Brahms - Intermezzo Op.118 No.2

[liszt85]

I'm still working on it, had done the first half some time ago and did the second half this past couple of weeks. Had one lesson on it. So I'm still working on smoothing it out but here's what I have right now. Would love to hear your thoughts. Thanks!

[birba]

Very fine playing.  Maybe a hair bit faster.  And there are times when the left hand is too plodded out - think more harmonically - but you have a very beautiful foundation to build on!

[liszt85]

Very fine playing.  Maybe a hair bit faster.  And there are times when the left hand is too plodded out - think more harmonically - but you have a very beautiful foundation to build on!

I agree with your comments, I felt the same after listening to that recording. It helps to record and listen to yourself! Will work on lightening up (and smoothing out) the left hand a little bit. For me, Brahms has a strong presence in the bass register, and so some of my heavy left hand work was intentional but I realize I probably overdid it.

[starstruck5]

I thought your playing was quite beautiful. Well on your way to mastering this.

[liszt85]

I thought your playing was quite beautiful. Well on your way to mastering this.

Thanks!

[emill]

for whatever it is worth .... i enjoyed the way you played this Brahms piece. I wish my son would take a some respite from Beethoven and Liszt!

[ans_]

I really like your playing, the melody sings throughout the piece!

One detail I like to add is the phrasing from c#-b to a from 1st to 2nd measure, which I personally would play more legato, so the melody lands on this high note effortlessly.

Also your natural waves of dynamics are very fine.

Mark

[rachfan]

Hi liszt,

I really enjoyed listening to your playing of this intermezzo.  You give the piece the feeling of a reverie in line with Brahms' direction to play with tenderness and deliacy.  You demonstrate a refined control of tone in your playing.  I believe that your tempo is fine as is.  When I played the piece, I probably used a quarter = 56 or 58 at most.  You voice the chords and double notes very well in playing the cantabile melody contained in the top notes.  You have a nice rubato, but keep it non troppo.  Brahms was a bit on the classical side of romanticism, so your conservative approach is a good choice.  Your pedaling is very clean too.  

Here are a few details you might want to consider (I use the von Sauer edition):

Page 1:

In the 1st line, 4th full measure, put a bit more space after the 2nd beat before playing the third beat. That's a breathing spot for the soprano in this bel canto.  

4th line down, measure 19: Notice that the top notes in the treble are descending while the bass notes on the beats are ascending.  You do a fine job throughout the piece of balancing the hands (and balancing within the hands too) to allow the melody in the foreground to soar.  In this measure you have contrary motion which is a momentary point of interest.  Without  exaggerating the bass, I think you could bring it out more there.

5th line, measure 22: On the 3rd beat the treble melody note A has to leap up to F#.  For you, the pianist, it's so easily done with the fingers, but the soprano needs to prepare the voice for a partial second to make the leap. So there again, you need a subtle delay there which adds a little more musical drama to the leap.

Page 2:

Measures 30-32: You're correctly bringing out the low bass figuration; however, the major descending scalar line in the RH, A, G#, F#, E, D, C#, B, A seems stifled. You'll want to etch that scale for clarity, as scalar figures are significant to the ear of the listener.  The dynamic there is about mf taking into account the crescendo, so the best way to rebalance the hands might be to consider the bass figuration non troppo.  That way you're not forcing competition of dynamics between the hands, but simply deemphasizing one slightly to allow the other to bloom.

5th line: Notice that Part B here is not only an inversion of the principal melody, but is actually a canon too! So, for example, in the opening measure 49 the RH plays starting on the 1st beat C#, F#, E, D, C#. Then the LH plays starting on the second beat plays C#, F#, E, D. Then in 53 the RH plays C#, A, G#, E and on the second beat the LH plays C#, A, crosses up into the treble staff to continue with the voice leading and continues there with G#, F#.  You'll want to make that canon more evident to the listener if you can.

Page 3:

Line 1: This section is a very quiet chorale, the treble melody in the chords being played with the 5th finger, while the bass top notes are done with the thumb as you know.  But it becomes more complicated:  

Measure 57: The RH is emphasized on the first beat for both 8th notes, but the LH is more prominent in the 2nd and 3rd beats. In measure 58, the RH is featured in the 1st and 2nd beats, but the LH only in the 3rd beat. In measure 59, only the 1st beat of the LH is featured. At measure 61 this pattern of handing off between the hands follows the same pattern established back in 57 It's very tricky to get it just right, but if you do, you'll like the sound.  

Measure 76: I believe you could make even more of the fermatas, even prolonging them for complete tone decay.  This is an important pause prior to the reprise of the main theme.

Again, I think you've produced a wonderful rendition.  These points I make would should be considered as mere enhancements.

I hope this is helpful.

David

[liszt85]

David,

  Thank you so much for believing that it was worth your time to give me those detailed suggestions. I think you're spot on! I think my dotted notes were sometimes too hurried, I think that B section counterpoint could have been much better, and so I agree with your observations overall. I'm getting some pretty high quality feedback here. I'm paying attention to those now and its coming out much better too. These are things I vaguely had in mind but hearing them from other people helps solidify my conception of the piece. I will get my score out and go through your suggestions carefully.

Thanks,
Vishnu

[rachfan]

Hi,

You're entirely welcome.  You did such a good job preparing the intermezzo that I was glad to give you that extra information to help out.

David