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The Brahms Sound

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.

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The Brahms Sound

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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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