There has been some confusion about this sonata as it seems to be bipolar namewise as it has two names. It was orginally a violin sonata keyed in G major but was later transcribed into a cello sonata keyed in D major. Hope that clears the air on the mystical naming for this sonata and this is why I left the key out in the title.
Although this article is about Johannes Brahms compsition, you will find me kaing references to the Schumann family as the sonata was written as a dedication to then recent passing of Schumann's son Felix Schumann who is also Brahms' godson due to tuberculosis. I have taken the liberty of naming this sonata as "The Godson Sonata" and hope that both Johannes Brahms and Felix Schumann will not turn in their final resting places as it is well intentioned to promote this beautiful sonata and get more people to gain an interest in this beautiful sonata.
Felix Schumann is the off spring of the famous Robert Schumann and his wife Clara Schumann. The dedication of this sonata is evidenced by a letter from Johannes Brahms to Clara Schumann as Robert Schumann had already passed on and not because of his secret love for Clara Schumann as some music historian postulate it to be in my humble opinion. It has been a tumultous time for the Schumanns as they have seen 3 succeeding deaths within a short space of a few years. It started with Robert Schumann and followed by their son Felix Schumann and thereafter their daughter Julie. To add to this, their youngest son Ludwig Schumann was also struck with the same mental illness that beseiged his father and had to be put into a mental asylum like his dad.
Inspite of these sad events, Clara Schumann has stood by the Schumann family faithfully as she has done for her husband Robert Schumann when he was alive. I would love to have a wife like Clara Schumann's character of unwavering love and dexerity. Both Robert and Clara also shared a common interest in music and Clara Schumann has written some music although not as popular as her husband.
Although there has been whisperings in the history department of musicology that Brahms and Clara were an item towards the end of Robert Schumann sojurn on earth and thereafter but I beg to differ. I accept that there is enough evidence on hand to make a case that Brahms like Clara romantically but little or no evidence of Clara recipocating his advances. I find this to be quite intriguing as Brahms is noted for leaving little or no trace of his work in progress manuscripts which he deligently destroyed leaving us mostly only his final renditions and yet he left enough evidence to point to his romantic interest in Clara. This cannot be a Freudian slip on the part of Brahms but a purposeful declaration on the part of Brahms.
Between the original Violin Sonata No. 1 in G major Opus 78 and the transcription as Sonata for cello and piano in D major, I actually much prefered the later one as I personally find that the cello is better in transmitting such emotions. It has been a controversial topic as to who did the transcription. The famed cellist Janos Starker commented that no one but the composer himself could have the audacity to have made the modifications to one of Brahms work. Horst Scholz however maintained that the transcription was the work of a Leipzig conductor Paul Klengel who is the brother of cellist Julius Klengel whom Brahms admired greatly. There is consensus that the cello transcription was published in 1897; the year that Brahms passed away.
I have a total of 6 rendition in my humble collection and 3 are for violin and 3 for cello.
The cello renditions are as follows:
1.Brahms Sonatas Op.38 Op.78 Op120 Nr1 by Pieter Wispelwey & Dejan Lazic-Channel Classics SACD-CCS-SA24707
Although this article is about Johannes Brahms compsition, you will find me kaing references to the Schumann family as the sonata was written as a dedication to then recent passing of Schumann's son Felix Schumann who is also Brahms' godson due to tuberculosis. I have taken the liberty of naming this sonata as "The Godson Sonata" and hope that both Johannes Brahms and Felix Schumann will not turn in their final resting places as it is well intentioned to promote this beautiful sonata and get more people to gain an interest in this beautiful sonata.
Felix Schumann is the off spring of the famous Robert Schumann and his wife Clara Schumann. The dedication of this sonata is evidenced by a letter from Johannes Brahms to Clara Schumann as Robert Schumann had already passed on and not because of his secret love for Clara Schumann as some music historian postulate it to be in my humble opinion. It has been a tumultous time for the Schumanns as they have seen 3 succeeding deaths within a short space of a few years. It started with Robert Schumann and followed by their son Felix Schumann and thereafter their daughter Julie. To add to this, their youngest son Ludwig Schumann was also struck with the same mental illness that beseiged his father and had to be put into a mental asylum like his dad.
Inspite of these sad events, Clara Schumann has stood by the Schumann family faithfully as she has done for her husband Robert Schumann when he was alive. I would love to have a wife like Clara Schumann's character of unwavering love and dexerity. Both Robert and Clara also shared a common interest in music and Clara Schumann has written some music although not as popular as her husband.
Although there has been whisperings in the history department of musicology that Brahms and Clara were an item towards the end of Robert Schumann sojurn on earth and thereafter but I beg to differ. I accept that there is enough evidence on hand to make a case that Brahms like Clara romantically but little or no evidence of Clara recipocating his advances. I find this to be quite intriguing as Brahms is noted for leaving little or no trace of his work in progress manuscripts which he deligently destroyed leaving us mostly only his final renditions and yet he left enough evidence to point to his romantic interest in Clara. This cannot be a Freudian slip on the part of Brahms but a purposeful declaration on the part of Brahms.
Between the original Violin Sonata No. 1 in G major Opus 78 and the transcription as Sonata for cello and piano in D major, I actually much prefered the later one as I personally find that the cello is better in transmitting such emotions. It has been a controversial topic as to who did the transcription. The famed cellist Janos Starker commented that no one but the composer himself could have the audacity to have made the modifications to one of Brahms work. Horst Scholz however maintained that the transcription was the work of a Leipzig conductor Paul Klengel who is the brother of cellist Julius Klengel whom Brahms admired greatly. There is consensus that the cello transcription was published in 1897; the year that Brahms passed away.
I have a total of 6 rendition in my humble collection and 3 are for violin and 3 for cello.
The cello renditions are as follows:
1.Brahms Sonatas Op.38 Op.78 Op120 Nr1 by Pieter Wispelwey & Dejan Lazic-Channel Classics SACD-CCS-SA24707
This is my favourite of them all as Wisepelwey played it in a very emotive manner and the Pianist Lazic just work so well as a team as they have done various recordings together on a number of occassion. There is very little competition for the limelight between the two. Not to be missed.
2.Brahms Cello Sonata-Pontinen & Thedeen by Torleif Thedeen & Roland Pontinen - BIS-SACD-1606
This recording is done at a more leisurely pace and also paint a weekend type of feeling unlike the Wisepelwey & Lazic which is played in a more seriou note.
3.ArtistsRepertoires-Janos Starker ; Shigeo Noriko-BMG Classics LC00316
I think Janos Starker needs no introduction and his signature thick tonality of the cello is very evident in this recording. In terms of tonality, this piece is a must have. Janos seems to overshadow the pianist Noriko but overall not too bad a combination.
Actually I should have done the Violin rendition first as this sonata was first conceived for the violin but I love the cello too much and have put the cart before the horse.
1.Brahms-Sonata-Horn Trio Vieuxtemp Ballade-Grumiaux-Arthur Grumiaux,Gyorgy Seebok, Francis Orval, Dinorah Varsi-Pentatone 5186 155
Grumiaux playing on this piece was fabously expressive and yet controlled and not a runaway. His nose for precision is evident in this recording like his other recording.
2.Brahms Cello Sonata-Pontinen & Thedeen by Torleif Thedeen & Roland Pontinen - BIS-SACD-1606
This recording is done at a more leisurely pace and also paint a weekend type of feeling unlike the Wisepelwey & Lazic which is played in a more seriou note.
3.ArtistsRepertoires-Janos Starker ; Shigeo Noriko-BMG Classics LC00316
I think Janos Starker needs no introduction and his signature thick tonality of the cello is very evident in this recording. In terms of tonality, this piece is a must have. Janos seems to overshadow the pianist Noriko but overall not too bad a combination.
Actually I should have done the Violin rendition first as this sonata was first conceived for the violin but I love the cello too much and have put the cart before the horse.
1.Brahms-Sonata-Horn Trio Vieuxtemp Ballade-Grumiaux-Arthur Grumiaux,Gyorgy Seebok, Francis Orval, Dinorah Varsi-Pentatone 5186 155
Grumiaux playing on this piece was fabously expressive and yet controlled and not a runaway. His nose for precision is evident in this recording like his other recording.
2.Brahms Violin Sonatas-Anne-Sophie Mutter & Alexis Weissenberg EMI CLASSICS 7243 5 74560 2 9
This recording done in 1983 when Anne Sophie was probably dealing with sickness and eventual death of her first husband whom she had all her biological children with. I can sense a certain thinge of anger in her playing perhaps reflective of her situation then. Sometimes an artist emotional state gets translated into their playing.
3. Johannes Brahms-Complete Chamber Music-Disc 11 of 12 Hyperion CDS 44341-Krysia Osostowicz & Susan Tomes
This recording was part of my effort to collect the complete Brahms music but I am still far away. Of the 6, I think this is most probably the only one not recorded in a studio but a hall or church as I can hear the reverb of the room. The playing is very exact and there is nothing I can fault on but at the sametime, I could not finger an appropriate word of praise for the artist as well.
Cheers,,,,, Pete aka lkypeter
Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye
This recording done in 1983 when Anne Sophie was probably dealing with sickness and eventual death of her first husband whom she had all her biological children with. I can sense a certain thinge of anger in her playing perhaps reflective of her situation then. Sometimes an artist emotional state gets translated into their playing.
3. Johannes Brahms-Complete Chamber Music-Disc 11 of 12 Hyperion CDS 44341-Krysia Osostowicz & Susan Tomes
This recording was part of my effort to collect the complete Brahms music but I am still far away. Of the 6, I think this is most probably the only one not recorded in a studio but a hall or church as I can hear the reverb of the room. The playing is very exact and there is nothing I can fault on but at the sametime, I could not finger an appropriate word of praise for the artist as well.
Cheers,,,,, Pete aka lkypeter
Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye
