Hmmm...I realized for the first time listening to your comments that the theme of the middle section of #2 resembles the "passion chorale" melody often sung in church to the words "O Sacred Head Surrounded" (in English-speaking countries). And then the theme appears in explicitly hymnlike form in F-sharp major, traditionally the key that depicts heaven. Finally, we know Brahms was aware of the passion chorale tune because, several years after writing this piano piece, he wrote two organ settings of "Herzlich tut mich verlangen" which use that melody. I think we could probably find many more instances of Lutheran hymns appearing in disguised form in Brahms.
Love analysis and quotes. I tend to be partial to numbers 3 , 4(working on it) and 6(begins almost like an observer in a separate dimension). Beautiful performance of no 2.
As others have already commented, many thanks for the illuminating analysis and then for the exquisite performance of these two very beautiful pieces. Cole, you are simply the best. ❤ These opening pieces to Op 118 speak in such a powerful way that it seems strange Brahms chose not to give them more fanciful or poetic titles; instead, he understates their real impact by giving them somewhat generic nomenclature. They may have been among the very last pieces Brahms wrote, but they certainly reveal the composer at the very height of his powers. Who could not sense the assurance of a master craftsman at work, with all the features of his expressive style evident - motivic development, imitative counterpoint, cross rhythms and dense, rich textures? And who could resist the music's passionate tenderness, nostalgic mood and the feeling of yearning - and possibly unrequited love - it evokes? When in the late summer of 1893 Brahms sent Clara Schumann manuscripts of the pieces (which thrilled her), she wrote to him saying how remarkable it was that he had managed to convey “a wealth of sentiment in the smallest of dimensions”. A comment that surely encapsulates the genius of Brahms. So, behind the bland titles lies music of great introspection and beauty. As they were written for Clara to play in the autumn years of her life, these pieces are clearly full of yearning for her and the relationship they might have had. Maybe playing the music without this realisation is to deprive the pianist - and the audience - of this largest and most significant of dimensions? I subscribe to the view that when a performer tends to just get fixated on the technical aspects of learning a piece, there is a real danger the imagination gets neglected. In performance, the pianist who is only thinking about the notes, the technical issues, cannot communicate the 'message' of the music, risking leaving an audience flat. This is certainly never the outcome with you, Cole, as you always seem to find a personal artistic meaning when you play that guarantees we are elevated to the highest point of connection between the performer, the composer and the music being experienced. B R A V O !
Thank you Graham, as always! There is so much that could be said about Brahms’ love life, but really one should make an entire video for that topic. It’s so in keeping with his private character and the qualities of his music that he several times came close to marriage, only to pull away. It seems partly that he feared losing his independence but at the same time wished for closeness, and Clara’s was the connection that lasted the longest. Doesn’t this come out so clearly when you hear these pieces?
There is somethng I would like to point out, that I don't think has been pointed out by anyone else. In 22:06-22:17, you hear this idea of the descending scale (A-G#-F#-E-D-C#-B and A-G-F-E-D-C-B). This idea is actually brought back in an inner voice from 22:22-22:27 (notice the voice directly below the "main melody" - it's A-G#-F#-E-D-C#), which nobody I've listened to brings out (not even Glenn Gould!)
I agree with you on the meaning of hairpins - If they only indicated rubato, then moments where there are two opposite hairpins in different staves occuring simultaneously wouldn't make much sense.
Yes, that is a great point-it seems they had a connotation of some kind for tempo flexibility but it is hard to pin down precisely what that is in every case. Perhaps it is just as well, since that is one place where the performer’s freedom comes to the fore!
Hmmm...I realized for the first time listening to your comments that the theme of the middle section of #2 resembles the "passion chorale" melody often sung in church to the words "O Sacred Head Surrounded" (in English-speaking countries). And then the theme appears in explicitly hymnlike form in F-sharp major, traditionally the key that depicts heaven. Finally, we know Brahms was aware of the passion chorale tune because, several years after writing this piano piece, he wrote two organ settings of "Herzlich tut mich verlangen" which use that melody. I think we could probably find many more instances of Lutheran hymns appearing in disguised form in Brahms.
Amazing insight-thank you for this!
Yay, no 2 is one of my favourite pieces for the piano!! Beautifully played as always, Cole!
Love analysis and quotes. I tend to be partial to numbers 3 , 4(working on it) and 6(begins almost like an observer in a separate dimension). Beautiful performance of no 2.
What a wonderful interpretation and analysis of this masterpiece! Thanks!
As others have already commented, many thanks for the illuminating analysis and then for the exquisite performance of these two very beautiful pieces. Cole, you are simply the best. ❤
These opening pieces to Op 118 speak in such a powerful way that it seems strange Brahms chose not to give them more fanciful or poetic titles; instead, he understates their real impact by giving them somewhat generic nomenclature. They may have been among the very last pieces Brahms wrote, but they certainly reveal the composer at the very height of his powers. Who could not sense the assurance of a master craftsman at work, with all the features of his expressive style evident - motivic development, imitative counterpoint, cross rhythms and dense, rich textures? And who could resist the music's passionate tenderness, nostalgic mood and the feeling of yearning - and possibly unrequited love - it evokes? When in the late summer of 1893 Brahms sent Clara Schumann manuscripts of the pieces (which thrilled her), she wrote to him saying how remarkable it was that he had managed to convey “a wealth of sentiment in the smallest of dimensions”. A comment that surely encapsulates the genius of Brahms.
So, behind the bland titles lies music of great introspection and beauty. As they were written for Clara to play in the autumn years of her life, these pieces are clearly full of yearning for her and the relationship they might have had. Maybe playing the music without this realisation is to deprive the pianist - and the audience - of this largest and most significant of dimensions? I subscribe to the view that when a performer tends to just get fixated on the technical aspects of learning a piece, there is a real danger the imagination gets neglected. In performance, the pianist who is only thinking about the notes, the technical issues, cannot communicate the 'message' of the music, risking leaving an audience flat. This is certainly never the outcome with you, Cole, as you always seem to find a personal artistic meaning when you play that guarantees we are elevated to the highest point of connection between the performer, the composer and the music being experienced. B R A V O !
Thank you Graham, as always! There is so much that could be said about Brahms’ love life, but really one should make an entire video for that topic. It’s so in keeping with his private character and the qualities of his music that he several times came close to marriage, only to pull away. It seems partly that he feared losing his independence but at the same time wished for closeness, and Clara’s was the connection that lasted the longest. Doesn’t this come out so clearly when you hear these pieces?
Great timing! Learning these at the moment. Beautiful pieces, especially no. 2! Thank you for the invaluable information in this video! 😊
exciting ❤
These little gems express Brahms' genius with such concision.
Great analysis, and wonderful playing. Thank you! 🙂
So so beautiful. Thank you for your work, Cole!
There is somethng I would like to point out, that I don't think has been pointed out by anyone else.
In 22:06-22:17, you hear this idea of the descending scale (A-G#-F#-E-D-C#-B and A-G-F-E-D-C-B). This idea is actually brought back in an inner voice from 22:22-22:27 (notice the voice directly below the "main melody" - it's A-G#-F#-E-D-C#), which nobody I've listened to brings out (not even Glenn Gould!)
One of the amazing and articulate analysis I've heard---thank you so much! ❤ 🧡 💛 💚 💙 💜 Learned this piece and love it!
Beautiful. You really walked the razor's edge
Yessss Brahms
I agree with you on the meaning of hairpins - If they only indicated rubato, then moments where there are two opposite hairpins in different staves occuring simultaneously wouldn't make much sense.
Yes, that is a great point-it seems they had a connotation of some kind for tempo flexibility but it is hard to pin down precisely what that is in every case. Perhaps it is just as well, since that is one place where the performer’s freedom comes to the fore!
Great playing! Can I ask which pianist has your favourite recording of these pieces?
There are too many good ones to choose from-but if I had to pick, probably I would choose Wilhelm Kempff’s recording from the 1950s.