Brahms: Late Piano Works

The Fantasias, Intermezzi, and Piano Pieces, Opp. 116–119, all dating from 1892, are perhaps the purest sublimation of Brahms’ melancholy and ambivalent genius. In their approach to form, harmonic function, and expression they are intriguing and surprising—even progressive, as Schoenberg was right to point out—and uniquely elusive. Indeed, form almost vanishes here, while passion glows in the midst of resignation—it would be wrong to use the word “regret”—much like the embers of a dying fire. Trying to analyze the structure of a given essay is like trying to pin down its smoke. To say that there are already many fine recordings of these pieces is to take nothing away from Paul Lewis’ magisterial and impressively recorded new accounts of them. Fulminant and gentle by turns (for something extraordinary, listen to the last of the Op. 116 Fantasias followed by the first of the Op. 117 Intermezzi), his readings give the music time to breathe and to suggest what it will. The sound of the Hamburg Steinway is beautiful—and HM’s recording, made at the Teldex Studio Berlin, frames it perfectly, particularly in the low octave.