Brahms op.117/3

[klm46]

In the first few bars, Brahms writes longer phrase markings over slurred semiquaver pairs.  Just wanted to check whether I still am meant to be slurring the semiquavers (effectively creating breaks in the longer phrases) or not - my teacher says to play the line with a continuous unbroken legato.  But then why would Brahms bother writing the slurs over the semiquavers?

[ramseytheii]

In the first few bars, Brahms writes longer phrase markings over slurred semiquaver pairs.  Just wanted to check whether I still am meant to be slurring the semiquavers (effectively creating breaks in the longer phrases) or not - my teacher says to play the line with a continuous unbroken legato.  But then why would Brahms bother writing the slurs over the semiquavers?

Brahms is trying to tell you that it is one legato line, with nuance.  Use touch to shape the smaller slurs, but don't actually break the line.

The small slurs should be thought of as espressivo.

Walter Ramsey

[gerryjay]

dear klm:
i agree 100% with walter. it's a matter of coordinate several different movements: fingers, wrist and forearm. let me suggest a way of practicing that:

- pick up measures one to five (until the b sharp).

- explore the bar slurs. there are four. try to play the fragments as legato as you can, and end each one with a slight movement of the wrist (upwards). notice that there is no arm movement: only the wrist. that will create a subtle break in your line, separating each fragment, but not creating a rupture.

- when you're Ok with that, add a forearm movement (or a larger wrist movement) to finish the part. that will create both a more definite separation, and give you momentum to attack the next part (a varied repetition, btw).

- final, add the espressivo touch that walter talks about. basically, you can use a bit of pressure in the first note, releasing in the second. very important is keep the wrist down, because if you move it upwards in this small slur, you will destroy the line - and thus the whole effect Brahms planned here.

exagerating those movements in practice usually helps me a lot, but as you get acquainted with the relations between notes, music, movements, it's cool to moderate them. this practice can easily lead to a histrionic performance if you keep using large gestures all the time.

best!

[welltemperedpianist]

Blahh-- I'm trying to force myself to learn this piece (I learned the first two intermezzos of 117) but I just cant force myself to like this piece!! I love the first two intermezzos, but this one... Grr

sorry-- anyway with your question, I would agree with what both people said: Dont break the line, it would sound too choppy if each "outer" slur were ignored. Perhaps the purpose of the "inner" slurs (of the semiquavers) were to indicate movement, like in measure 2 bb. 2 to measure 4, each slurred semi-quaver indicates direction and grouping of notes...

Maybe I'm totally making this up 

[klm46]

Lol, and it looks so easy on paper 

Thanks a lot for your advice guys, appreciate it.