Intermezzo in A Major (Op. 118 No. 2)

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Annotated Study Edition (2)

Bars 6 - 15

5. If the G♮ in bar 4 has taken us towards the subdominant key (D), then the D# here moves suddenly in the sharp direction, towards the dominant key (E).
6. A modulation to the dominant key (E).
7. A reprise of the opening phrase, now pp. The dynamic marking implies not merely a reduction in the number of decibels but a softer, gentler mood. Play stiller, do everything more calmly here. We might tweak the voicing in the RH so we hear a little more of the lower line (A-G#-F#). This three-note falling figure pervades the work - does it perhaps remind us of the “Lebewohl” (farewell) motive in Beethoven’s Sonata, op 81a?
8. Compare this phrase with the parallel passage in bars 2-4. The chromatic alteration in the lower RH line brings a darker hue; we may wish to emphasise it very slightly, making sure it does not cover the top line.
9. Whereas the chord in the original phrase (bar 3) was a dominant 7^th, we find here a diminished 7^th. What, for you, is the difference in mood and character between the two harmonies?
10. Relish the double appoggiatura in the inner voices; play the second quaver (eighth note) softer and lighter.
11. Compare this phrase with the parallel passage (bars 6-8). Brahms thickens the texture here with fuller chords on weak semiquavers (sixteenth notes) and introduces another appoggiatura in the alto (second beat of bar 15) - again, really listen that the resolution is softer.
12. The voice leading is different from bar 8. The D# on the third beat (RH) creates here an expressive descent of a minor 9^th from the E (second beat). Savour this moment!

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