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Poll

Caprices Op.116. Which one is the most difficult?

Op 116-1
1 (33.3%)
Op 116-3
1 (33.3%)
Op 116-7
1 (33.3%)

Total Members Voted: 3

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Topic: Brahms experts: Caprices Op.116. Which one is the most difficult?  (Read 6371 times)

Offline presto agitato

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Brahms experts: Caprices Op.116. Which one is the most difficult?
on: January 15, 2011, 03:27:41 AM
Hello

I love those caprices.
They are not easy at all and I'd like to learn them in order of difficulty.

Could you please tell me your opinions please?

Thanks
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The masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the cocomposer what he ought to have composed.

--Alfred Brendel--

Offline retrouvailles

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Re: Brahms experts: Caprices Op.116. Which one is the most difficult?
Reply #1 on: January 15, 2011, 03:33:20 AM
Just like with any other difficulty thread, this is completely subjective. Sit down with the sheetmusic, study it a bit, sit down at the piano, and try it out for yourself. That's the only way your question will be answered. Hearing other people's opinions won't mean much, for everyone has different musical abilities.

Why only 1, 3, and 7 in the poll, though?
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Offline presto agitato

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Re: Brahms experts: Caprices Op.116. Which one is the most difficult?
Reply #2 on: January 15, 2011, 03:47:46 AM
Quote from: retrouvailles on January 15, 2011, 03:33:20 AM
Why only 1, 3, and 7 in the poll, though?

Op116: 4 Intermezzos + 3 Caprices.
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The masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the cocomposer what he ought to have composed.

--Alfred Brendel--

Offline john11inc

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Re: Brahms experts: Caprices Op.116. Which one is the most difficult?
Reply #3 on: January 15, 2011, 05:15:14 AM
No. 1.  The left hand part is notorious.
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Offline presto agitato

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Re: Brahms experts: Caprices Op.116. Which one is the most difficult?
Reply #4 on: February 14, 2011, 04:29:26 AM
More opinions?
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The masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the cocomposer what he ought to have composed.

--Alfred Brendel--
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