Did you know that when Brahms was younger he played the cello modestly and, like his father, a bit of French horn, too?
Now I make a bigger deal about this orchestration as a way of remembering Brahms playing horn duos with his father, and also to create a more bucolic character as the materials find resolution at the end of the first movement. There are lots of opportunities for varied articulations that highlight the musical textures of this remarkable movement, and here are two of my favorites. In the coda of the exposition as well as later in the recapitulation , there is a two-note slur that happens between the cello and left hand of the piano starting in m.
Norman Fischer’s Approach to Brahms’ Sonata in E Minor for Cello & Piano – Strings Magazine
Brahms alternates at the beat, with piano , , and cello , We have experimented with gently stressing the first of the two notes and lifting the second note to create a combined rippling effect. In mm. This figure moves by four bars in the piano left hand, then right hand, and then back to the left hand as it increases in volume and intention.
Ultimately this octave figure reappears at the climax with two octave leaps in the piano and then the famous passage in the cello at m.
Wilbert Hazelzet & Gerard de Wit
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Brahms: Viola Sonata, Op. 120 & 2 Gesänge, Op. 91
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