Album insights
In September 1894, Brahms asked his publisher, Fritz Simrock, whether he had noticed that the melody of the last of the 49 German folksongs he had collected and arranged that year was the same as one he had used in a slow movement of his Piano Sonata, Op. 1, four decades earlier. Brahms saw this as a symbolic conclusion to his work, likening it to a snake eating its own tail, signifying the end of an era.
Viewing his life's work as somewhat complete for a few years, Brahms shared his doubts with friend Eusebius Mandyczewski in 1890 after composing his String Quintet in G major, Op. 111. He expressed concerns about attempting larger works and possibly being too old to continue. Despite reports of his artistic decline, Brahms' encounters in 1891 and beyond inspired him to create new works, including clarinet pieces and piano collections.
Towards the end of his life, many of Brahms' pieces reflected themes of mortality. His last composition, after Clara Schumann's funeral in 1896, was a series of eleven Chorale Preludes ending with "O Welt, ich muss dich lassen." The descending thirds motif used in his late works, notably in piano pieces and the Four Serious Songs, emerged as a symbolic theme of impending death.
Brahms' collection "Fantasies," Op. 116, consisting of Capriccios and Intermezzi, showcases a blend of stirring and tranquil pieces unified by falling thirds intervals. The intense Capriccios in D minor serve as bookends to the more serene E major and E minor Intermezzi, creating a varied yet cohesive collection marked by poignant melodies.
The melancholic Intermezzo in A minor stands out with its Sarabande rhythm and shadowed middle section, showcasing Brahms' ability to convey emotion with subtlety. The fiery G minor Capriccio, functioning as the collection's Scherzo, leads into introspective passages in E major, demonstrating Brahms' mastery in creating miniature yet deep compositions.
The three Intermezzi, Op. 117, often referred to as "lullabies of my sorrows" by Brahms, collectively reflect themes of tenderness and melancholy. Each piece, marked by low dynamics and similar tempos, shares a sense of introspection and emotional depth, highlighted by poignant melodies and poignant harmonies.
Brahms' Six Piano Pieces, Op. 118, introduce new titles such as "Ballade" and "Romanze" alongside the absence of the term "Capriccio". Featuring warm tonal shifts in the middle sections, the pieces showcase a range of emotions, from the poignant Ballade emphasizing staccato chords to the graceful Romanze with its lyrical Allegretto section.
The intimate Intermezzo at the start unfolds seamlessly in F major, gradually revealing its main A major tonality within the closing passages. The renowned second Intermezzo, characterized by its melancholic fugue in F sharp minor, presents a canonic structure in enlarged note values, further showcasing Brahms' compositional depth and complexity.
In his sorrowful E minor piece, Brahms employs orchestral colors, creating a poignant narrative through its mournful theme and intricate harmonies. Ending with a despairing arpeggio in E minor, the piece closes with a sense of poignant contemplation, echoing themes of melancholy and introspection throughout the collection.
Lastly, the heroic Scherzo, Op. 4, composed when Brahms was just eighteen, reveals his distinct style and prowess. Highlighted by dynamic contrasts and a spirited second theme, the piece integrates lyrical and assertive passages, culminating in a dynamic finale that showcases Brahms' early brilliance as a composer.