In a shrinking, unadulterated SACD world, labels that continue to cater to the discerning music lover’s demands at the highest attainable level as regards artists, sound and repertoire, should be cherished by all. I believe there is general agreement that MDG belong to this exclusive category. This release proves it once again.

The combination of Brahms and Schumann is an intriguing one, as both composers shared an affection for Clara Wieck, whether as wife or dear friend. Juxtaposing a contemplative yet lyrical Brahms with a poetically inspired Schumann suggests, intentionally or not, giving expression to the two sides of Clara: A loving spouse longing for creative freedom as a musician in her own right. An interesting idea. Like so many emerging from the inventive MDG stables.

Both Brahms’ Sonatas Op. 120 were written for the clarinet. Christian Euler casts doubt on who arranged it for the viola, and he may be right. On October 14, 1894, Brahms wrote to his old friend, violinist and altoist Joseph Joachim: “If, in the course of winter, you come to Frankfurt, let me know. I will then also go there, invite Mr Mühlfeld (the clarinettist) to join us or take with me a viola part for the two Clarinet sonatas which I would very much like Mrs Schumann to hear”. Correct is often what is not said. Brahms did not say, “my arrangement for viola” or similar wording.

Christian Euler (Viola) and Paul Rivinius (Piano) are not new to the Hi-Res community. Not only have they earned their international credentials on prestigious world stages, they also have enriched the SACD catalogue with fine, sometimes unusual, and hard-to-find viola repertoire, like English Viola music - Euler, Rivinius, Hindemith: Viola Sonatas - Euler, Rivinius, Vieuxtemps: Works for Viola and Piano - Euler, Rivinius, and Euler in a highly acclaimed solo album Viola solo - Euler. This follow-on release will undoubtedly add more laurels.

True to the intention and tradition of Brahms, Euler paints each of the Sonatas with rich colours, highlighting the intentions of an end-of-life composer wanting to leave a final, thoroughly crafted score for a clarinettist he held in high esteem. We owe it to Euler's decision “to play the original clarinet version consistently and to fully exploit its large range, especially in the virtuoso passages,” thus giving the Sonatas extra impetus. We, the listeners, are the beneficiaries of Euler’s choice.

It may be personal, but I prefer the viola rendition better than the original clarinet version. The viola comes so much closer to the human voice, especially in the almost melancholic second movement of the first; it produces a more evident feeling of ‘longing’ that mustn’t get lost.

Together with his partner, Rivinius, taking a well-balanced and equally important part in the result, ‘Brahms the Progressive’ (says Arnold Schönberg) comes to full bloom. In their interpretation, both manifest that Brahms had not lost anything of his creative power, even though his thoughts seem to move back and forth between memories of a long life and the inescapability of death.

Schumann was much younger when he wrote his Märchen Bilder. Probably meant as fashionable ‘pieces de circonstances’, they usually are performed in a most enjoyable, typical Schumanesque manner. However, despite them being placed as ‘interlude’ between the two Sonatas, I don’t think they were meant to be a kind of ‘filler’ or ‘bonus’. On the contrary. By rendering them with a distinct flavour of ‘sehnsucht’, these pictures fit the context alluded to above, portraying Clara’s sensitive side.

It may all be a matter of personal perception, but that is what true musicians can bring about in a receptive listener. If that isn’t a fairy tale, then what is? I cannot think of any reason for not wanting to have this thought-provoking release.

Blangy-le-Château, Normandy, France.

Copyright © 2025 Adrian Quanjer and HRAudio.net

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