Classical Music | Piano Music

Recorded on 11/05/2008, uploaded on 05/02/2009

Musician's or Publisher's Notes

Scherzo in E flat minor, op. 4        Johannes Brahms

The op. 4 Scherzo in E flat minor was composed in 1851, when Brahms was only 18 years of age, and is actually his earliest surviving original work, although it was not published until three years later. Brahms developed an early mastery of the scherzo form which can be seen, not only in this composition, but in the scherzos of his piano sonatas as well. This was likely due to his interest in the Classical tradition as the scherzo was developed into its known form at the hands of Beethoven. Evident even in this early scherzo is Brahms' already keen sense for rhythmic development and symphonic thinking in terms of structure. In addition to Brahms' acute sense of rhythm is the motivic unity of the work. No doubt, the op. 4 Scherzo and the three piano sonatas were the signs of an already remarkably developed musical mind.

The form of the op. 4 Scherzo is that of a rondo, the typical A-B-A form being expanded by the addition of a second trio, thus, A-B-A-C-A, and ultimately closing with a developing coda. The scherzo sections are characterized by an unremitting rhythmic drive that has been described as "demonic." Despite the Classical influence, the inner character of the op. 4 Scherzo is wholly Romantic. Malcolm McDonald remarked on the Scherzo's "whiffs of Hoffmannesque devilry," and its "reminiscence of Heinrich Marschner's 'troll opera' Hans Heiling." In fact, Franz Liszt, one of the leading figures of the New German School of composers, even found the Scherzo appealing. Yet the Classical influence is undeniable. The rhythmic working of the piece wholly suggests the influence of Beethoven rather than any of Brahms' contemporaries. In fact, it seems the only contemporary of Brahms that was also influenced by this aspect of Beethoven's writing at the time was Charles Valentin-Alkan.    Joseph DuBose