Review

Johannes Brahms
Sonata No.2 Op.120:

Arranged by Ralph Sauer

Trombone and piano

Vancouver, British Columbia, Canada
Publisher: Cherry Classics Music
Date of Publication: 2022
URL: http://www.cherryclassics.com

Score and solo part.

Primary Genre: Solo Tenor Trombone - with piano

In 1890, having announced his retirement from composition, Johannes Brahms heard clarinetist Richard Mühlfeld perform. Inspired by Mühlfeld’s virtuosity, Brahms abandoned his short-lived hiatus to write a series of works for the clarinet. The last of these was his Sonata for Clarinet and Piano in E flat major. Composed in 1894, it is the last of Brahms’ chamber works and remains one of the most important pieces in the clarinet repertoire. Ralph Sauer has undertaken the task of transcribing the sonata for trombone. This would not have bothered Brahms. Immediately after publishing the clarinet version of the sonata, he prepared an edition for viola.

The first movement is almost nine minutes in duration. It is in sonata form marked Allegro amabile—cheerful and gently. The exposition features long, flowing themes that  occasionally end with technical flourishes requiring considerable facility. The development focuses on the first two themes of the exposition. Its themes restlessly wander through numerous key areas. The recapitulation produces further surprise when the second theme comes back in C-flat major before eventually returning to the expected E-flat major.

The second movement moves to E-flat minor. It is a scherzo; however, it is not like the furious scherzos of Beethoven. Marked Allegro appassionato, it conveys a fervent lyricism. The trio section, marked Sostenuto, is decidedly slower and moves surprisingly to B major. The melody is expansive and the mood is poignant. After the scherzo returns the movement closes peacefully on a sustained low E-flat.

The final movement, marked Andante con moto, is a theme and variations. The theme features legato dotted rhythms in a leisurely 6/8 meter. Variation two begins a cycle of increasing technical difficulty. It contains graceful sixteenth note triplet arpeggiation. The third variation contains difficult technical challenges—rapid 32nd note passages that span the range of the instrument.  To conclude the movement, Brahms changes the meter to 2/4. The coda, marked Piu tranquillo, features smooth arpeggiation above the theme in the piano part. The opening theme returns in a final Allegro, now in rapid sixteenth notes that bring the work to a rousing close.

The result of Sauer’s work is a difficult yet rewarding challenge for the advanced trombone player. For the most part Sauer sets the trombone an octave lower than the original clarinet part, although on a few occasions he retains the same octave. He also adds judiciously placed rests in the middle of technical passages to provide places to breathe. The solo part spans the comfortable range of the trombone. It frequently rises to c2 and once briefly to e-flat2. There are several moments of sustained upper register playing, but the part has variety and frequent rests so that its endurance demands are reasonable. The result is a musically satisfying, technically demanding transcription.