Author: Samuel Rothermel
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Johannes Brahms never procured a concerto for viola or clarinet. Curious minds yearn to know what one might sound like if he had. The closest approximation of such a piece is Brahms's Opus 120 sonatas for clarinet/viola and piano. A daring arranger with a keen knowledge about Brahmsian style might be able to orchestrate the piano part of the sonatas thus rendering a type of concerto. The Los Angeles Philharmonic commissioned Luciano Berio to do just that. Berio's style of composition distinguishes him as a great proponent of collage technique, and his orchestration of Johannes Brahms's Op. 120 No. 1 Sonata in F Minor for Clarinet or Viola resides in a comfortable middle ground between Brahmsian authenticity and personal creative liberty. Analysis of Brahms's style of texture and orchestration reveals key challenges Berio likely encountered during the arranging process and allows us to judge the quality of his solutions. All of this information should be of utmost importance to prospective performers of this nearly forgotten arrangement and to the scholarly community of both Berio and Brahms.
A Comparison of Compositional Style Within Luciano Berio's Arrangement of Johannes Brahms's Opus 120, No. 1, Sonata in F Minor for Clarinet Or Viola
Author: Samuel Rothermel
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Johannes Brahms never procured a concerto for viola or clarinet. Curious minds yearn to know what one might sound like if he had. The closest approximation of such a piece is Brahms's Opus 120 sonatas for clarinet/viola and piano. A daring arranger with a keen knowledge about Brahmsian style might be able to orchestrate the piano part of the sonatas thus rendering a type of concerto. The Los Angeles Philharmonic commissioned Luciano Berio to do just that. Berio's style of composition distinguishes him as a great proponent of collage technique, and his orchestration of Johannes Brahms's Op. 120 No. 1 Sonata in F Minor for Clarinet or Viola resides in a comfortable middle ground between Brahmsian authenticity and personal creative liberty. Analysis of Brahms's style of texture and orchestration reveals key challenges Berio likely encountered during the arranging process and allows us to judge the quality of his solutions. All of this information should be of utmost importance to prospective performers of this nearly forgotten arrangement and to the scholarly community of both Berio and Brahms.
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Johannes Brahms never procured a concerto for viola or clarinet. Curious minds yearn to know what one might sound like if he had. The closest approximation of such a piece is Brahms's Opus 120 sonatas for clarinet/viola and piano. A daring arranger with a keen knowledge about Brahmsian style might be able to orchestrate the piano part of the sonatas thus rendering a type of concerto. The Los Angeles Philharmonic commissioned Luciano Berio to do just that. Berio's style of composition distinguishes him as a great proponent of collage technique, and his orchestration of Johannes Brahms's Op. 120 No. 1 Sonata in F Minor for Clarinet or Viola resides in a comfortable middle ground between Brahmsian authenticity and personal creative liberty. Analysis of Brahms's style of texture and orchestration reveals key challenges Berio likely encountered during the arranging process and allows us to judge the quality of his solutions. All of this information should be of utmost importance to prospective performers of this nearly forgotten arrangement and to the scholarly community of both Berio and Brahms.
“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
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 41
Book Description
Johannes Brahms was one of the first composers to appreciate fully the viola2s potential, allowing the instrument a chance to shine in his chamber music. Although Brahms2 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 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. 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 composer2s 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.
Publisher:
ISBN:
Category :
Languages : en
Pages : 41
Book Description
Johannes Brahms was one of the first composers to appreciate fully the viola2s potential, allowing the instrument a chance to shine in his chamber music. Although Brahms2 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 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. 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 composer2s 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.
Sonata for Clarinet (or Viola) and Piano F Minor Op. 120
Johannes Brahms - Clarinet Sonata No.2 - Op.120 No.2 - A Score for Clarinet and Piano
Author: Johannes Brahms
Publisher: READ BOOKS
ISBN: 9781447441106
Category : Music
Languages : en
Pages : 28
Book Description
Publisher: READ BOOKS
ISBN: 9781447441106
Category : Music
Languages : en
Pages : 28
Book Description
An Application of the Grundgestalt Concept to the First and Second Sonatas for Clarinet and Piano, Op. 120, No. 1 & No. 2, by Johannes Brahms
Author: Devon Burts
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
ABSTRACT: A distinct feature of Brahms's compositional style is the cumulative development of melodic material that occurs throughout the composition. This motivic treatment appears in rhythmic and pitch fragments that are prolonged though various repetitions and newly derived figures related to earlier statements at the beginning of the composition. The compositional practices of Brahms as they relate to thematic unity reflect an earlier concept of the Grundgestalt, described in elements of nature by the 19th century philosopher, Johann Wolfgang von Goethe. The creative application of this concept by Brahms influenced the work of Arnold Schoenberg, who provided a more formal description as it relates to music and the compositional process.
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
ABSTRACT: A distinct feature of Brahms's compositional style is the cumulative development of melodic material that occurs throughout the composition. This motivic treatment appears in rhythmic and pitch fragments that are prolonged though various repetitions and newly derived figures related to earlier statements at the beginning of the composition. The compositional practices of Brahms as they relate to thematic unity reflect an earlier concept of the Grundgestalt, described in elements of nature by the 19th century philosopher, Johann Wolfgang von Goethe. The creative application of this concept by Brahms influenced the work of Arnold Schoenberg, who provided a more formal description as it relates to music and the compositional process.
The Art of Musical Timing
Author: Laura Eakman
Publisher:
ISBN:
Category : Sonatas (Viola and piano)
Languages : en
Pages : 74
Book Description
Publisher:
ISBN:
Category : Sonatas (Viola and piano)
Languages : en
Pages : 74
Book Description
Sonata in F Minor for Clarinet and Piano, Op. 120, No. 1
Author: Johannes Brahms
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Clarinet and Piano score with measure numbers.
Publisher:
ISBN:
Category :
Languages : en
Pages :
Book Description
Clarinet and Piano score with measure numbers.
Sonata #1, Opus 120, in F Minor, for Viola and Piano by Johannes Brahms
Performance Practice Issues in Johannes Brahms's Sonata for Clarinet and Piano in F Minor, Opus 120
Author: Janna May Hall
Publisher:
ISBN:
Category : Performance practice (Music)
Languages : en
Pages : 98
Book Description
Publisher:
ISBN:
Category : Performance practice (Music)
Languages : en
Pages : 98
Book Description
Sonata for Clarinet and Piano in F Minor, Op. 120, No. 1
Author: Johannes Brahms
Publisher:
ISBN:
Category : Sonatas (Piano)
Languages : en
Pages :
Book Description
Publisher:
ISBN:
Category : Sonatas (Piano)
Languages : en
Pages :
Book Description