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

• Carl Friedberg – disciple of Clara Schumann • William Masselos – pupil of Carl Friedberg

Retropulsion

• • • • • • •

Reactive force of key depression Leverage Alignment Mobility Onset of Relaxation Power enhancement Reduces Key Noise

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 is aural connectivity not just finger overlap.

• Legato is a sound

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 • Clinging Touch-Key contact reduces noise • Richness of Counterpoint, layered sound • Texture and Balance • Pedal

Sonata Op. 5 • I 1 st theme: Range, Leaps, Contrasts, Orchestral • 2 nd • V 1 st 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 theme: orchestral, broken sixths sound 2 nd theme: AAB_ harp-like melody, wide accomp.

– Coda: counterpoint

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 • 2 nd Theme: chorale sound Waltz in Ab • Melody in 6ths • Harp-like accompaniment

Rhapsody in g Opus 79 #2

p40 • 1 st theme: AAB_ phrases, register leaps, avoid tonic harmony • 2 nd theme: ethereal sound (twilight mood) left hand slurs, flat finger arm sweep, very little articulation

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

• 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 • 1 st theme: Chorale sound, voicing alternately alto and soprano • 2 nd theme: A_BB structure (reverse of AAB_) Descending scale with integrated triplet accompaniment

Three Intermezzi Op. 117

p.72

• #1: simple sound of a folk melody (lullaby) rocking chair rhythm in the accomp.

2 nd 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

• 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 • 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