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Unlocking The Brahms Sound: Masterful Technique and Poetic Spirit in Piano Music

Delve into the intricate techniques and musical nuances of Brahms and Clara Schumann. Discover how to achieve the Brahms sound through specific exercises and playing styles. Explore the richness of counterpoint, layered sound, and pedal use in iconic piano compositions.

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Unlocking The Brahms Sound: Masterful Technique and Poetic Spirit in Piano Music

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  1. The Brahms Sound Thomas Mastroianni

  2. 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.

  3. Masselos Sound • Carl Friedberg – disciple of Clara Schumann • William Masselos – pupil of Carl Friedberg

  4. Retropulsion • Reactive force of key depression • Leverage • Alignment • Mobility • Onset of Relaxation • Power enhancement • Reduces Key Noise

  5. 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

  6. Legato • Legato is aural connectivity not just finger overlap. • Legato is a sound

  7. Posture • Relaxed hand • Open elbow • Back muscle support and readiness • Head up • Natural position of foot in pedal release position aids shallow pedal use

  8. Other factors of the Brahms Sound • Clinging Touch-Key contact reduces noise • Richness of Counterpoint, layered sound • Texture and Balance • Pedal

  9. 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

  10. 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

  11. 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

  12. Intermezzo Op. 116 #2 p53 • Counterpoint within right hand – voicing, 2 against 3 • B section (m19): unearthly sound via 8ve displacement, rhythmic displacement

  13. 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)

  14. 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

  15. 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

  16. 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)

  17. 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

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