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The Brahms Sound. Thomas Mastroianni. Brahms and Clara Schumann Sound. Her playing was characterized by technical mastery , thoughtful interpretation, poetic spirit , depth of feeling, a singing tone , and strict observance of the composer's markings. Masselos Sound.

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the brahms sound

The Brahms Sound

Thomas Mastroianni

brahms and clara schumann sound
Brahmsand Clara SchumannSound

Her playing was characterized by technical mastery, thoughtful interpretation, poetic spirit, depth of feeling, a singing tone, and strict observance of the composer's markings.

masselos sound
Masselos Sound
  • Carl Friedberg – disciple of Clara Schumann
  • William Masselos – pupil of Carl Friedberg
retropulsion
Retropulsion
  • Reactive force of key depression
  • Leverage
  • Alignment
  • Mobility
  • Onset of Relaxation
  • Power enhancement
  • Reduces Key Noise
51 exercises no rules tone oriented technique
51 Exercises“no rules!”(Tone oriented technique)
  • # 1a – contrary motion fingering; 4 against 3; thumb on black notes
  • #5 – broken 8ve scales with 8ve displacement; thumb over or under 5 and on black notes; opening and closing hand
  • #3 – Double thirds 5 and thumb play 3 consecutive notes
  • #9a – legato and staccato with hand extension
legato
Legato
  • Legato is aural connectivity not just finger overlap.
  • Legato is a sound
posture
Posture
  • Relaxed hand
  • Open elbow
  • Back muscle support and readiness
  • Head up
  • Natural position of foot in pedal release position aids shallow pedal use
other factors of the brahms sound
Other factors of the Brahms Sound
  • Clinging Touch-Key contact reduces noise
  • Richness of Counterpoint, layered sound
  • Texture and Balance
  • Pedal
sonata op 5
Sonata Op. 5
  • I 1st theme: Range, Leaps, Contrasts, Orchestral
  • 2nd theme: Voicing (alto), wide weave accompaniment
  • II m.1: fingering, flat finger sound (accomp.) 4/16 section: pedal, articulation, lightness
  • III m.1: long line counterpoint, leaps m.42: range, register levels Trio: Chorale –vocal texture
  • IV Tympani effects
  • V 1st theme: orchestral, broken sixths sound 2nd theme: AAB_ harp-like melody, wide accomp.
    • Coda: counterpoint
piano concerto op 15 waltz op39 15
Piano Concerto Op. 15 Waltz Op39 #15
  • Solo: Layered Texture – static bass under the rich throbbing sounds of 3rs and 6ths
  • P. 12: wide-weave accompaniment sounds
  • 2nd Theme: chorale sound

Waltz in Ab

  • Melody in 6ths
  • Harp-like accompaniment
rhapsody in g opus 79 2 p40
Rhapsody in g Opus 79 #2 p40
  • 1st theme: AAB_ phrases, register leaps, avoid tonic harmony
  • 2nd theme: ethereal sound (twilight mood) left hand slurs, flat finger arm sweep, very little articulation
intermezzo op 116 2 p53
Intermezzo Op. 116 #2 p53
  • Counterpoint within right hand – voicing, 2 against 3
  • B section (m19): unearthly sound via 8ve displacement, rhythmic displacement
intermezzo op 116 4
Intermezzo Op. 116 #4
  • AAB_ melodies , fragmented harmonic line, most important thematic material as a counterpoint at the first repetition of the opening.
  • 2nd theme (m 37): Twilight mood (Geiringer)
intermezzo op 116 6 p 66
Intermezzo Op. 116 #6 p. 66
  • 1st theme: Chorale sound, voicing alternately alto and soprano
  • 2nd theme: A_BB structure (reverse of AAB_) Descending scale with integrated triplet accompaniment
three intermezzi op 117 p 72
Three Intermezzi Op. 117p.72
  • #1: simple sound of a folk melody (lullaby) rocking chair rhythm in the accomp. 2nd theme: twilight mood (stillness)
  • #2: Twilight – quiet sweeping accompaniment with melody blended into the stillness
  • # 3: Stark descent into the subconscious, 5 m phrases, constantly shifting harmony
intermezzi op 118 2 op 119 p 86
Intermezzi Op. 118 # 2, Op 119 p.86
  • 118 # 2: legato sound, counterpoint, sostenuto, dolce, chorale sound
  • 119 #1: clinging touch, balance, sostenuto
  • 119 #2: layers (lh + ped / rh slur)
  • 119 #3: 3 layers (2 rh touches) m 66: scherzando chords
  • 119 #4 (Rhapsody): Power vs. noise, m94: 3 layers (2 rh touches)
clarinet sonata op 120 1 violin sonata op 108
Clarinet Sonata Op. 120 #1Violin Sonata, Op. 108
  • Op. 120: Legato 8ves with no pedal M 68: legato melody layered with contrary motion arpeggiations
  • Op. 108: Sotto voce sound M 16: throbbing repeated note chords in 2 against 3 rhythm