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 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

• 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

• 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

• 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 acounterpoint at the first repetition of the

opening.

• 2nd theme (m 37): Twilight mood (Geiringer)

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 tripletaccompaniment

Three Intermezzi Op. 117 p.72

• #1: simple sound of a folk melody (lullaby)rocking chair rhythm in the accomp.2nd theme: twilight mood (stillness)

• #2: Twilight – quiet sweepingaccompaniment with melody blendedinto the stillness

• # 3: Stark descent into the subconscious,5 m phrases, constantly shiftingharmony

Intermezzi Op. 118 # 2, Op 119p.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 #1Violin Sonata, Op. 108

• Op. 120: Legato 8ves with no pedalM 68: legato melody layered with contrary motion arpeggiations

• Op. 108: Sotto voce soundM 16: throbbing repeated note chordsin 2 against 3 rhythm