Brahms – Intermezzo in E flat minor (Opus 118 no. 6)

[rosejaune177]

I recently learnt the well-known Intermezzo in A major (Op. 118 no. 2). I'm now considering no. 6. It doesn't seem to be as widely performed as the other intermezzi, but I think it's beautiful.

I'd really appreciate any opinions from people who have played this. How does the middle section (with all the RH octaves) compare to the more lyrical, legato outer sections?

Apparently, as a new member, I'm entitled to a 'free piano piece' from the PS library... should it be this Intermezzo?

For want of a better reason to learn this, E flat minor is a wonderful key, isn't it?

Thank you in advance!
Rose Jaune

[opus43]

You could get the sheet music free for this on IMSLP. I don't know what PianoStreet's edition is like though.

[marijn1999]

I played it about two years ago. The first and third sections (outer, in your words) are harder, imo, because it is very hard to balance the two hands and the outer sections are to be played much more sustained and intimate and because they run all over the keyboard it is very hard to play in that manner. But it is a very beautiful piece and it will definitely satisfy you when you've learned it.

Btw, I don't know if you listen to Gould a lot with Brahms, but make sure you don't imitate his interpretations. In the middle section, Brahms marks a lot of the notes staccato, but Gould plays it very legato, so... (But he is still a wonderful pianist, my favorite in fact). Just beware of that.

Hope that helps!

BW,
marijn

[rosejaune177]

I played it about two years ago. The first and third sections (outer, in your words) are harder, imo, because it is very hard to balance the two hands and the outer sections are to be played much more sustained and intimate and because they run all over the keyboard it is very hard to play in that manner. But it is a very beautiful piece and it will definitely satisfy you when you've learned it.

That's interesting - I've had a look and I actually felt that the 1st and 3rd sections would suit me most (as layering and phrasing are usually my stronger points), while the middle section scared me a bit... I'll bear your comments in mind, though, and I agree that it would be a satisfying piece to learn.

Btw, I don't know if you listen to Gould a lot with Brahms, but make sure you don't imitate his interpretations. In the middle section, Brahms marks a lot of the notes staccato, but Gould plays it very legato, so... (But he is still a wonderful pianist, my favorite in fact). Just beware of that.

Ah! Thank you for pointing that out - I hadn't listened to the recording very carefully, but I shall be aware now. I did hesitate to post a Gould recording, knowing that my piano teacher once referred to him as "that eccentric one"...

Hope that helps!

It does!   Thank you for for taking the time to reply, marijn.

[visitor]

late Brahms is jiggy, scares the bejuices out of me, in fact I hesitated so much that I waited until after I graduated from undergrad piano performance and studies a couple years w/ another artist teacher post Bach before even attempting late Brahms (earlier Brahms much more straightforward and no where near as difficult and scary).

Brahms is difficult because the writing is so symphonic in nature, you get the feeling he did not compose at the keyboard but had a conductor's score texture in his mind. There are hallmarks that permeate his music, especially late in  life, and they are important to identify when you see them in his pieces (they are everywhere but hidden sometimes) and those should be brought out. Legato and less pedal is usually the right way to go and as alluded above certain staccato are vital.  I don't remember if it's from this talk or another (posted below) but Brahms' practice piano had the pedals removed, so you really get an idea of the importance of legato when it needs it and not when it doesn't, texture is critical in these pieces.

Gould was bananas, stay away from him for Mozart especially (he felt Vienna corrupted a more innocent/pure Mozart and Glenn almost goes out of his way to butcher much of Mozart's output).

actually I just watched a really spot on masterclass discussion on the importance of texture in Brahms, especially late Brahms,  would likely help you hone in key concepts to get a hold of earlier vs. later.

[rosejaune177]

Thank you for that, vistor - everything you've said is useful, whether I go for this particular piece or not!

Your comment about Brahms' symphonic texture makes a lot of sense to me, and I guess it's not surprising given how he strove to preserve the symphony. In any case, his piano works don't seem 'pianistic' in the same way that, say, Chopin's music lies so well under the fingers. (Having said that, I loved 118/2!)

Legato and less pedal is usually the right way to go

Yes, that's a interesting challenge. It's so easy to rely on the pedal, rather than letting it enhance a piece appropriately. I suppose, here, it's best to approach the piece without pedal at first.

Gould was bananas, stay away from him for Mozart especially (he felt Vienna corrupted a more innocent/pure Mozart and Glenn almost goes out of his way to butcher much of Mozart's output).

Righto. I was aware of some kind of controversy over Gould's interpretations, but I didn't know this.

Thanks again.
Rose Jaune