Johannes Brahms - Scherzo in E-Flat Minor, Op. 4 (Audio + Score)

Pf: Wilhelm Kempff
This is the earliest work of Brahms that can be accurately dated. Amazingly, the kind of pianism we associate with the mature Brahms is already present: parallel thirds and sixths, the thick, chordal style, and the contrapuntal texture. Formally, the strongest influence seems to be Chopin (although Brahms denied this in later years). The independent Scherzo, as developed by Chopin, seems evident throughout. The Scherzo is structured in discrete sections, with two Trios rather than the usual one. Like Chopin's Fourth Scherzo, the Scherzo sections here are actually loosely structured sonata forms, including development. Brahms' willingness to explore unusual key relationships is evident here, as is his interest in thematic coherence and development. This is a remarkable early work.
(AllMusic)

[@tamed4171]

Fun fact: Liszt played this piece for Brahms at sight when they first met. When Liszt went on to play his Sonata in B minor, Brahms dozed off, starting this musical feud between them and their followers

[@f.p.2010]

I don't get this at all. How could Brahms even dare to do that, as if he was in a position to show this kind of uncaring attitude

[@Whatismusic123]

Seems like a bullshit story

[@timmackay4003]

The story I heard was that Brahms visited Liszt at the end of a very long and exhausting day of traveling. And though Liszt was deeply offended it was probably beyond Brahms's control. Also, Liszt had suggested Brahms owed a musical debt to Chopin before playing his own sonata; that would not have pleased the young Brahms. Later in life Brahms took some pleasure in his reputation for lacking the conventional social graces. He reportedly left a Salon once saying "I apologize if there is anyone here I haven't offended tonight." Probably apocryphal, it sounds like a story invented to insert him into the Beethoven mythology. But he was known for being gruff and withholding. Although he was also known for his generosity, loyalty and kindness - a man full of contradictions. He alienated Joachim, his mentor and close friend, by being a witness for the wife at Joaquim's divorce trial; then reconciled years later with the concerto for violin and cello.

[@tamed4171]

@@timmackay4003 That's probably more accurate. My original comment was basically just a paraphrase of something I read in a book pretty recently.

[@williamtaittinger4529]

yeah both pieces are shit to be honest. THE MASTER should not be disrespected, tho.

[@davisatdavis1]

Bare in mind, a man just sat down and sightread this...

[@Thegoverbmet]

I watched my friend play this perfectly, and now that I'm home I want to learn piano and get as good as her.

[@jeffgrigsbyjones]

There are bits of Chopin Op. 35, 58, and especially 54 in there for sure. But it has its own swagger and generosity that could only be Brahms.

[@aramkhachaturian8043]

I can definitely hear the chopin in this

[@AlexanderBulatoff]

And Schumann

[@f.p.2010]

@@AlexanderBulatoff more Schumann than Chopin

[@AlexanderBulatoff]

@@f.p.2010 I agree

[@AlexanderBulatoff]

@@f.p.2010 What is the most Shumann-like in this piece for you? (sorry for my english)

[@schuwennz.6865]

@@AlexanderBulatoff those pickup notes with ties~to the next measure

[@PianoScoreVids]

Great interpretation

[@RalphLooij]

An amazing interpretation of Kempff!

[@Quotenwagnerianer]

I'm not a fan of him ignoring Brahms' pedalling indications.

[@franciscopetracco5553]

@@Quotenwagnerianer Are you sure those are Brahms' pedalling indication? It looks like a bad edition tbh, but maybe you checked a Urtext one or the manuscript, idk

[@Quotenwagnerianer]

@@franciscopetracco5553 I have an Urtext Edition, and the pedaling is the same. So I guess it is his.

[@franciscopetracco5553]

@@Quotenwagnerianer Oh ok, then I agree with you ofc

[@BRIRICO]

Wonderful.

[@luisathought]

Thank You

[@mesecisenke]

The beggining is similar to one part of the final movement of Beethoven D major sonata

[@liamnevilleviolist1809]

0:47 "We Are The Champions..."

[@bitchslappedme]

Really good

[@jorgelopez-pr6dr]

Reminds me of Beethoven's late period compositions.

[@AndresFelipePalacios]

Es épico 💘🔥😍💓

[@cinziavidali411]

Bellissimo brano eseguito alla perfezione

[@Woodcut60]

The theme at 0:48: Grieg's Piano Concerto, first movement.

[@occultobscurekhov4908]

Noticed it too! Yeah, quite a remarkable theme.

[@bookerdewitt7576]

It must be the recording of kempff

[@therealrealludwigvanbeethoven]

That’s not a key you see every day!

[@hahhey1372]

Every modern composition be like:

[@davidw6936]

If I didn’t know it was Brahms, I would have guessed Alkan.

[@user-lj1sc9bs4t]

アルカンはこの様に控え目に書きませんw確かに共通点はありますがブラームスはブラームスらしく控え目でブラームス特有の書法も見られます。

[@dsm2240]

Like a Prokofiev Sarcasm before Prokofiev.

[@AlbertoSegovia.]

Yes! And mixed with Chopin’s second Scherzo, obviously. Brahms in general sounds very prokofievish, in my opinion.

[@michaelreich2306]

@@AlbertoSegovia. especially the second trio reminds Chopin.

[@esteban2596]

@@AlbertoSegovia. i think its otherwise. Prokofiev sounds brahmish

[@AlbertoSegovia.]

@@esteban2596 Of course :) Outside of the Timeline, I was referring to Prokofiev’s spirit with the adjective: interruptions, brusqueness, piquantishness, whim, motoricness, inscrutable melodies or lack thereof (which maybe it’s more Brahmish than P’ish), and weird/unexpected harmonic changes.

[@fredericfrancoischopin6971]

Sounds alkan, schumann and beethoven

[@paulwl3159]

To my ear it sounds nothing like Chopin, having little of that composers lightness, ornamentation or arabesque qualities. More like Beethoven.

[@ruramikael]

Liszt played it from manuscript in June 1853, so the piece existed then.

[@jordidewaard2937]

Brahms is seriously incapable of writing a work that isn't completely awkward to play lmfao

[@user-zn7kp9fi6c]

나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하

[@hungahamsterflywater]

zz

[@paulfreeman4900]

Such a shame we can never hear Clara Schumann play it.

[@williamtaittinger4529]

Clara could barely play the piano.

[@alvarosaldana7]

@@williamtaittinger4529 do you know Clara was one of the best german pianists in 19th Century? XD

[@williamtaittinger4529]

@@alvarosaldana7 lol. Best FEMALE pianists. Standards to men and women were VERY different then, to say the least. She was no Valentina Lisitsa. She could barely play anything slightly difficult. It is a feminist relecture of facts. She had to ask Von Burrows to play the Sonata in B minor, for example. She could play at Henle 6 level, at most. She could not even read a Liszt opera fantasy for example. If these hard facts offend you feel free to cope as you wish.

[@apug296]

​@@williamtaittinger4529🤡

[@kaleidoscopio5]

​@@williamtaittinger4529pure nonsense 🤨