Brahms - Intermezzi, op.117

[andhow04]

Here's the first one!

[andhow04]

The second

[andhow04]

third

[furtwaengler]

Beautiful.

I like your dark shading of the middle section of no. 1, but like even more the exquisite shaping at the close of no. 1. The subtle phrasing of the second theme in no. 2, especially at the ends of phrases are very nicely done...and oh, the middle section of no. 3! Hauntingly beautiful.

Well done. Brahms is well suited to you.

[rachfan]

Hi andhow,

I just listened to your Op. 117.  For sure, the soul of Brahms lies in his intermezzi.  The only one I've actually played in this particular set is No. 2 in B flat minor, although I'm familiar with the others too.  I believe that you've performed these pieces in a most convincing way.  You bring out the burnished sound of the mature style of Brahms.  I especially like your phrasing, voicing, and your way of distinguishing textures for clarity of line.  Congratulations on these beautiful renditions!

[stringoverstrung]

Great Stuff!

I enjoyed it a lot. thank you and post some more.

tx.

[scottmcc]

i agree with all that has been said above.  if someone is still doing that "best of the audition room" thing, these recordings should be added to the list.

thanks for sharing!

[rafant]

Hi, very interesting choosing of tempi, different of what I listened before, but quite convincing. Moving, high quality playing. Warm, velvety piano sound. A treasure. Thanks a lot.

[goldentone]

Superb, Andhow.

[ramseytheii]

op.117 no.1 - Stunning voicing!  This intermezzo is so difficult to get the true transparent sound.  Either one only hears the top e-flats, or one only hears the tune.  I can hear the variety of touch quite clearly.  Also, excellent and clear pedaling.  One can tell, your ear is working very hard to get the right combination of sounds.  Wonderful.

op.117 no.2 - I'm not as convinced, though it is good pianism.  I wonder if the tempo is a little too fast?  Somehow, the languorous character is not coming through as well.  Yes, I think the tempo is too fast.  I would approach this more along the lines of op.119 no.1, where the notes seem to unfold from each other in mid-air, like sagging branches.

op.117 no.3 - This might also be just one or two notches too fast.  It's a small complaint, but one doesn't feel the music is unfolding with ease.  Also, could it open softer?  sotto voce is really a very important indication.  What a sound in the middle section, beauty and transparency.  The phrasing in the right hand captures the pensive, almost curious mood, but the fast tempo takes away from it somewhat.  Well, one has one's whole life to get slower after all.

Walter Ramsey

[teresa_b]

Hi, very nice!   

Op 117 no 2 is my favorite of these.  You play it really well, but I do agree with Walter above.  Maybe slow it a hair, and never let any passage get even a little bit sprightly--even the climax and the slightly hopeful, questioning segue to the recap lead only to back to melancholy, and that languorous feeling, I think, should subtlely pervade the whole thing. 

That said, it is my own interpretation--play from your heart, as you obviously do!
Teresa

[andhow04]

Beautiful.

I like your dark shading of the middle section of no. 1, but like even more the exquisite shaping at the close of no. 1. The subtle phrasing of the second theme in no. 2, especially at the ends of phrases are very nicely done...and oh, the middle section of no. 3! Hauntingly beautiful.

Well done. Brahms is well suited to you.

thanx for the comments!  I have not played a lot of brahms int he past so made myself learn a half-recital of it (45 minutes) although I had played op 76.  I will probably look at op.116 next!

Glad u noticed the phrase endings in no.2, i had a deliberate way of playing them

thanx again

[k589]

I really enjoy the first and second intermezzi; but I think the lower voice in the 3rd one that comes in at the reciprocation of the melody at the beginning of the third section could be much more pronounced. It really is a beautiful sense of texture when that juxtaposing melodic line clashes with the rest of what's going on, creating a singing, fighting tone that abides with the overall sense of the piece as the the melody snakes back in on the heels of the more contemplating middle section.