Intermezzo in A Minor (from Six Piano Pieces, Op. 118, No. 1)

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After four measures, this false reprise is cut short and a return is made to the B major melody with equal ease. Instead of the uncertain conclusion of before, the principal melody now definitively ends in the tonic key of G minor. As its energy gradually dissipates, a brief restatement of the melody from the central episode, transplanted into the tonic key and over a tonic pedal, brings the piece to a quiet end. The F minor Intermezzo here which follows next is perhaps the most enigmatical of the collection.

Overall, the peculiar texture of the opening is an eloquent disguise for a strict canon at the octave. With the second statement of the theme, the octave motif is brought to the fore as the already sparse texture is made even more severe. While the strict canon is for the time being abandoned, contrapuntal imitation remains a critical element of the music. In particular, contrary motion results in a harmonically curious passage in E minor a few measures before a final statement of the canon itself.

Even more interesting is the A-flat middle section of the piece. Similar in manner to before, Brahms achieves wonderful harmonic effects and a remarkably delicate texture as chords and isolated tones in the bass overlap, requiring persistent hand crossings and the utmost refinement of pedal technique. While most of this episode passes by in a hushed pianissimo, it eventually builds into an agonizing forte climax in which the canon once again reappears, and serves as the catalyst for an altered and harmonically richer reprise of the opening theme. The canon continues to drive the piece through the coda until a two measure passage of quasi-Baroque figurations leads to the concluding F major chords.

The melody appears in octaves in the middle of the harmonic texture.

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A simple tune of only four measures, Brahms develops the theme through three successive variations, each adhering strictly to its formal structure and graciously adorning it with melodic or harmonic embellishments. The second and last are similar, with the last measures of the latter altered to bring about a half close in the key of D minor.

The central episode in D major adopts the same technique. A tonic pedal persists throughout the entire section, over which the initial theme of running eighth-notes is varied first by subtle changes to the harmony, then in succession with triplets , sixteenth-note figurations, and ultimately arpeggios. A curious feature of the episode is the borrowed dominant harmony from A major which supplants the expected cadence at the end of each variation.

Not until the conclusion of the last variation, which first deceptively moves through the subdominant, is the awaited dominant seventh achieved.