Intermezzo (10Trp)

Intermezzo (10Trp) (Brahms’ piano works provide a framework to his musical output: his early pieces are either mainly either for solo piano or chamber ensemble with piano, then after his middle period when he abandoned the solo piano in favour of larger pieces and songs he returned to it for a number of collections of rhapsodies, fantasias and intermezzos. The late pieces differ considerably not just in style but also in the whole approach. Whereas the early sonatas where at least based in classical stlye, although Brahms used the form much more loosely than Beethoven had, the late pieces are always freer in form and expression. The Opus 119 set are amongst Brahms final works and show just how far he had come in his treatment of harmony and tautness of form. The b minor Intermezzo is particularly compact and highly expressive. The outer sections are largely made up of short overlapping arpeggio figures that create dissonance. Unlike Wagner, however, Brahms is unwilling to allow this to remain unresolved for very long and also relaxes into the major key in the central section for some typically romantic melodic sweeps. This arrangement is for 8 trumpets and 2 flugel horns. Performance notes: A gentle, sensitive approach is required throughout the piece: articulations should be soft and dynamics should be carefully nurtured in keeping with the meditative mood. The divided downward arpeggio figures need careful attention in order that all notes speak with an equal tone and articulation. Phrase each bar so that the resolution to the harmony settles before moving on but at the same time try not to chop up the music by being over-fussy. At A and similar places be sure that the main melodic line is clearly heard; the sustained harmony should fade a little on each chord to allow this.)