Here the editors start from the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. Truly remarkable is the unique Performance Practice Commentary. Firstly it informs about the sonatas? origins their compositional process pre-publication performances their publication history as well as early reception. They include important differences fromthe Clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Today there is no doubt about Brahms? authorship of the Viola parts. In any case the Viola and Clarinet versions of the works were first published by Simrock at the same time in 1895. It remains unclear when exactly Brahms drafted Viola parts to his two sonatas. This encounter apparently renewed his enthusiasm for Mühlfeld?s much admired playing and inspired him to write two Clarinet sonatas in the summer of the same year. For Viola and Piano-Brahms had already announced his 'retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld.
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