Album insights
Brahms has often been regarded musically as an abstract composer due to his vast output of instrumental music, occasionally hinting at external inspirations. Emerging in his early period, the three piano sonatas from 1852/53 feature slow movements linked to literary texts. Following these, a series of four pieces named “Ballade” appeared in 1854 by Brahms and later revisited only in the Ballade in G minor, op. 118, No. 3 in 1893.
The third Piano Sonata in F minor, completed in October 1853, marks the peak of Brahms' initial phase composing piano sonatas. It combines the richness and length of the extensive Sonata in F♯ minor, op. 2, with a more concise handling of themes akin to the Sonata in C major (published as op. 1 but composed second). Representing a new stage, this Sonata utilizes the sonata medium almost symphonically in both pianistic texture and musical content. Later, Brahms' next piano work transitioned into a sonata for two pianos, which was eventually orchestrated and transformed into an unfinished symphony. This symphony provided material for the first movement of the Piano Concerto in D minor and the Funeral March in the German Requiem.
The atmosphere of the first movement of the F minor Sonata echoes the Funeral March, portraying a drama unfolding through related rhythms and thematic structures dominating the whole movement. Despite a simple form with a clear exposition, development, and coda, the recurring characteristics give a sense of inevitable growth. The ethereal essence foreshadows the “Andante espressivo” slow movement, evoking a reminiscent atmosphere from an earlier composition that implies a hidden background.
The fourth movement, labeled “Andante molto” in B minor, references another Sternau poem titled "Request," simulating a funeral march mood with ominous timpani effects. Serving as an interlude within the work, the Scherzo embodies an energetic character, contrasting with the broad, peaceful trio section that gradually regains the scherzo's rhythm.
Brahms excels in creating a finale that encapsulates the preceding contrasts while adhering to a rondo form, enriching the detailed development of ideas with pronounced contrasts, similar to the earlier Scherzo and Trio. The finale evolves dynamically, culminating in a rhythmic climax that symbolizes a powerful conclusion.
The first of the Ballades op. 10, inspired by the Scottish ballad ‘Edward,’ presents a gruesome tale of patricide, articulated through a gripping piano duet composition. Through intense contrasts in the subsequent ballads, Brahms explores deeper narratives and atmospheric effects, showcasing his profound innovation in piano composition beyond traditional boundaries, leading to a transition towards larger chamber and orchestral works post-1854.
Each subsequent Ballade reveals a unique character, incorporating influences from Brahms’ contemporary, Schumann, in melodic developments and structural decisions, culminating in a poignant and emotionally charged conclusion.