Johannes Brahms Waltz Opus 39 No. 15 arranged for piano duet. The primo part player contributes with the melodic element whilst the secondo player plays the bass and chords. The accompaniment downloads available enable players to enjoy an ensemble music experience playing either the primo or secondo parts. The primo part sounds on one side of the stereo channel and the secondo part sounds on the other. Accompaniments are available playing at 96, 100, 104. 108 and 112 quarter note (crotchet) beats to the minute with each being introduced by a two bar click beat. When performing printing two pages of music onto one side of A4 offers a practical solution for players in respect to managing the music desk. The realisation plays back at 108 quarter note crotchet beats to the minute. This is a movement inviting interpretation during a performance. Players need to consider articulation, dynamic range and matters of tempo in their performances. An awareness of tempo rubato and its relevance to music performance in the romantic period would also be a valuable practical consideration. Pianists should be aiming for a legato touch in their playing and while use of the sustaining pedal is recommended markings are not indicated in the score. The last eight bars particularly in the primo part need to be played with a light touch. Formally the pattern of the music can be described as ABABA The ornaments have been incorporated into the sheet music in the notation to add clarity of intention. In the video score, which can be viewed on our YouTube Channel the graphics, namely the score detail, behaves rather consistently and some are missing Brahms Waltzes Opus 39 were composed in 1865 a time in music history when piano duets were very popular particularly for use in music rooms in 19th century homes. Along with other more intimate music of the time, such as lied (song) they were often described as being salon music. Schubert, Brahms, Dvorak and others composed music specifically intended to be played as piano duets whilst there were arrangements of symphonies and other music of the day. The waltz emerged as a popular dance form in secular music during the 19th century and was used in both vocal and instrumental music. Analysis particularly of the secondo part reveals the simplicity of the movement from the harmonic point of view. The tonic, mediant, sub-dominant, dominant 7th and sub mediant chords in the scale of A all feature in either root position or an inversion. Analysis will help clarify how composers were so the reliant on the cycle of fifths at this particular time in music history. The piano available to Brahms in the late 1860’s would have had a much thinner sound compared with a modern instrument. As the tonal qualities would not have as been as strong as a modern piano players may need to consider softening and quietening their approach to playing the bass octaves. Brahms is an important and significant romantic composer associated with many large scale choral and instrumental works. Most of his music is technically very challenging to play. This miniature requires a relatively basic keyboard technique and is an excellent introduction to playing his music on a keyboard. Brahms was a family friend of the Schumann family and the connections between them are often referenced in commentaries, music works and performances. There are many piano duets to explore on the PlentyMusic website and more will be added in the future. There is a solo piano version of the waltz also available.
