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

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Annotated Study Edition (6)

Bars 46 - 54

28. The opening theme returns in the alto. The rit. from bar 45 has led us to a new (slower) tempo, più lento.
29. Ensure the top E is played here, and then tied over. The given finger substitution from 5 to 3, although a little effortful, works very well. You might consider crossing over with the LH to take the top A (bar 48). Synchronise the hands carefully with the pedal to capture the full A major chord with no blurring from the previous harmony.
30. It is astonishing that Brahms has taken the whole of the first section to reach a cadence in the home key, a full 48 bars of expectation creating a huge arch.
31. Clear the pedal on the C#, we need to hear the LH rest.
32. The B section is itself cast in ternary form, the outer sections in the relative minor (F# minor) evoking darker autumnal colours, the inner section in the key of F# major (bars 57-64).
33. Brahms writes in three independent voices; we might imagine a clarinet on top in dialogue with a viola in the middle, supported by cello triplets. The first few notes of the clarinet line are answered in canon by the viola. Practise the upper voices together (minus the bass), listening for a good tonal balance; it is appropriate to emphasise the alto a touch more on the mandatory repeat for a change of timbre (if desired). Notice the long phrase mark from bar 49 to 52, indicating a long line with forward direction (see practice worksheets for the open score view).
34. The farewell motive may be found in the upper voices in canon.

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