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Contents of CD5 Booklet
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Johannes Brahms
Piano Sonata no. 3 in F minor, op. 5
Brahms¹ third and last piano sonata is a massive work written when the
composer was only twenty. It is remarkable in its maturity and as a portent
of the great genius that was to mark the composer¹s later works. Completed
in 1853, it was already
evident from the sonata¹s style that Brahms was on his own path in respect
to form and content. Tovey considered the work to be a ³mastery of classical
technique unknown since Beethoven.² The basic sonata structure was augmented
with the insertion of an Intermezzo between the Scherzo and the Finale,
bringing the piece to five movements instead of the customary four.
Percy Grainger described the sonata¹s first movement as ³a heaven- storming
affair; bold, overpowering, austere, and for a youthful work, remarkably
learned.²
Although it follows the somewhat traditional sonata form, the opening
movement demonstrates a certain freedom with its terse, yet fiery opening
motif that
encompasses the full extent of the keyboard. Brahms preceded the second
movement, a gorgeous Andante espressivo, with three lines of poetry written
by
C.O. Sternau:
³Der Abend dämmert, das Mondlicht scheint,
Da sind zwei Herzen in Liebe vereint
Und halten sich selig umfangen.²
(Twilight falls, the moonlight shines,
Two hearts are united in love
And embrace each other blissfully)
The movement is ethereal, dreamy, and unabashedly romantic. Comparisons to
Wagner¹s Tristan, which it preceded, are inevitable. The vigorous Scherzo
which
follows pierces the sentimental mood of the Andante with its waltz-like lilt
and
modern dissonances. The somber and lyrical Trio section provides an
interesting
contrast with the vitality of the main theme. Brahms subtitled the fourth
movement Intermezzo ³Rückblick², or ³Retrospect². There are clear references
to the Andante, only the youthful bliss of romance has turned to sorrow, as
the rhythm now becomes that of a funeral march and the key changes to a
doleful B-flat minor. Brahms
extricates himself from the sadness in the Finale, a free rondo form laden
with
references to the earlier movements. There is an association of the main
theme
with that of the Scherzo, and the third theme of the principal three
subjects is
characterized by contrapuntal brilliance in an extended coda that brings the
work
to a breathtaking and triumphant conclusion.
Seven Fantasies, op. 116
Piano Pieces, op. 119
The last piano pieces of Brahms, op. 116-119 have been characterized as ³the
cream of Brahms¹ smaller piano compositions.² Intimate in nature, the last
compositions are extraordinarily moving. Music historian Robert Haven
Schauffler wrote that ³..they are music first, and piano-music second. We
shall cherish them as an
invaluable part of our spiritual possessions, long after pages primarily
designed
for pianistic effect are quite forgotten.²
Written in 1892, the opus 116 volume was entitled Fantasies by Brahms, but
actually consists of three Capriccios and four Intermezzi. Although not
written as a ³cycle², the final Capriccio rounds out the opus with
references to the first and second Capriccio. The Intermezzi also borrow
certain motives from one another, yet each piece stands independently as a
strong and dramatic work.
Opus 116 opens with the Capriccio in D minor, an uncompromising and vigorous
piece. The ensuing Intermezzo in A minor is a gentle work whose middle
section Clara Schumann compared to the song of a nightingale. The G minor
Capriccio is driving and passionate, with a majestic central passage. The
Intermezzo no. 4 in E major is dreamily enchanting and moved the critic
Huneker to such an extent that he wrote: ³In the entire range of piano
literature I cannot recall a more individual and
beautiful piece of music...² The Intermezzo in E minor is an intimate, short
piece that is deceptive in its simplicity. Critic Peter Latham wrote that
³..it is a wisp of a thing that looks easy to play and is not.² The
Intermezzo no 6 in E major is gentle and earnest, with melancholy harmonies
that suggest a somberness somewhat unusual in Brahms. The D Minor Capriccio
no. 7 recalls the key signature of the first Capriccio and the structure of
the second Capriccio in G minor, and thus ends the opus 116 collection in a
comprehensive and unified manner.
Opus 119 was the last group of pieces Brahms wrote for piano in 1893. There
are three Intermezzi and a Rhapsody, and all are striking in their economy
of form and content‹not one note can be spared. The Intermezzo no. 1 in B
minor was described by Clara Schumann, for whom it was composed, as ³gray,
pearl-veiled and very precious.² However, Brahms was apparently disappointed
by her failure to grasp its musical subtleties. In a letter to Clara, Brahms
suggested that the piece be played very slowly and deliberately. The
impatient Andantino of the E minor Intermezzo no. 2, provides a refreshing
tempo change from the lingering Adagio of no. 1. The piece features a light,
rhythmic section which turns it into what Schauffler feels is ³one of the
most convincing love songs ever entrusted to the piano.² The C Major
Intermezzo no. 3 is a sunny and blithe work of subtle voicing which is
popular with audiences. The E-flat Rhapsody no. 4 is the composer¹s last
piece for the piano and heralds the return to Brahms¹ earlier ³orchestral²
piano compositions such as the three sonatas. The Rhapsody is a large
march-rondo that contains hints of Schumann (as does Intermezzo no. 1). The
surprise here is the coda that ends the piece in
E-flat minor, an unusual minor-key conclusion to a piece written in a major
key. Triumphant and heroic, the Rhapsody demonstrates the composer¹s
vitality, even towards the end of his prolific career. Perhaps Robert Haven
Schauffler summed it up best when he wrote: ³When we savor these final
groups of pieces, we are often inclined to feel..that our host has kept the
best wine until the last.²
Laura Harth Rodriguez
Jorge Federico Osorio
Recognized as one of the preeminent pianists of our time, Jorge Federico
Osorio has been internationally acclaimed for his superb musicianship and
absolute command of the instrument. He has performed with many of the
world¹s leading orchestras, including the Chicago Symphony Orchestra, Dallas
Symphony, Detroit Symphony, Concertgebouw Orchestra, Israel Philharmonic,
Orchestre Nationale de France, Philharmonia Orchestra, Royal Philharmonic
Orchestra, Moscow State Orchestra and Warsaw Philharmonic, under the batons
of such internationally acclaimed
conductors as Bernard Haitnik, Lorin Maazel, Klaus Tennstedt, Eduardo Mata,
Lukas Foss, Enrique Batiz, and Luis Herrera de la Fuente. His
concert tours have taken him to North America, Europe, Asia and Central and
South America and American festival appearances have included the Hollywood
Bowl, Ravinia and Grant Park Festivals. In addition to his recent triumphant
debut with the Chicago Symphony Orchestra and his critically acclaimed
Lincoln Center recital debut at Alice Tully Hall, Mr. Osorio has performed
with the orchestras of Pasadena, San Antonio, Northbrook, and Delaware and
with the Pacific Symphony Orchestra. He has made radio recordings for Japan
NHK and Belgian Radio, and on
several occasions, for the BBC.
Mr. Osorio¹s extensive discography includes a wide variety of repertoire.
His solo Brahms recording on ASV was proclaimed by Gramophone as ³one of the
most distinguished discs of Brahms¹ piano music in recent years.²
IMP Classics has recently released his recordings of Beethoven¹s Five Piano
Concerti and Choral Fantasy, and in addition to his orchestral recordings of
works by Brahms, Mozart, Rachmaninov, Schumann and Tchaikovsky, Mr. Osorio
made the world premier recording of Manuel Ponce¹s Piano Concerto. He has
also recorded four Beethoven Sonatas
and ³Balada Mexicana², solo piano works of Ponce.
Born in Mexico, Mr. Osorio began his musical studies at the age of five. He
studied at the conservatories of Mexico, Paris and Moscow, and his teachers
have included his mother, Luz Maria Puente, Bernard Flavigny, Monique Haas,
Jacob Milstein, Nadia Reisenberg and Wilhelm Kempff. Performing chamber
music is an integral part of his artistic life and in
addition to having served as artistic director of the Brahms Music Festival
in Mexico, he has performed with the Moscow Quartet, Tel Aviv Quartet,
violinist Mayumi Fujikawa and cellist Richard Markson as part of a piano
trio and with the late Henryk Szeryng. He is the recipient of several
international prizes and awards, including the Rhode Island International
Master Piano Competition and the Dallas Symphony Orchestra¹s Gina Bachauer
Award.
Johannes Brahms
Sonata No.3 in F minor, op. 5
[1] I. Allegro maestoso 9:40
[2] II. Andante espressivo 11:11
[3] III. Scherzo: Allegro energico: Trio 4:30
[4] IV. Intermezzo: (Rückblick): Andante molto 3:16
[5] V. Finale: Allegro moderato ma rubato 7:15
Fantasies, op. 116
[6] No. 1 Capriccio in D minor 2:11
[7] No. 2 Intermezzo in A minor 3:12
[8] No. 3 Capriccio in G minor 2:43
[9] No. 4 Intermezzo in E major 4:21
[10] No. 5 Intermezzo in E minor 3:07
[11] No. 6 Intermezzo in E major 2:54
[12] No. 7 Capriccio in D minor 2:07
Piano Pieces, op. 119
[13] No. 1 Intermezzo in B minor 3:36
[14] No. 2 Intermezzo in E minor 4:24
[15] No. 3 Intermezzo in C major 1:40
[16] No. 4 Rhapsody in E-flat major 4:23
total time: 70:28
Producer: Laura Harth Rodriguez
Engineer: Francisco X. Rodriguez
Mastering: Digital Dynamics Audio Inc., Francisco X. Rodriguez
Graphic Design: Jim Manly, Judd Robbins
Cover Photo: Arcos-Alcaraz
Recorded on February 2, 1999 at SUNY Purchase, New York.
Jorge Federico Osorio, Piano