Jr. and Henry, S. The Chamber Music of Johannes Brahms (Greenwood Press: Westport,
Connecticut 1974), 128

35

Fay, James. Brahms clarinet works: Manuscripts, Editions and First performances The Clarinet 19
(July/Aug 1992), 21.
36

Collins, H.C. The chamber music of Brahms (Oxford University press London: Humphrey Milford), 61-62.

37

Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 42.

15

16
entrusted him with his financial affairs.38 Simrock received the score and clarinet part of the
sonatas on February 26, 1895, and he received the viola version a few days later. Brahms
delayed the actual publication of the edition for viola and piano as Mhlfeld was on tour
with the clarinet versions.39 Maybe Brahms needed time to add new passages and change
registers to make it more suitable for the viola. While the compositions are designated as
Sonata for Clarinet, Brahms also includes or Viola in their titles. The sonatas were first
published in June, 1895 by Simrock, under the title of Zwei Sonaten fr Klarinette (oder
Bratsche) und Pianoforte von Johannes Brahms, Op.120, No.1 F moll, No.2 Es dur.40 The
sonatas were also arranged for violin, necessitating some alterations in the piano part.41
This violin version was published by Simrock in 1895, but it has been largely ignored. In
the viola versions the piano part is unchanged.

Brahms used the viola to its full potential in his chamber music, the instrument
shining through not only melodically, but also in the inventive inner parts, parts serving to
enliven the timbre and character of his scores. First, let us look at the viola from the
viewpoint of Brahmss immediate predecessors and contemporaries. For a brief survey,
Hector Berlioz in his Grand Trait dInstrumentation describes viola players as among the
refuse of violinists.42 In mitigation, however, he also stated:
38

Fay, James. Brahms clarinet works: Manuscripts, Editions and First performances The Clarinet 19
(July/Aug 1992), 20-22.
39

Ibid., 22.

40

Ibid., 20-22.

41

Brahms Sonata No.1 in F minor Op.120 for Violin and Piano, The composers arrangement of his Sonata for
clarinet and piano. Rev: Oswald Jonas. N.Simrock, (London: Hamburg)

42

Freyhan, Michael. The violas champion The Strad (May 1997), 540-543.

16

17

Of all the instruments in the orchestra the one whose excellent qualities have been
longest misappreciated is the viola. It is no less agile than the violin, the sound of its
strings is peculiarly tellingand its quality of tone altogether of a profound
melancholy.43

Wagner makes a similar point about the weakness of not only viola but also violin sound
when writing in support of a new kind of viola, the viola alta, designed for increased
resonance by Hermann Ritter, a German viola player.44

Brahms seems not to have shared the common view that the viola was a disadvantaged
instrument. As early as his mid-twenties, Brahms had made an expression of faith in the
instrument. In his Serenade Op.16 Brahms omitted the violins, featuring the viola as a
treble part. He did likewise in the somber opening movement of the German Requiem,
which was started even earlier, though the work took more than a decade to complete.45 In
addition, his high regard for the viola is exhibited in works such as his string quartet, Op.8
and String quintet Op.11; two string sextets, Op.18 and Op.36; and the string quartets,
Op.51, No.1 and 2 and Op.67. The violas main theme in the third movement of the Op.67
string quartet demonstrates this interest, as this particular theme lasts the duration of the
movement, while muted violins and cello provide support for this melody. Brahms also

43

Ibid., 540.

44

Riley, Maurice W. The history of the viola (Braun-Brumfield, Ann Arbor, Michigan, U.S.A., 1980), 228-32.

45

Sadie, Stanley (ed.), The New Grove Dictionary of Music and Musicians 4 Vol. (London 2001), 693.

17

18
proved his understanding of the potential of the viola with his two songs for Contralto,
Viola, and piano Op.91. Karl Geiringer, a Brahms scholar, commented on this work:

In Op.91, Brahms adds the viola, his favorite string instrument, to the pianoforte
and contralto voice parts. In Cradle song of the Virgin, the second of these two
songs, the wonderful German cradle song, Blessed Joseph, Joseph Dear, is given to
the viola.How delicately is the soughing of the wind portrayed by the broken
chords gliding across the strings of the viola!46

So far, we have surveyed a short historical background of the Op. 120 sonatas and
Brahmss interest in the clarinet and viola through his chamber music. In the next chapter,
we will examine the difference between the two versions of the sonatas, clarinet and viola,
based upon the different characteristics of the instruments.

46

Karl Geiringer, Brahms, His life and work (New York: Oxford University Press, 1947), 69.

18

19
Upon examination of the clarinet and viola versions of the sonatas, Brahms seems
to have been keenly aware of the potential of each instrument.47 He intentionally sought
different effects for these two instruments by composing two different versions. Each
version is different not only with regard to its tone color or timbre, but also regarding
practical techniques, such as vibrato, lip pressure, leap shifting, volume, and range. Each
score contains passages with different octaves. Even the identical passages of the two
versions sound differently according to the character of the instrument. It is not my opinion
that Brahms intended one version to be the original and the other to be borrowed. Rather, I
believe he composed two characteristic sonatas, one for each instrument, which shares the
same melody, harmony, and other musical ideas. Often, when many violists attempt to play
or record these works according to the clarinet version, in the desire to be more faithful to
this original version, they often sound as if they are trying to make the viola mimic the
clarinet, rather than attempting to showcase these pieces as viola works. Bruno Giuranna,
an Italian violist, gives an interesting opinion in his journal:

The first thing you notice when you look at most piano score is that in numerous
places someone has taken the viola part down an octave compared to the original.
We can be certain that this so-called arrangement was not by Brahms the
composer probably agreed to the publication of the simplified version for
commercial reasons, perhaps became in his day hardly any violists could be
expected to play in high positions, certainly not lyrically or with dolcezza 48

47

Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 15.

48

Giuranna, Bruno. Masterclass: Brahmss Viola sonata in E-flat The Strad 104 (1993), 552-557.

19

20

Giuranna points out that most of the editions played today were not arranged by
Brahms. He insists that there is no longer any reason to play the piece in such a way
because modern violists are more developed in their skills than those of Brahms period. He
recommends retaining the original notes as much as possible. Therefore, he feels that the
best version is the IMC edition by Milton Katims, a version almost identical to the clarinet
version. However, his argument is subject to some objection. One can learn more about the
composers intentions by examining the original score to these sonatas, which luckily still
exist. The engravers copies of the original score and solo part, as well as the viola part
arranged by Brahms are currently located in Hamburgs Staats- und niversittsbibliothek.49
These parts were written by a copyist, containing many corrections and several important
alterations in Brahms hand. Brahms actively concerned himself with the entire publication
process of his music. His works are thus relatively error-free. He routinely kept a copy of
the first edition of his publications and he was rigorous at correcting mistakes.50
Considering his meticulous habit on publication, it is far-fetched to think that the viola
version is not his own work, which was indeed published when he was alive. Above all, the
IMC edition has some questionable figures to be regarded as Brahms own arrangement,
which was well versed in the characteristics of the viola, compared with the many other
editions, such as Simrock and Peters. Different passages from the clarinet version in such
editions are not simply for easier technique. To illustrate this point, imagine a soprano who

49

Brahms Sonata No.2 in Eb Major Op.120 for Viola and Piano, The composers arrangement of his Sonata
for clarinet (or viola) and piano. N. Simrock, (London: Hamburg).
50

Robin, Stowell The early Violin and Viola: A practical guide (Cambridge University Press 2001), 164.

20

21
performs an aria originally composed for a castrato; the soprano can indeed sing the work,
however, it will no doubt be uncomfortable for her.

Brahms principal alteration in the viola part, as compared to the clarinet version,
was to change the register of several sections. To contrast the engravers copy with most
other (save the IMC) editions, the following measures represent where Brahms took the
viola part down an octave: F minor sonata: mm.26-35/I, 92-95/I, 125-131/I, 180-186/I, 197198/I, 4-7/IV, Eb Major sonata: mm. 18-20/I, 38-43/I, 58/I, 87-93/I, 113-118/I, 147/I, 149154/I, 46 from third beat-47/III, 53/III, 143-147/III. (Example 1 through Example 14)

Example 1 (No. 1: mm. 26-35/ I Viola part)

Example 2 (No. 1: mm. 92-95/ I Viola part)

Example 3 (No.1: mm. 125-131/ I Viola part)

21

22

Example 4 (No. 1: mm. 180-186/ I Vila part)

Example 5 (No. 1: mm. 197-198/ I Viola part)

Example 6 (No. 1: mm. 4-7/ IV Viola part)

22

23
Example 7 (No. 2: mm. 18-20/ I Viola part)

Example 8 (No. 2: mm. 38-43/ I Viola part)

Example 9 (No. 2: mm. 58/ I Viola part)

23

24
Example 10 (No. 2: mm. 87-93/ I Viola part)

Example 11 (No. 2: mm. 113-118/ I Viola part)

Example 12 (No. 2: mm. 147, 149-154/ I Viola part)

Example 13 (No. 2: mm. 46 from third beat-47/ III Viola part)

24

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Example 14 (No. 2: mm. 53/ III Viola part)

Example 15 (No. 2: mm. 143-147/ III Viola part)

Moreover, Brahms added a number of dynamic and expression markings in the

engravers copy, and even altered the tempo marking of the second movement of the Eb
Sonata. He put Allegro Appassionato on the clarinet version, but on the viola version, he
marked Appassionato, ma non troppo Allegro for the tempo marking. Presumably he made
these alterations as a result of hearing the pieces played, which was his usual procedure
before sending new works to the printer.51 The viola version also incorporates double stops
in some passages. At mm. 147 to 150 in the first movement of f minor Sonata (Example 16),
mm. 126-135 in the second movement of Eb Sonata (Example 17) and he made an octave
at mm. 84 in the third movement of same Sonata (Example 18).

51

Ibid., 3.

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Example 16 (No. 1: mm. 147-150/ I Viola part)

Example 17 (No. 2: mm. 126-135/ II Viola part)

Example 18 (No. 2: mm. 84 second beat-86/ III Viola part)

By employing double stops, especially in the first movement of the F Minor sonata mm.
147-150 (Example16), Brahms took full advantage of the violas potential, one which is
more powerful and more voluminous than single tones of the clarinet. Brahms also extends
the viola part in the second movement of E-flat sonata for three more bars than the clarinet
after mm.133.

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Example 19 (No. 2: mm. 133-135/ II Viola part)

Before we discuss reasons that Brahms composed each of the versions differently,
let us examine the characteristics of each of the instruments. First of all, the tone color,
timbre, and different registers of each instrument are different. Each version leaves a vastly
different impression on the listener due to the unique sound that each instrument possesses.

Sound

The viola has dark, warm and rich tone qualities that resemble an alto voice. The
New Grove dictionary defines the viola as the instrument of the middle, being used for
both the alto and tenor registers.52 This characteristic of viola sound stands out in the depth
of the lowest string C and next string D, so both makers and players eagerly seek a clear,
beautiful, resonant and powerful tone from the lowest string of the viola.53 As was noticed
earlier, the advocates of the viola version attribute their preference to the sound quality of
viola, which is rich and warm. Observing the two versions of the Sonatas Op.120, the
primary task in arranging for viola was to transpose many passages of the clarinet an octave

52

Boyden, David D. and Woodward, Ann M. Viola The New Grove Dictionary of Music and Musicians. ed.
Stanley Sadie, vol.2, (London: Macmillan), 687.

53

Ibid., 687-695.

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lower to take advantage of the rich and dark timbre of the viola. The first movement of the f
minor sonata at mm. 26-36 (Example 1), the first movement of the Eb Major sonata at mm.
18-20 (Example 7), and the same movement of the same sonata at mm. 147-154 (Example
12) are places where Brahms has taken the viola part down an octave to bring out the
strengths of the viola. In identical passages, these characteristic sounds of each instrument
make different impression of the music(this is poor English as well-perhaps you could sayIn identical passages, the differences in the tone quality of each instrument leave a
different impression on the listener? . Certainly, the viola sound played on the D string in
the first movement of the Eb Major sonata at mm 11-12 (Example 20) and the beginning of
the f minor sonata with added vibrato leaves a wholly different impression than the clarinet.

Example 20 (No. 2: mm. 11-12/ I Viola part)

Example 21 (No. 1: mm. 5-12/ I Viola part)

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A similar effect appears in the first movement of the Eb major sonata at mm. 43-45
(Example 22), in which the phrase on the C string present a deep and rich quality, which is
also present in the opening of his Piano quintet in f-minor. Such density and richness
occurs often in Brahms music.

Example 22 (No. 2: mm. 43-45/ I Viola part)

The clarinet, however, unlike the violas alto or tenor register, has the range of a soprano
voice. From the remarks of Carl Baermann can be discerned something of the sound of the
clarinet of Brahmss era. When well played, it can achieve such close similarity to a fine
singing voice, by virtue of its beauty of tone, which enables the performer to speak to the
heart:

The finer the tone, the more poetic the effect. The tone is fine when it has a full,
vibrant, metallic sound, and retains the same characteristics at all volumes and in
all registers, when the tone dose not deteriorate at full strength, and does not leave
a piercing impression; when it is so expressive and flexible that it can perform all
the notes lightly and smoothly in the quiet passages- in a word, when it resembles a
superlatively fine and full soprano voice. If this register (the best on the clarinet) is finetoned, then the lower notes will of themselves also be characteristics and lacks inner life-

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the divine spark intrinsic to man as a guarantee of his destiny, the soul- ten all effort and
striving is of no avail, for this frigid music cannot be touched by the fire of Prometheus.54

The charm of clarinet sound lies in its incisiveness and hollowness. Gevrts treatise of
1885 explains the sentiments of clarinet:

No wind instrument offers to the composer such manifold technical possibilities as

the clarinetwith its wide compass and diverse tone-colorsand flexibility in the
expression of dynamic nuances Its tone is soft, yet incisiveand it adjusts itself
admirably to the various forms of musical thought: an expressive interpreter of
solemn song, the clarinet deals easily and naturally with fluent passages, so long as
they are not too far removed from its most usual keys.55

Tovey pointed to Brahmss demonstration of the different characteristics of the two

instruments from the music:

The viola is querulous and strained just where the cantabile of the clarinet is
warmest. The lowest octave of the clarinet is of a dramatic blue-grotto hollowness
and coldness, where the fourth string of the viola is of rich and pungent warmth. A
comparison of Brahmss viola part with his original clarinet part makes every

54

Baermann, Carl. Vollstndige Clarinet-Schule (Offenbach, 1864-75), quated by Lawson, Colin Brahms:
Clarinet Quintet (Cambridge University Press 1998), 14-15.
55

Gevea, Francois-Auguste. Nouveau trait dinstrumentation (paris, 1885), 92, quated by Lawson, Colin
Brahms: Clarinet Quintet (Cambridge University Press 1998), 14.

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difference of this kind vividly real, and these viola versions deserve frequent
performances in public.56

Range, wide leap

In addition, these two instruments have different ranges. The clarinet most likely
possesses a larger range of pitches than any other instrument. The lowest note of the
standard Boehm-system clarinet is (written) e, sounding d for a Bb instrument. At the upper
end of the range the limit is less clearly defined. Most tutors for the instrument give
fingerings to c and some virtuosos are prepared to perform a 3rd or more higher.57
Robert Willaman explains how such a wide range can be made by a clarinet in his book:

Two factors acting together make possible the large range of the clarinet, which
embraces forty-five tones extending over nearly four octaves. The fingers operate
directly on seven holes, and indirectly on many other holes covered by padded
keys to change the effective length of the air column. This is lip and jaw
pressure. It must vary with the altitude of the notes playedAs we go up the
scale we must clamp the reed more firmly on the curve of the lay to shorten the
pendulum so it can vibrate faster and thereby produce a higher tone. Very little

56

Tovey, D.F., Brahms: Cobbetts Cyclopaedic Survey of Chamber Music, I, 182.

57

Page, Janet K. and Shackleton, Nicholas. Clarinet The New Grove Dictionary of Music and Musicians ed.
Stenley Sadie, vol.5 (London: Macmillan), 897.

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pressure is required in the bottom register, and the increase necessary from low E to
middle line B flat is relatively small. From that point up the increase of pressure is much
more rapid. By the time high G is reached less than half of the length of the lay is used. For
high C perhaps only 1/8 inch of the reed tip vibrates.58

While the clarinet can cover over four octaves with the variation in the players lip pressure
and certain keys, it is difficult for a viola to cover smoothly even three octaves, because the
motion of ones fingers are limited by string crossings and large shifts. These large leaps
between notes represent a hurdle in negotiating the pitches on a viola. In fact, upon
examination of the viola version of the Op. 120 sonatas, we can recognize that the restricted
range of the viola certainly required all kinds of rewriting of the wide-ranging clarinet line,
often with unsatisfactory results.59The differences between the clarinet and viola in the
covering of the notes with wide leaps in between are clearly seen in the first movement of
the Eb Major sonata at mm. 43 (Example 24), the same movement of the same sonata at
mm. 57-58 (Example 25), mm. 63-64 (Example 26) and from the third beat of mm. 82
through mm.92 (Example 27). The squared parts are places which Brahms has taken the
viola part down an octave for different characteristics of each instrument.

58
59

Willaman, Robert. The clarinet & clarinet playing (Carl Fischer Inc.: New York 1954), 241-242.
Freyhan, Michael The violas champion The Strad (May 1997), 540-543.

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Example 24 (No2: mm. 43/ I clarinet part)

Example 25 (No 2: mm. 57-58/I clarinet part)

Example 26 (No 2: mm. 63-64/I clarinet part)

Example 27 (No 2: mm. 87-92 from third beat/ I clarinet part)

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Because of the innate characteristics of the two instruments, the clarinet can easily and
naturally negotiate fluent passages compared with viola when it plays fast passages,
passages which require lots of string crossing and big shifting (Example 28).60

Example 28 (No.2: mm. 46-53/III-viola part)

60

Lawson, Colin Brahms: Clarinet Quintet (Cambridge University Press 1998), 14.

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Vibrato

Another outstanding difference between these two instruments is the vibrato, a tool
which serves as an easily available remedy for monotony.61 Its use in music increases a
warm, voice-like quality to the tone and contributes greatly to the intensity and dramatic
expression of the sound. In the violin family of instruments, continuous vibrato is almost
always implied and expected; many composers will specifically notate instances when
vibrato should not be used. Robert Willaman says, in his article, about vibrato in string
instrument, The violin is perhaps the most musical and the most nearly perfect of all
instruments. For this very reason it needs vibrato more than any other. On the other hand,
vibrato is not encouraged for classical clarinet music, since it is considered to degrade the
purity of the clarinet sound. Sherman remarks, in his guide book for clarinet:
..In winds, specifically in single reed woodwinds, the vibrato and its making is
much less difficult to discuss because, within the world of the classical clarinet
playing, vibrato is currently not in vogue. Most orchestral players do not use
vibrato, and its distinction keeps the clarinet as the purest of qualities one hears in
the orchestra. Vibrato is used by clarinetists in the performance of solo and
chamber music, and this use again varies from player to player and from piece to
piece.62

61

Willaman, Robert. The clarinet & clarinet playing (Carl Fischer Inc.: New York 1954), 241-242.

62

Friedland, Sherman, Sherman Friedlands Clarinet Corner

(http://clarinet.cc/archives/cat_studies_technique_and_personalities.html), May 2004.

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While storm-like intensity is felt when the opening of the second movement of E-flat sonata
is played on viola, its softness is emphasized on clarinet.

Example 29 (No. 2: mm. 1-9/ II Viola part)

In the opening theme of the second movement of the f-minor sonata the appealing power of
the violas melody with vibrato characterizes the atmosphere of the part.

Ex 30 (No. 1: mm. 1-10/ II Viola part)

Besides these differences, the two instruments possess many unique characteristics
as well. Each version of the Op.120 sonatas demonstrates contrasting qualities through the
particular instrument that is featured. Brahms skillfully distributed the parts to exhibit these
contrasting qualities.

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Andres Segovia compared transcribing music to translating a poem from one
language to another.63 Even though his is a nice definition, I think more can be said about
transcribing music. While a translated poem delivers the same meaning and feeling to the
reader even though the accent is changed, transcribed music emanates a completely
different feeling with the same melody line. This melody line will have totally different
characteristics according to the instrument in question, just as a homonym looks but does
not sound the same with respect to its two (or more) definitions. This can be seen especially
in these two versions of the Op. 120 sonatas which give very different impressions to the
listeners. While the clarinet version is associated with the feeling of hollowness and
resonance, the viola version appeals to audiences with its depth and sighing. In that context,
I conclude that Brahms composed two characteristic works, and not just a transcription
from the clarinet to the viola version.

63

Yates, Richard. The transcribers art: Brahms The GPA Soundboard ( Spring 2002), 43.

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Bibliography

Adelson, Robert. The autograph manuscript of Brahmss Clarinet sonatas Op.120: A

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Alfred A. Knopf, 1963.
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Geiringer, Karl Brahms, His life and Work New York: Oxford University Press, 1947.
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(Printed Music)

Brahms Sonata No.1 in F minor Op.120 for viola and Piano, Leonard David edition,
International Music Company, New York.
Brahms Sonata No.2 in Eb Major Op.120 for Viola and Piano, Leonard David edition,
International Music Company, New York.
Brahms Sonata No.1 in F minor Op.120 for Clarinet (or Viola) and Piano, The composers
arrangement of his Sonata for clarinet (or viola) and piano. N. Simrock, London: Hamburg
Brahms Sonata No.2 in Eb Major Op.120 for Clarinet (or Viola) and Piano, The
composers arrangement of his Sonata for clarinet (or viola) and piano. N. Simrock,
London: Hamburg.
Brahms Sonata No.1 in F minor Op.120 for Violin and Piano, The composers arrangement
of his Sonata for clarinet and piano. Rev: Oswald Jonas. N. Simrock, London: Hamburg.
Brahms Sonata No.2 in E flat major,Op.120 for viola and piano, Milton Katims edition,
International Music Company, New York

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Grace9272@yahoo.com-kyungju lee

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