Johannes Brahms

In these six pieces, in contrast to the Op. 116 or Op. 117 sets, there is little in the way of commonality or connection, nor are there the problems of consecutive performance offered by Op. 117. The pieces are simply arranged to work effectively as a set. As with all the later piano pieces, these miniatures are ternary in outward form, yet full of the motivic density and complexity typical of Brahms' later style. They are also infused with the introspective melancholy shared by most of the composer's late works. The Intermezzo in A minor that opens the set is in a concentrated sonata form. Its restless introductory quality and ambiguous harmony render the piece ineffective when performed alone. The following Intermezzo in A major is a large ternary Nocturne. Brahms displays his contrapuntal genius in some effective and effortless canons in the central section. Deeply lyrical and moving, it is one of Brahms' loveliest creations. For the first time since his youth, Brahms used the title Ballade for the next piece in G minor. Unlike the Op. 10 Ballades, though, there is nothing that can be construed as narrative in this tightly organized yet passionate piece; it could as easily been called a Capriccio. The following Intermezzo in F minor offers some complicated contrapuntal writing in its restless outer sections. The central section is really a chorale, but spread over the lower half of the keyboard in alternating chords. For the next piece, Brahms turns to another unique title: Romanze in F major. The outer section is a true chorale with the melody doubled at the octave in the inner voices. The central section is also unique in that it is a Berceuse -- a lullaby consisting of varied statements of the melody over an ostinato accompaniment. The obvious model here is Chopin. The final work is an Intermezzo in E flat minor. There is some evidence that this piece was conceived orchestrally, perhaps for a new symphony, but eventually converted to piano form. Its tragically grand and epic tone supports this theory. The outer section is a plaintive melody accompanied by ambiguous diminished harmony, while the central section is a broad and nobly tragic march.