The Piano Quintet in F minor, op. 34 is one of Brahms’ early masterpiece and a superb example of the Sturm und Drang mood of his early works. The Quintet, like the earlier Piano Concerto in D minor, underwent a long and troublesome path to completion.
Brahms began the Piano Quintet in 1862 as a string quintet of the Schubertian kind—a second cello as opposed to Mozart’s quintet of an added viola. In this form, the Quintet troubled him much the same way the Piano Concerto in its original symphonic form did. His friend and violinist Joseph Joachim remarked that strings were not an effective medium for the work. Brahms then reworked the composition as a sonata for two pianos which was actually given a premiere in 1864. This time it was Clara Schumann that influenced him to once again to recast the composition. What resulted was a synthesis of the first two attempts—a piano quintet. The piano quintet version is undoubtedly the most famous, however, Brahms was satisfied with the two piano arrangement to have it published and it still maintains a significant spot in the repertoire.
The Quintet demonstrates Brahms’ increasing control of Classical forms and his ability to build these forms out of the smallest motivic material. One of the works central motivic ideas is a rising or falling semitone. Besides this motif’s melodic presence throughout the work, it also influences the tonal plan of the work as well. The second theme of the first movement appears in the key of C sharp minor (a half step above the dominant key of C minor), then later in F sharp minor (a half step above the tonic of F minor). The keys of A flat major and E major are used prominently in the second movement. This semitonal relationship between keys is often referred to as a Neopolitan relationship. Incidentally, this same relationship is used extensively in Beethoven’s Appassionata Sonata, also in the key of F minor.
In the finale, a wholly unique movement in its own right, the semitone motif is made plain in the opening notes of the cello and then imitated in turn by the other strings and the piano. The structure of the finale is exclusive to Brahms. The mysterious introduction, the unusual design of the following Allegro and the brilliant coda creates a formal design that he would return to later, even more expanded, in the finale of his First Symphony. Joseph DuBose
Piano Quintet in f minor, Op. 34 Johannes Brahms
I. Allegro non troppo; II. Andante, un poco Adagio; III. Scherzo: Allegro; IV. Finale: Poco sostenuto
Brahms began work on the Quintet during 1862, the year in which he decided to leave his hometown of Hamburg and settle in Vienna. Originally, the piece was written for string quintet with two cellos; the same scoring as Schubert's incomparable C major Quintet. In August 1862, Brahms sent the first three movements to his friends, pianist Clara Schumann and violinist Joseph Joachim. They both responded enthusiastically at first, but expressed reservations about the piece's instrumentation. "[The] details of the work show some proof of overpowering strength," Joachim noted, "but what is lacking, to give me pure pleasure, is, in a word, charm." Thus by February 1863, Brahms reworked the Quintet into a Sonata for Two Pianos, which he himself performed with Karl Tausig in Vienna on April 17, 1864. The performance was met with little enthusiasm. Clara Schumann, convinced of the "work's substance," asked if the work could be remodeled once again. During the summer of 1864, Brahms revised the score for the final time as a Quintet for Piano, Two Violins, Viola and Cello; an ensemble suggested to him by the conductor Hermann Levi.
The Quintet's opening movement, tempestuous and tragic in mood, is in a tightly packed sonata form. A dramatic main theme, stated immediately in unison by violin, cello and piano, and then repeated with greater force by the entire ensemble, sets the tone of the exposition. The complementary theme, though more subdued and lyrical in nature, still brims with an unsettledness as it is set above a persistently repeated triplet figuration. The closing theme achieves a brighter tonality and offers respite from the movement's storminess. The development, like the exposition, is quite concentrated. Rather than create conflict and contrast, this section contains meditative passages based on the first and second themes. Eventually, fragments of the earlier themes build in intensity and usher in the recapitulation. After a brief calm, a fiery coda concludes the movement.
A Schubertian lyricism rises closest to the surface in the tender opening theme of the second movement. This theme and its variants serve as the basis for the movement, and allow for the seamless flow from one section to the next in this ternary form.
The Scherzo is one of Brahms' most exciting compositions. The Scherzo proper contains three main motives: a syncopated, yet legato rising line, set above a persistent pizzicato; a motoric rhythmic motive; and a march-like strain in full chordal harmony. These three components are juxtaposed throughout the movement. The dotted rhythmic motive eventually serves as the subject in a brief fugue that closes the Scherzo. The central Trio transforms the march-like strain into an expansive and lyrical melody.
The Finale begins with a slow and haunting introduction that increases in drama until its tension is released with the onset of the Allegro non troppo section. We hear numerous themes: a folk-like melody, a lyrical meditation, a vigorous dance, and variations thereof. These themes battle for prominence as the movement builds to a closing section of tremendous energy. Despite the gypsy character of the movement's thematic material, the tragic mood of this great Quintet is sustained until its explosive ending. Notes by Alexander Mandl
Classical Music | Music for Quintet
Johannes Brahms
Piano Quintet in f minor, Op 34 Play
Recorded on 03/11/2008, uploaded on 01/14/2009
Musician's or Publisher's Notes
The Piano Quintet in F minor, op. 34 is one of Brahms’ early masterpiece and a superb example of the Sturm und Drang mood of his early works. The Quintet, like the earlier Piano Concerto in D minor, underwent a long and troublesome path to completion.
Brahms began the Piano Quintet in 1862 as a string quintet of the Schubertian kind—a second cello as opposed to Mozart’s quintet of an added viola. In this form, the Quintet troubled him much the same way the Piano Concerto in its original symphonic form did. His friend and violinist Joseph Joachim remarked that strings were not an effective medium for the work. Brahms then reworked the composition as a sonata for two pianos which was actually given a premiere in 1864. This time it was Clara Schumann that influenced him to once again to recast the composition. What resulted was a synthesis of the first two attempts—a piano quintet. The piano quintet version is undoubtedly the most famous, however, Brahms was satisfied with the two piano arrangement to have it published and it still maintains a significant spot in the repertoire.
The Quintet demonstrates Brahms’ increasing control of Classical forms and his ability to build these forms out of the smallest motivic material. One of the works central motivic ideas is a rising or falling semitone. Besides this motif’s melodic presence throughout the work, it also influences the tonal plan of the work as well. The second theme of the first movement appears in the key of C sharp minor (a half step above the dominant key of C minor), then later in F sharp minor (a half step above the tonic of F minor). The keys of A flat major and E major are used prominently in the second movement. This semitonal relationship between keys is often referred to as a Neopolitan relationship. Incidentally, this same relationship is used extensively in Beethoven’s Appassionata Sonata, also in the key of F minor.
In the finale, a wholly unique movement in its own right, the semitone motif is made plain in the opening notes of the cello and then imitated in turn by the other strings and the piano. The structure of the finale is exclusive to Brahms. The mysterious introduction, the unusual design of the following Allegro and the brilliant coda creates a formal design that he would return to later, even more expanded, in the finale of his First Symphony. Joseph DuBose
Piano Quintet in f minor, Op. 34 Johannes Brahms
I. Allegro non troppo; II. Andante, un poco Adagio; III. Scherzo: Allegro; IV. Finale: Poco sostenuto
Brahms began work on the Quintet during 1862, the year in which he decided to leave his hometown of Hamburg and settle in Vienna. Originally, the piece was written for string quintet with two cellos; the same scoring as Schubert's incomparable C major Quintet. In August 1862, Brahms sent the first three movements to his friends, pianist Clara Schumann and violinist Joseph Joachim. They both responded enthusiastically at first, but expressed reservations about the piece's instrumentation. "[The] details of the work show some proof of overpowering strength," Joachim noted, "but what is lacking, to give me pure pleasure, is, in a word, charm." Thus by February 1863, Brahms reworked the Quintet into a Sonata for Two Pianos, which he himself performed with Karl Tausig in Vienna on April 17, 1864. The performance was met with little enthusiasm. Clara Schumann, convinced of the "work's substance," asked if the work could be remodeled once again. During the summer of 1864, Brahms revised the score for the final time as a Quintet for Piano, Two Violins, Viola and Cello; an ensemble suggested to him by the conductor Hermann Levi.
The Quintet's opening movement, tempestuous and tragic in mood, is in a tightly packed sonata form. A dramatic main theme, stated immediately in unison by violin, cello and piano, and then repeated with greater force by the entire ensemble, sets the tone of the exposition. The complementary theme, though more subdued and lyrical in nature, still brims with an unsettledness as it is set above a persistently repeated triplet figuration. The closing theme achieves a brighter tonality and offers respite from the movement's storminess. The development, like the exposition, is quite concentrated. Rather than create conflict and contrast, this section contains meditative passages based on the first and second themes. Eventually, fragments of the earlier themes build in intensity and usher in the recapitulation. After a brief calm, a fiery coda concludes the movement.
A Schubertian lyricism rises closest to the surface in the tender opening theme of the second movement. This theme and its variants serve as the basis for the movement, and allow for the seamless flow from one section to the next in this ternary form.
The Scherzo is one of Brahms' most exciting compositions. The Scherzo proper contains three main motives: a syncopated, yet legato rising line, set above a persistent pizzicato; a motoric rhythmic motive; and a march-like strain in full chordal harmony. These three components are juxtaposed throughout the movement. The dotted rhythmic motive eventually serves as the subject in a brief fugue that closes the Scherzo. The central Trio transforms the march-like strain into an expansive and lyrical melody.
The Finale begins with a slow and haunting introduction that increases in drama until its tension is released with the onset of the Allegro non troppo section. We hear numerous themes: a folk-like melody, a lyrical meditation, a vigorous dance, and variations thereof. These themes battle for prominence as the movement builds to a closing section of tremendous energy. Despite the gypsy character of the movement's thematic material, the tragic mood of this great Quintet is sustained until its explosive ending. Notes by Alexander Mandl
More music by Johannes Brahms
Capriccio in d minor, Op 116, No. 7, from Seven Fantasies
Variations on a Theme by Haydn
Paganini variatons
Intermezzo in E Major, Op. 116, No. 4, from Seven Fantasies
Schicksalslied, Op. 54
Capriccio in c-sharp minor, from Eight piano pieces, Op. 76
Intermezzo in e minor, Op. 116, No. 5, from Seven Fantasies
Intermezzo in b minor, Op. 119, No. 1
Klavierstücke op. 118 - VI. Intermezzo
Piano Sonata N° 3 in F minor Op 5 (Mvt 1)
Performances by same musician(s)
Piano Quintet in A major, Op. 81
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