Brahms: Klavierstücke, Op. 119 (Thomas Weaver, piano)

Johannes Brahms (1833-1897) wrote the four pieces of Klavierstücke, Op. 119 in 1892 and 1893 alongside of other sets for solo piano including Op. 116, 117, and 118. Before this time, Brahms returned to a life in composition after hearing Richard Mühlfeld, a clarinetist, that inspired him to write a number of great works involving the clarinet. This renewed energy for Brahms led to some of his greatest works, including this particular set of piano pieces.

I. Intermezzo: Adagio 5:31
In a letter to Clara Schumann, Brahms wrote, "Every bar and every note must sound like a ritard, as if one wanted to suck melancholy out of each and every one, lustily and with pleasure out of these very dissonances!" This concept is reiterated through Brahms' use of slurs, separating nearly every bar with different phrase markings.

II. Intermezzo: Andantino un poco agitato - Andantino grazioso 9:46
This peculiar movement has a rather agitated character throughout both of the A sections. Frequent markings of "sostenuto" create an ebb and flow that contributes to this quality. The B section of this movement is a charming waltz, seemingly from an entirely different world than the A section. As it is in the parallel major (E major), Brahms is able to utilize the half step to return seamlessly into the agitated e minor when he returns back to the A section.

III. Intermezzo: Grazioso e giocoso 14:03
A very charming movement in the key of C major. This movement has a very playful character, although Brahms does again use the idea of "sostenuto". After a very brief B section, Brahms writes a return using a hemiola, creating a different rhythmic feel than the opening of the work.

IV. Rhapsodie: Allegro risoluto 15:40
A rousing conclusion to the entire set, this rambunctious movement features odd phrase lengths throughout. Notice that the opening phrase lasts five measures, rather than the anticipated four. Because of this, that opening theme, though it is very march-like and grounded, has an underlying feeling of instability and unevenness. The end of the movement strangely concludes in the parallel minor, creating the opposite effect of a Picardy third (a minor key ending in the parallel major).

Recorded LIVE from my home in Nov. 2020.
Thomas Weaver, piano

Видео Brahms: Klavierstücke, Op. 119 (Thomas Weaver, piano) канала Thomas Weaver