Brahms: Viola Sonatas & Sonatensatz Op. Post. & Schumann: Adagio and Allegro
Philip Dukes, Peter Donohoe
Brahms: Viola Sonatas & Sonatensatz Op. Post. & Schumann: Adagio and Allegro
Philip Dukes, Peter Donohoe
Recognised as one of the world’s leading viola players, Philip Dukes has enjoyed a career spanning over thirty years as an accomplished concerto soloist, recitalist, and chamber musician. He joins forces with Peter Donohoe, acclaimed as one of the foremost pianists of our time, for this extraordinary recording of works by Brahms and Schumann.
As he writes in his booklet note, Philip wanted to find a new approach to these works: ‘I wanted [my interpretation] to sound fresh and alive, almost as when I was looking at the scores for the first time all those years ago, but with the secret benefit of all that subsequent experience under my belt. So, I did just that. I purchased a new, excellent, well researched edition, I listened to all manner of different recordings (of the versions both for clarinet and for viola), and I devoted three months to the project, the culmination of which is what you will hear.
Review
Kate Rockstrom
While the violin has frequently hogged the spotlight, I have always had a soft spot for the viola: the resonant tone, singing melodic lines and technical prowess that is particularly impressive when you remember that not all violas are the same size. When you think about it, there aren’t many viola soloists, but Philip Dukes is an English violist who has established a long and distinguished career bringing this instrument’s repertoire to the world.
This new album offers not only Brahms’ viola sonatas, but also the delightful Adagio and Allegro, Op. 70 by Schumann, originally written for horn and piano. Meanwhile, the Brahms sonatas, while frequently performed on viola, were originally written for clarinet. Brahms himself transcribed them for viola and I always love exploring repertoire that the composer themself rearranged, as it unveils new musical infusions. Dukes mentions in the notes that he listened to many different clarinet and viola recordings of the work to inform his performance, and it shows. The beauty of the original’s clarinet sound permeates the performance, with breaths at musically appropriate places that can often be missed by instruments that don’t need to breathe in the same way.
The musical connection between Dukes and pianist Peter Donohoe is also worth mentioning. At no point did Donohoe feel like an accompanist, but instead the two lines interweave with beauty and delicacy as required.
Kate Rockstrom is a friend of Readings.
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