Christian Euler, Paul Rivinius - Brahms: Sonatas Op. 120 & Schumann: Märchenbilder Op. 113 (2025)
BAND/ARTIST: Christian Euler, Paul Rivinius
- Title: Brahms: Sonatas Op. 120 & Schumann: Märchenbilder Op. 113
- Year Of Release: 2025
- Label: Musikproduktion Dabringhaus und Grimm
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:03:08
- Total Size: 234 mb
- WebSite: Album Preview
Tracklist
01. Sonata No. 1 in F Minor, Op. 120: I. Allegro appassionato
02. Sonata No. 1 in F Minor, Op. 120: II. Andante un poco Adagio
03. Sonata No. 1 in F Minor, Op. 120: III. Allegretto grazioso
04. Sonata No. 1 in F Minor, Op. 120: IV. Vivace
05. Märchenbilder, Op. 113: I. Nicht schnell
06. Märchenbilder, Op. 113: II. Lebhaft
07. Märchenbilder, Op. 113: III. Rasch
08. Märchenbilder, Op. 113: IV. Langsam, mit melancholischem Ausdruck
09. Sonata No. 2 in E-Flat Major, Op. 120: I. Allegro amabile
10. Sonata No. 2 in E-Flat Major, Op. 120: II. Allegro appassionata
11. Sonata No. 2 in E-Flat Major, Op. 120: III. Andante con moto - Allegro
Christian Euler, together with his piano partner Paul Rivinius, present two Brahmsian masterpieces which foreshadow the fin de siecle and contrast these with Schumann's Marchenbilder,whose fairytale-like character is reflected in the music's imaginative narrative gesture, transporting the listener into an enchanting world full of magic, poetry and longing.
Brahms' last sonatas, written three years before his death, must have been a matter close to the composer's heart, as he had actually already given up composing. He was so enraptured by the unrivalled virtuosity of clarinettist Richard Muhlfeld that he reneged on his decision.
The reduction to the essentials, the attempt to say everything as concisely as possible, is so typical of the late Brahms. The enchanting motifs in Op. 120 are extraordinarily subtle in their contrapuntal elaboration - the noble gesture of a serene maestro who bids farewell to his art in the guise of simplicity. Except for a few double stops from the viola version, Euler plays the original version to fully exploit its large range, especially in the virtuoso passages.
The viola, which Schumann believed the instrument closest to the human voice, is wonderfully utilised to narrate these imaginary fairytales. The four shortpieces from Op. 113 differ greatly in their mood: two fast, energetic movements are framed by two slow, melancholy ones. The dramatic third movement with triplets played "with a bouncing bow" contrasts greatly with the wistful final piece.
01. Sonata No. 1 in F Minor, Op. 120: I. Allegro appassionato
02. Sonata No. 1 in F Minor, Op. 120: II. Andante un poco Adagio
03. Sonata No. 1 in F Minor, Op. 120: III. Allegretto grazioso
04. Sonata No. 1 in F Minor, Op. 120: IV. Vivace
05. Märchenbilder, Op. 113: I. Nicht schnell
06. Märchenbilder, Op. 113: II. Lebhaft
07. Märchenbilder, Op. 113: III. Rasch
08. Märchenbilder, Op. 113: IV. Langsam, mit melancholischem Ausdruck
09. Sonata No. 2 in E-Flat Major, Op. 120: I. Allegro amabile
10. Sonata No. 2 in E-Flat Major, Op. 120: II. Allegro appassionata
11. Sonata No. 2 in E-Flat Major, Op. 120: III. Andante con moto - Allegro
Christian Euler, together with his piano partner Paul Rivinius, present two Brahmsian masterpieces which foreshadow the fin de siecle and contrast these with Schumann's Marchenbilder,whose fairytale-like character is reflected in the music's imaginative narrative gesture, transporting the listener into an enchanting world full of magic, poetry and longing.
Brahms' last sonatas, written three years before his death, must have been a matter close to the composer's heart, as he had actually already given up composing. He was so enraptured by the unrivalled virtuosity of clarinettist Richard Muhlfeld that he reneged on his decision.
The reduction to the essentials, the attempt to say everything as concisely as possible, is so typical of the late Brahms. The enchanting motifs in Op. 120 are extraordinarily subtle in their contrapuntal elaboration - the noble gesture of a serene maestro who bids farewell to his art in the guise of simplicity. Except for a few double stops from the viola version, Euler plays the original version to fully exploit its large range, especially in the virtuoso passages.
The viola, which Schumann believed the instrument closest to the human voice, is wonderfully utilised to narrate these imaginary fairytales. The four shortpieces from Op. 113 differ greatly in their mood: two fast, energetic movements are framed by two slow, melancholy ones. The dramatic third movement with triplets played "with a bouncing bow" contrasts greatly with the wistful final piece.
| Classical | FLAC / APE
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