the following: the second Intermezzo[270] in B-flat minor of
op. 117, perhaps the most beautiful single piece Brahms has
written—remarkable for its rhythmic texture and for the equal-
ization of both hands, which was one of his chief contributions to
pianoforte style; the second Intermezzo of op. 119, the middle
part of which is significant for the extended arpeggio group-
ing for the left hand (Brahms following Chopin’s lead in this
respect); the sixth Intermezzo of op. 118, a superb piece for
sonority and color; the third Intermezzo in op. 119, (grazioso e
giocoso) and the B minor Capriccio op. 76—both in Brahms’s
happiest vein of exuberant vitality; the sixth Intermezzo in op.
116, a beautiful example, in its polyphonic texture, of modern-
ized Schumann; and, above all, the mighty Rhapsodies in E-flat
major, op. 112 No. 4 and the one in G minor op. 79—this
latter, one of Brahms’s most dramatic conceptions, and an ex-
ample, as well, of complete sonata-form used for an independent
composition.
[Footnote 270: For further comments on the phraseology see
The Rhythm of Modern Musicby Abdy Williams, pp. 75-77.
We may add that the pieces calledIntermezzi, are generally of
a meditative, somber nature; whereas theCapricciosare more
sprightly, even whimsical in spirit.]
SONG—Meine Liebe ist grün wie der Fliederbusch
(SEE SUPPLEMENT NO. 61)
Whatever Brahms is or is not, he is universally recognized as an
inspired song-composer and those who do not know his songs
are cut off from one of the greatest joys music has to offer. As
Huneker so well says, “Although his topmost peaks are tremen-
dously remote, and glitter and gleam in an atmosphere almost
too thin for dwellers of the plains, in his songs he was as sim-
ple, as manly, as tender as Robert Burns.” In Brahms’s songs
we cannot say which is the most significant factor: the words,
the vocal part or the accompaniment; all go together to make
up a perfect whole. Brahms had discernment in the selection
of texts suited to inspire poetic creation. His melodies are al-
ways appropriate to the spirit of the words, yet truly lyric and
singable, and the accompaniment catches and intensifies every
subtle shade of meaning. If any one factor is of special beauty,
however, it is the instrumental part; for here Brahms’s great
genius in pianoforte style came to the fore and in utilizing every