Johannes Brahms (1833-1897): Sonata Op. 120, No. 1 in F minor (1894)
Robert Schumann (1810-1856): Märchenbilder Op. 113 (1851)
Johannes Brahms (1833-1897): Sonata Op. 120, No. 2 in E-Flat major (1894)

Although originally conceived and composed for the clarinet at the request of Richard Mühlfeld, a much lauded clarinetist of the day, these coequal counterpart versions for the viola (they were published as sonatas for clarinet or viola) are just as effective in transmitting the expressive character of these late works. The clarinet may have the edge when it comes to imparting a doleful mood, but the viola is best at projecting an overall autumnal tone to the music.

There were slight alterations to the viola part, but here violist Christian Euler, as he points out in the booklet notes, "decided to play the original clarinet version consistently and to fully exploit its large range, especially in the virtuoso passages."

But virtuoso passages aside, as in the Vivace movement of the F minor, it's in this sonata's reflective Andante un poco adagio and the E-Flat major sonata's Allegro appassionato movements that Euler's expressive musicianship is better served. This is where the ripeness and percipience of Brahms' wisdom flow freely as if nothing more to prove. And what better instrument than the viola to convey this aged and refined musical vintage to the audience.

The Märchenbilder (Fairy Tale Pictures) by Robert Schumann are of a more incidental character, yet no less appealing. Especially its final Langsam, mit melancholischem Ausdruck (Slow, with melancholic expression) in which both Christian Euler and pianist Paul Rivinius assuredly disclose its deeply emotive character.

As good a recording as any to delve further into the deep amber, woodsy sonic character of the viola.