Antje Weithaas completes her exploration of the concerto’s first movement, in the second of a two-part article
Read more premium content for subscribers here
I love Brahms – it doesn’t matter which piece. I’ve played so much of his chamber music that my knowledge of his language has grown a lot over the years. I hope there’s still a long way to go. It’s very interesting to look at all of Brahms’s pieces together: almost all his allegros in 3/4 time have a musical pulse that can be felt as whole bars in one (in this piece for example, as well as in the B flat major String Sextet and Second Violin Sonata). Through his use of hemiolas he creates rhythmic resistance and tension that produce great intensity
Already subscribed? Please sign in
We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.