Taught by renowned pianist
Louis Schwizgebel
Join Louis Schwizgebel in exploring Brahms' Two Rhapsodies, Op. 79, which are among his most passionate, yet approachable works. The first, in B Minor, is the grander of the two, featuring an undercurrent of restlessness throughout most of the work, except one memorable, tender middle section.<br><br>Schwizgebel approaches this lesson by pinpointing a handful of principal challenges and techniques that recur throughout the work, and targeting them one-by-one. One of the main techniques you must develop is the application of arm weight, which is required in both octaves and chordal textures as well as the triplet figures found throughout the work. Schwizgebel shows how to properly carry your weight so that your fingers are supported by your whole arm, and how to take time both to aid in physical execution and to capture a feeling of resistance in the music.<br><br>The work is marked "agitato," but this does not refer to a fast tempo. Instead, Schwizgebel shows how emphasizing rests and syncopations will give the opening an ideal restless character at a slightly slower tempo than is often favored by students. This has its benefits, as it allows for more tempo continuity with subsequent themes, which serves Brahms's architectural goals.<br><br>Finally, Schwizgebel examines the special tender theme in the middle of the work, revealing the duet between right and left hand, as well as the mysterious coda.
Rhapsody in B Minor Op. 79 No. 1
Join Louis Schwizgebel in exploring Brahms' Two Rhapsodies, Op. 79, which are among his most passionate, yet approachable works. The first, in B Minor, is the grander of the two, featuring an undercurrent of restlessness throughout most of the work, except one memorable, tender middle section.
Schwizgebel approaches this lesson by pinpointing a handful of principal challenges and techniques that recur throughout the work, and targeting them one-by-one. One of the main techniques you must develop is the application of arm weight, which is required in both octaves and chordal textures as well as the triplet figures found throughout the work. Schwizgebel shows how to properly carry your weight so that your fingers are supported by your whole arm, and how to take time both to aid in physical execution and to capture a feeling of resistance in the music.
The work is marked "agitato," but this does not refer to a fast tempo. Instead, Schwizgebel shows how emphasizing rests and syncopations will give the opening an ideal restless character at a slightly slower tempo than is often favored by students. This has its benefits, as it allows for more tempo continuity with subsequent themes, which serves Brahms's architectural goals.
Finally, Schwizgebel examines the special tender theme in the middle of the work, revealing the duet between right and left hand, as well as the mysterious coda.
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Unlock Course →Second Prize Winner of the 2012 Leeds Competition, Louis Schwizgebel is a rising start of the internation concert circuit whose performances are steeped in imagination and musical insight.
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