Neglecting Brahms every now and then is alright, but downright forgetting to list him as one of my ultimate favorites, that could be classified as blasphemous.

Brahms was a meticulous composer. A story exists that Brahms visited his favorite Viennese cafe one evening after a day of composing. A friend asked him how he had spent his day, to which Brahms replied "I was working on my symphony. In the morning I added an eighth note. In the afternoon I took it out." Whilst the bearing of this story on truth is questionable its intent faithfully reflects Brahms' painstaking process of creation. The story of creation behind his Piano Quintet in F Minor, Op.34 is perhaps the best illustration of this story.

It was completed during the summer of 1864 after two arduous years of process. It was initially worked on in 1862 and was meant to be completed for String Quintet, which was met with wide enthusiasm but as his friend the violinist Joseph Joachim quoted, "it lacked charm." A year alter Brahms transformed that into a Sonata for Two Pianos which wasn't as warmly received. Claimed to lack a special substance to make the piece attractive, Brahms finally found the final form the piece would take, as a work for Piano, Two violins, Viola and a Cello. Conductor Herman Levi, who suggested the Quintet arrangement to Brahms commented. "You have turned a monotonous work for two pianos into a great thing of beauty. A masterpiece of chamber music."

The Quintet is dedicated to Her Royal Highness the Princess Anne of Hesse. The third and fourth movements are below with analysis courtesy of Dr. Richard E. Rodda and the Kennedy Center.

Scherzo: Allegro


The Scherzo is one of Brahms' most electrifying essays. The Scherzo proper contains three motivic elements: a rising theme of vague rhythmic identity; a snapping motive in strict, dotted rhythm; and a march-like strain in full chordal harmony. These three components are juxtaposed throughout the movement, with the dotted-rhythm theme being given special prominence, including a vigorous fugal working-out. The central Trio grows from a theme that is a lyrical transformation of the Scherzo's chordal march strain.

Finale: Poco sostenuto - Allegro non troppo - Presto non troppo


The Finale opens with a pensive slow introduction fueled by deeply felt chromatic harmonies, exactly the sort of passage that caused Arnold Schoenberg to label Brahms a “modernist.” The body of the movement, in fast tempo, is a hybrid of rondo and sonata forms. Despite the buoyant, Gypsy flavor of the movement's thematic material, the tragic tenor of this great Quintet is maintained until its closing page.