#lateromantic

Castelletto di Mirano. 

Intermezzo in B-flat minor, Op. 117, No. 2: Andante non troppo e con molto espressione — Johannes BRAHMS

http://tiny.cc/Brillante 🔉 World Classical Piano – Timeless Masterpieces from the Great Composers ‎ Intermezzo in B-flat minor, Op. 117, No. 2: Andante non troppo e con molto espressione by Johannes Brahms is among the most intimate and poetic works in the late Romantic piano repertoire. Composed during the final years of the composer’s creative life, this expressive intermezzo unfolds through a warm singing melody, delicate inner voices, and rich harmonic colors that reveal BRAHMS at his most reflective and personal. The music flows with quiet intensity, balancing tenderness and melancholy in every phrase with remarkable elegance and emotional restraint.

Often described as a deeply personal musical confession, this intermezzo invites the listener into a world of introspection and lyrical beauty. The flowing accompaniment and subtle rhythmic motion create an atmosphere of calm meditation, while the central section rises with restrained passion before gently returning to the serenity of the opening theme. BRAHMS transforms simple lyrical material into a profound emotional journey filled with nuance, refinement, and timeless Romantic expression.

This performance highlights the delicate balance between clarity and expression that defines the late piano music of BRAHMS. Warm sonorities, expressive phrasing, and intimate character illuminate the emotional depth hidden within every line. The intermezzo remains a beloved masterpiece among pianists and classical music listeners alike. Its quiet voice speaks directly to the heart, offering a lasting moment of reflection, serenity, and enduring poetic lyricism. ‎

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Sophisticated Ladies

Ulrika Jansson, violin Annette Mannheimer, violin Mona Bengtsson, viola Asa Forsberg, cello

Artis-Quartett Wien

Peter Schuhmayer, violin Johannes Meissl, violin Herbert Kefer, viola Othmar Müller, cello

Nimbus NI 5942 Recording date: 2016 Duration: [25:44]

This week I continued to explore the fringes of the string quartet repertoire. I'm not sure what led me to Fritz Kreisler's Quartet in A minor. It's the only work of substance of a man who is known as one of the greatest violin virtuosos of all times. As a composer, his reputation rests mainly on a number of musical bonbons ('Liebesfreud', 'Liebesleid'). And then there is his one and only String Quartet, written in 1921. There are very few recordings of it in the catalogue and the Routledge Research and Information Guide on string quartets does not contain a single reference to the work.  

Nevertheless, the four-movement piece has a lot going for it. In many ways Kreisler's quartet strikes me as a simple work. In that sense it harks back to the origin of the quartet as a divertimento. The ensemble writing is unsophisticated - most of the work is played more or less in unison - and thematic development is limited. But the quartet's lack of compositional rigour is compensated by an unusual richness of melody and density of atmosphere. One hears echoes of Vienna as a Central-European crossroads of cultures. And particularly in the first movement it is not difficult to pick up reminiscences to the highly strung musical worlds of Gustav Mahler and Alban Berg. Much of the quartet's material is presented in a sweet cantabile voice, reminding us of the pre-WW I apotheosis of Viennese operetta.

So, altogether there is a lot to enjoy. But a great work it is not. There is an amusing anecdote recounted by Arnold Steinhardt, primarius of the Guarneri Quartet. At one point he wanted to convince his colleagues to include the Kreisler in their repertoire. But a playthrough left the other members of the ensemble underwhelmed. They voted it down: “too long,” “one big first violin solo,” “not one of Kreisler’s stronger works.” I have sympathy for both points of view. The quartet is fun to listen to and it must be tremendous fun to play. But it pales in comparison with the masterpieces of the Viennese quartet tradition that form the core of the repertoire.