Brahms Larger Works

Sonata in F minor, Op. 5

I. Allegro maestoso
This is an interesting movement for any sonata in Brahms’ manner of restating the same motive in several different keys and characters. This makes it difficult to tell the exact form of what is the 1st theme and what is the 2nd. Luckily there is a repeat written in so show you undoubtedly where the exposition ends. Brahms begins the development in a virtuosic way, but he quickly displays a stronger interest to make the development about expression rather than technique. When the recapitulation is reached Brahms elaborates slightly on the material and ends in a conservative yet impressive manner.

II. Andante espressivo
The andante begins with an interesting play on the rhythmic placement of the melody. This use of rhythm enables Brahms to achieve a longing effect without the use of lamenting harmonies. The next section exhibits a use of twinkling effects, such as high registers, staccato thirds, and rolled chords. We then move into a soprano and tenor duet that is presented in the highly expressive use of two-note slurs. Brahms also incorporates the use of a repeated-note drone to increase the expression and dynamics without becoming percussive of quickened.

III. Scherzo: Allegro energico
The scherzo seems to be a disjunct waltz a bit like something that might be associated with mischief and the macabre. The trio seems to represent all the opposites of the scherzo. The rhythm is sustained, the harmonies are traditional, and the dynamics never get out of control.

IV. Intermezzo: Andante molto
It seems only fitting that Brahms would find this placement of an intermezzo between sonata movements. The musical elements he presents here seem to function as a scene setting for the final movement. The repeated notes create drama and a feeling of foreboding occurrences.

V. Finale: Allegro moderato ma rubato
The finale certainly carries an air of mischief. The B section contains an accompaniment in tremolo thirds which I have known only from Brahms and which I am now questioning as an original to him. This movement, for me, carries a stronger story-telling atmosphere than I am used to with Brahms. I can almost imagine certain sections of this music providing the soundtrack to live-action scenes and dancing.

Paganini Variations, Op. 35

Book I

1) The first variation is a rather devilish use of sixths in the right hand with the 5th of the chord in the left hand, necessitating a secure technique to achieve a unison chordal sound.
2) The second variation transfers the sixths to the left hand, giving the right hand octaves and chords as harmonization.
3) The third variation uses a Haydn-esque figuration which requires the two hands to share occupation of the same region of the keyboard. The idea is to create a monophonic virtuosity which necessitates the nimble use of ten fingers.
4) The fourth variation requires the shared use of trilled melodies with leaping legato octaves. Each hand gets its turn doing each technique.
5) The fifth variation uses disjunctive two-note slurs between the hands, requiring that each hand accent at different times.
6) Though this variation uses octaves and large chords exclusively, I believe the real difficulty lies in the placement of the melody one eighth note late at each measure. This necessitates a strong control over disjoint rhythms while remaining true to the expression of each element.
7) This variation is all about octaves, thirds, and octaves with thirds in them. The theme is made more chromatic to enhance the expression within the transparent texture.
8) This variation is similar to the previous one, though this time there are more thirds than octaves.
9) This is made up entirely of octaves and chords. Each hand is given an opportunity to perform octave repeated notes, which can be tiring if one does not possess the appropriate technique.
10) The melody is a duet in thirds here, where the primary issue of the music is syncopation amidst expression.
11) This variation is about maintaining melodic independence in both hands while maintaining the tremolo thirds as an underlying accompaniment. This technique is similar to Chopin’s etude in E major.
12) This variation deals with one of the more difficult methods of broken-chord figuration. Requiring a great deal of both horizontal arm movement and wrist rotation.
13) This variation is in regards to virtuosic right-hand octaves. Similar to many pieces by Liszt.
14) This variation is a finale which presents itself on a concoction of basically every virtuosic element at Brahms’ disposal, such as swift five-finger patterns, five-note arpeggios, octaves, chords, hemiolas, etc.

Book II

1) This variation consists of octaves, thirds, and octaves with scalar figurations in the middle of them.
2) This variation consists of octaves which are made more difficult by being duplets set against triplets.
3) This variation is crafted similarly to the previous variation, except now the primary difficulty is thirds, and they are in triplets while the accompaniment is in duplets.
4) I would imagine that the primary difficulty with this variation is the addition of ornaments to swift moving octaves. Control over the chords in the left hand could also be difficult to execute correctly.
5) The real trick of this variation is dividing the triplet groupings appropriately between the hands, making sure not to allow them to sound different from each other as a result of some being more difficult to execute.
6) The triplets carry over into this variation, this time studying the appropriate technique of crossing hands to achieve fluid velocity.
7) This variation is concerned entirely with difficult rhythms. The melody is in 4, the tenor is in 3, and the bass is in a displaced 9.
8) This variation is one of the few real music examples I have seen which utilizes contrary motion as a technique of interest.
9) This variation combines broken major 7ths on the first half of the measures with unison octaves on the second half.
10) This variation combines unison diminished 7 arpeggios with sustained melody notes, probably causing the most difficulty on starting the arpeggio with a secured sound and fingering.
11) This variation consists of broken scales with expand into octaves on every other eighth note, necessitating that the scale be played with limited fingering and a relaxed hand position, allowing for frequent contraction and expansion.
12) This variation combines left hand arpeggios with right hand octaves. The right hand is made more difficult by sustaining notes in the midst of the moving octaves.
13) The primary difficulty of this variation is the use of thirds with a constantly altering bottom note. The bottom note is repeated, requiring that the hand be agile and relaxed to avoid becoming sluggish.
14) This variation is extremely similar to the 14th variation of the first book, combining multiple techniques into a grand finale.