Composed in 1892-93, Brahms’s piano pieces opp. 116 to 119 are the last collections that he wrote for the instrument. Particularly noteworthy is his use of 'small forms' accompanied by a further increase in musical expression compared to his earlier works. In November 1892 Clara Schumann, probably the secret dedicatee of these pieces, confided to her diary that they were 'a true source of enjoyment, everything, poetry, passion, rapture, intimacy, full of the most marvellous effects [...]. In these pieces I at last feel musical life re-enter my soul, and I play once more with true devotion.'<br>
After completing his op. 118 (BA 9630), Brahms, still in the resort town of Bad Ischl in the Salzkammergut region, wrote his final collection of piano pieces: the three intermezzos and rhapsody, op. 119. His publisher wanted to put a catchier name on the title page of the print, but Brahms remained adamant: 'I'm afraid I certainly cannot call them Monologues or Improvisations this time, try as I may. I suppose there is nothing left but 'Piano Pieces'!'<br>
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The editor<br>
Christian Köhn teaches piano at the Musikhochschule in Detmold. One of his specialties is the piano music of Johannes Brahms. Together with his duet partner Silke-Thora Matthies, he is a prize-winner of the Munich Competition and has released the world's first complete recording of Brahms's works for piano duet. In addition to the Serenades for piano four-hands, opp. 11 and 16 (BA 6570 and 6571), he has already edited many of Brahms's solo piano works for Bärenreiter.<br>
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