Piano Sonata No. 3 (Brahms)

Johannes Brahms composed the majority of his Piano Sonata No. 3 in F minor, opus 5 in October 1853., The second and the fourth set were composed before the rest of the sonata. The second and the third set was premiered on October 23, 1854 by Clara Schumann in Leipzig, the first performance of the entire sonata was performed six weeks later by the pianist Hermann Richter in Magdeburg.

Set names

Are the five names set

Music

Allegro maestoso

A dotted Viertongruppe becomes a central theme of the sentence. The expressive side issue of 70 cycles long exposure penetrates modulating ago in distant keys and enlarged its scope of sound to both sides. A Liedkantilene in the tenor range, derived from fragments of the main theme, creates in the implementation of a contrast to the harsh accents of commencement; the recapitulation takes initially the musical material of the beginning again, but it soon leads from F minor to F major, the key in which the sonata finally ends.

Andante

Brahms is the Andante three verses of Sternau ahead:

The evening dawns, the moonlight seems because two hearts in love are united and keep happy embrace

It can be found here also two quotes from the song moon by Robert Schumann after the poem by Joseph von Eichendorff. Its shape is a song form A - B - A with a coda at the end, each of the parts is divided again into itself. It really is a form of A1 - A2 - A1 - B1 - B2 - B1 - B2 B1 - A1 - A2 - A1 - Coda. The coda attacks again on motifs from the earlier parts and leads into the third set.

End of October 1854, Brahms wrote this following letter from Hamburg to Clara Schumann:

Scherzo

The third movement accesses the mood of the first movement again. The music is dominated by dance rhythms. The head motif goes back to the first cell of the first set. Gradually, both games are approaching each other, the left hand is growing steadily upward while moving the right hand in an arc downward movements. The trio of calm is typical of the Brahms has itself in lyrical passages existing density and weightiness and canonical approaches.

Intermezzo

The inserted between the Scherzo and Finale 4th movement, which extends the four movements to five sets, is a funeral march, in contrast to the funeral marches from the 2nd Sonata by Chopin or from the 12th sonata of Beethoven, the impression of the funeral march not by a continuous rhythm is created, but by semiquaver triplets, evoking a kind of drum roll effect.

Final

In the fifth and last movement of the Sonata dominates the rider rhythm, so in eighth notes on beats 1,3,4 and 6 in a 6/8-measure, a rhythm, the sound is similar to the gallop of the horse. From the shape it is in this sentence for a free rondo form. Thematically, stands next to the rider rhythm especially the motivic system question and answer in the eye. With the coda done an apotheosis in F Major, also here one encounters the equestrian motif.

Parallels to Schumann

The composer Robert Schumann played all his early works, including this piano sonata before. Schumann praised in his article " New Paths " Brahms as those who are called, as a kind of messiah of music. The fact that many motifs in this sonata Schumann have music as a model, is therefore to be regarded as a kind of respect towards the older composer and sponsors.

Recordings

Known is a complete recording of Brahms piano works of Julius Katchen, on Decca Records. Other recordings exist of the Russian pianist Anatol Ugorski, published by German Grammophon, Grigory Sokolov, published by opus 111 and Artur Rubinstein, published by RCA. Furthermore, there are shots with Hélène Grimaud at Denon, with Solomon at Sbt, with Claudio Arrau on Philips, with Lars Vogt on EMI, with Daniel Barenboim Teldec, with Antti Siirala at Ondine, in Andreas Boyde Oehms Classics, with Francois Kerdoncuff Tim and with Hardy Rittner on MDG, with Igor Zhukov at telos music records.