MUTH 251: Essay on Brahms Intermezzo Op.118 No.2
A short music-theoretical essay on Brahms Intermezzo Op.118 No.2
Abstract
During the course MUTH 251: Theory and Analysis 4, I wrote a short essay on Brahms Intermezzo Op.118 No.2.
Introduction
The Intermezzo Op.118 No.2 in A Major is one of the six piano pieces published in the—late work—Op.118. The piece has a large ternary form, characteristic of slow movements, with a main theme that extends from the anacrusis before the first measure to measure 49, an interior theme in F# minor that extends from measure 49 to measure 73, and finally (after a brief retransition), a return of the main theme that concludes the piece from measures 76 to 116. The structure of the three larger sections consist, in all cases, of small ternary forms described throughout this essay.
Main Theme: Exposition
The piece starts with a simple and interesting motive in the upper voice, arguably the most important sonority of the intermezzo: A descending second from C# to B as an anacrusis of eighth notes, followed by an ascending third that culminates in a D half note at the beginning of measure 1. The pattern is repeated in the third beat of measure 1, this time replacing the ascending third with an—unusual—ascending seventh going to an A one line above the treble staff, at the beginning of measure 2.
These first two measures already introduced a lot of the material that will be used throughout the piece, namely, the descending seconds, the metric structure (which for now, remains accentuated on the first beat of the measure, as it is notated, but will change constantly throughout the piece), and the ascending seventh.
After the important motivic material from the beginning of the piece to the first two beats of measure 2, which I denominated Motive A, follows another motive, which will be particularly important in its rhythmic structure rather than its intervallic configuration, a dotted eight followed by a sixteenth note. In the context of its first appearance, this motive, which I denominated Motive X, is presented in two instances, first, in a pre-dominant harmony at the third beat of measure 2 and then a dominant seventh harmony at the beginning of measure 3.
As the piece continues, it will feel as if this Motive X has been introduced by Brahms with the purpose of changing the pulse of the music at pleasure. Particularly, when it is presented with an augmentation of the rhythmic figure. Two pairs of descending seconds at measures 3 and 4 complement Motive X before Motive A is reintroduced at the end of measure 4.
Main Theme: Contrasting Middle
The harmonic material of the measures comprehending the beginning of the piece (i.e., 1-16) comply with the Exposition section of a small ternary form, ending with a PAC in the dominant (E Major) at measure 16. Following the closing PAC of the Exposition, starts the Contrasting Middle section of the Main Theme, at the third beat of measure 16. At this point, the notated meter and the experienced meter are in conflict as the third beat of measure 16 becomes the accentuated beat. In order to introduce the new meter, Brahms has made use of a more dense texture in the previous measure, particularly, a salient melodic movement of a tritone within two eighth notes in the third beat of measure 15, which intensifies the role of the third beat that is ultimately necessary for transitioning to the contrasting middle section.
The contrasting middle comes with its own set of motivic materials on the upper voice, which will be recurrent through the rest of the piece: a figure of a “pedal” dominant (and later tonic) at the third beat, followed by a descending second at the beginning of the measure, appearing for the first time on measure 17 with the notes E, F#, E. The motive, which I called “Motive B”, then adds a leap of a fifth between the pedal note and the descending seconds in measure 18, turning into E, B, A.
At measure 20 (i.e., third beat of measure 19 and first two beats of measure 20), the pedal at the beginning of the motive has moved to the tonic. First, replicating the intervallic relationships at the beginning of the contrasting middle with A, B, A (i.e., a pedal, an ascending second, and a descending second). However, the ascending second between the pedal and the second note of the motive is replaced by an ascending third in measure 22 (A, C, A), a configuration that did not appear in the pedal dominant.
By the time we arrive to measure 23 and 24, the almost infallible bass on the third beat of each measure of the contrasting middle has been removed, and with it, the experienced meter has again been compromised. Brahms clearly establishes the experienced meter at the beginning of measure 25, in accordance with the notated meter. This measure also signals the beginning of a sequential passage (measures 25-28, plus the resolution on the subdominant of measure 29) that concludes the contrasting middle of the Main Theme and moves into the Recapitulation.
Main Theme: Recapitulation
Brahms “sneaks” an off-beat descending second at the second half of measure 29, that, together with the leap of a seventh above at measure 30, confirms the return of Motive A, or at least of its second half. What follows next seems to be a combination of the descending seconds accompanying Motive X at the Exposition of the Main Theme and the descending eighth notes that initiate Motive A. This hybrid motive makes up for the first quarter of the Recapitulation (measures 30-34).
A very interesting inversion of Motive A follows next, at the third beat of measure 35. The rhythmic values of Motive A are respected and the general intervals inverted: an ascending second in eighth notes followed by a descending third (third beat of measure 34 to first beat of measure 35), and then, the same ascending second followed by a descending seventh (end of measure 35 to measure 36). Motive X also comes back in two instances, this time accompanied by a denser succession of eighth notes (measure 37).
Brahms, yet another time, overrides the experienced meter at the end of measure 38 and brings, unexpectedly, the motive of the contrasting middle (i.e., Motive B) to the Recapitulation. The version of Motive B has the tonic as the pedal, however, it preserves the same intervals presented originally at the dominant pedal during the Contrasting Middle.
During measure 41, something remarkable happens, a variation of the rhythmic Motive X is presented (augmentation with a dotted quarter and an eighth note), which helps to override the experienced meter at the beginning of measure 42, in accordance to the notated meter. Brahms quickly departs from the new meter once more, at the end of measure 42, establishing again the third beat as the accentuated beat. The same play on the experienced meter repeats at measure 46, however, even though the rhythmic circumstances are analogous, this time, the meter cannot be reinterpreted at the third beat due to a surprising factor, Brahms has brought Motive A to the voice of the contralto. Motive A is anacrusic and we have listened to it several times, it becomes evident whenever it returns, and now it has come back.
The experienced meter is preserved as strong on the first beat of measure 47, and as we might expect from feeling those two eighth notes as an anacrusis to the rest of Motive A, it continues into measure 48. This last measure also signals the end of the Recapitulation and the Main Theme of the Intermezzo.
By the end of the Main Theme, Brahms has taught us two important lessons:
The absolute importance of Motive A. Motive A, which had been used mostly in the context of a sub-dominant harmony, is now concluding the PAC of the Main Theme. That big leap of a seventh could actually be the closing Tonic of the piece (and when we reach the end of the piece, we confirm that this is the case).
Experienced meter is crucial in this piece. Motive A is anacrusic, containing two eighth notes on the third beat before the accentuated half note. Motive B, on the other hand, is not anacrusic and, when introduced, is usually started on the third beat of the measure. This dual role of the third beat of being an anacrusis or the strongest beat is going to be (frequently) exploited by Brahms to move seamlessly through different experienced meters. Additionally, a dual role of the second beat is also going to be introduced in the Interior Theme.
Interior Theme: Exposition
If I had to extend on what Brahms meant with the in tempo marking at the beginning of the exposition of the interior theme (measure 49), I would write: “Here, in measures 49-56, expression is achieved through accentuation and not through tempo rubato”.
Brahms has already presented us the resources needed to move the experienced meter of the music during the Main Theme. Now, it is time to put it in practice.
The Interior Theme follows the convention of modal mixture, it starts with F# minor. The experienced meter is in congruence with the notated meter. The motivic material does not resemble neither Motive A nor Motive B.
Right from the beginning, we are exposed to accompanying triplets in the bass and a melodic line in the upper voice. Until measure 51, the upper voice suggests the continuation of the metric stress on the first beat of each measure, then, a change in the rhythmic pattern at measure 52 strengthens the second beat and its descending figure of step and thirds. This metric stress of the second beat is confirmed on measure 53, however, it is quickly corrected on measure 54 and until the end of the Exposition.
Interior Theme: Contrasting Middle
The contrasting middle of the Interior Theme starts right after the repetition bar, at measure 57. The texture of this section is mostly homorhythmic-homophonic, in a choral style. The key features a modal mixture of F# Major, contrasting with the F# minor of the Exposition.
More importantly, the experienced meter of this section changes abruptly to a 2/4 meter, accentuating the second beat of measure 57 and continuing with an experienced 2/4 meter until the cadential six-four chord at measure 64. The contrasting middle concludes with a C# dominant seventh chord that brings back the theme of the Exposition, this time in the Recapitulation.
Interior Theme: Recapitulation
In measure 65, Motive C of the interior theme comes back. This time, the melodic line is not presented in the upper voice but alternating between the register of the tenor and the contralto. One substantial difference to the Exposition is that the play of modifying the experienced meter is absent. Brahms begins the rhythmic pattern to stress the second beat of measure 68 but abruptly replaces the culmination of that pattern with a quarter note rest at the beginning of measure 69.
The texture of the Recapitulation feels more based on counterpoint than the Exposition did. The experienced meter is kept in accordance to the notated meter and the PAC finally comes at measure 73, closing with the F# minor tonic.
Return of the Main Theme
After the resolution of the PAC of the interior theme, a small retransition that continues with the triplet figures, extending from measures 73 to 76, helps to connect the Interior Theme with the return of the Main Theme.
During the Exposition, the texture of the upper voice is denser, particularly where the Motive X is reintroduced. The Contrasting Middle returns in the third beat of measure 84. Just as it did during the Main Theme at the beginning, the Recapitulation is left intact, combining motivic material from Motive A and Motive B. The leap of the seventh, so salient at the beginning of the piece, now blends into the arpeggiated tonic triad, during the PAC that closes this beautiful Intermezzo.
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