More music by Johannes Brahms

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

Courtesy of International Music Foundation.

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