Johannes Brahms (1833–1897)
Sonatas, Op. 120 arr. Viola
Robert Schumann (1810–1856)
Märchenbilder, Op. 113
Christian Euler, Viola
Paul Rivinius, Piano
MDG 903 2353-6 (Hybrid-SACD)
Release: March 2025, Distribution: Naxos
Excerpt from Johannes Brahms’ »Allegro amabile«, Sonata Op. 120 N0 1 in E-Flat Major
Information
Christian Euler, together with his piano partner Paul Rivinius, present two Brahmsian masterpieces which foreshadow the fin de siècle and contrast these with Schumann’s Märchenbilder, 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.
Inspired
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 Mühlfeld that he reneged on his decision.
Accomplished
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 clarinet version to fully exploit its large range, especially in the virtuoso passages.
Folkloric
The viola, which Schumann believed the instrument closest to the human voice, is wonderfully utilised to narrate these imaginary fairytales. The four short pieces 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.
What the critics say
And what better instrument than the viola to convey this aged and refined musical vintage to the audience. Jean-Yves Duperron im Classical Music Sentinel, May 2025
Particularly enjoyable is the great tranquillity that Christian Euler spreads here with his viola singing, with his long, completely even and delicate bow strokes, which simultaneously sing and ‘speak’ meaningfully. Rainer W. Janka at klassik-heute.de, 11 April 2025 // Editor’s recommendation
The four pieces have no titles, only tempo markings, but when listening to them, images arise thanks to Euler’s delicate viola playing and Rivinius’ piano accents. Karin Zehetleitner for APA, Austrian Press Agency, 16 June 2025
They fully convey the richness of tension and emotion contained in the clarinet part, and the historic Steinway grand piano from 1901 lends the whole a unique, noble sound. Euler and Rivinius present Brahms’ sonatas with a comprehensive understanding of their essence. They do not simplify them, but bring out subtle motifs, counterpoints and the calm and seriousness characteristic of late Brahms. (…) In this interpretation, the viola becomes almost vocal. (…) A must for lovers of the viola, chamber music and Romanticism. wkulturalnysposob.com, 2 September 2025 // Editor’s recommendation
… providing an intriguing window into the ways in which Brahms’ viola adaptation was or was not an apt transcription. (…)The performances are highly expressive and also expansive. INFODAD.COM, USA, 2 October2025
Changes to accommodate the viola were mostly octave transpositions, but here Euler has “decided to play the original clarinet version consistently and to fully exploit its large range.” It’s an interesting choice. The Whole Note (Canada), November 2025
Christian Euler’s viola playing is characterised by technical perfection, a balanced sound between the low and high strings, and clarity of articulation. He refutes the prejudices against the viola and shows that it is possible to play it with virtuosity. (…) a joy and enrichment for the ears. Franzpeter Messmer at Das Orchester, November 2025