Annotated Study Edition (3)

A new paragraph begins with an ambiguous harmonic shift. Phrase the upper melodic line carefully, stressing the middle note of the two short phrases as per Brahms’ hairpins (“I love you!”). Notice the rising chromatic line in the inner parts (C-C#-D) that spans the three phrases.
The diminished 7^th harmony creates a moment of intensity. The descending tritone (RH, bar 23) is reflected in the last two LH quavers of the bar (no special emphasis is needed in the LH here, it is for the enjoyment of the performer). A long pedal from the third beat of bar 22 to the downbeat of bar 23 envelops the cloud of harmony (this is a matter of taste; you may change on the downbeat of bar 23 if you prefer).
The build-up of tension created through the previous eight bars resolves for a moment to the dominant pedal point. Brahms writes a long phrase mark over the next five bars, suggesting uninterrupted movement forwards. The bass E grounds the music as the melody line gradually rises. Aim for a finger legato in the upper line if at all possible.
There is no problem pedalling through whole bars here; the dissonance created by the new harmony on the third beats of this phrase is short-lived and will not disturb the ear (see footnote 2). You may of course change pedal on the third beat if you prefer a cleaner texture.

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