Krista Williams
Dr. Mayrose
Form and Analysis
14th February, 2025
Brahms Intermezzo Op. 76, No. 7
Johannes Brahms, who was a pioneering and committed composer and proponent of
“absolute music” exemplifies this style in his piece Intermezzo Op. 76, No. 7. While he probably
saw himself as a composer of classical traditions and rules, he also transformed motivic
elements, making what seems not important or inconsequential motives significant for the
structure of his works. The piece does follow certain traditional classical music principles, but it
is also embellished and improved by Brahms harmonic progressions and developments. His
compositional characteristics upraise the music beyond the common musical expectations. In this
Intermezzo, Brahms uses a motive of E-D#-E that is developed on a small, and large scale and
accompanies the ternary form of the piece.
When first hearing this piece, the E-D#-E motive in mm. 1-2 (see e.g. 1) may appear
insignificant to the intermezzo as a whole, however, this motive is the foundation and is
fundamental for the piece’s form and identity. On the small scale, the motive acts as a connecting
device. It is used both in the inner voices, and the accompaniment, which influences the melodic
movement of the opening 8 measures. Beyond the first 8 measures, the motive is re-established
immediately in the right hand of mm. 9, and continues to be developed until mm. 16. (see e.g. 2)
The re-establishment of the E-D#-E motive further into the piece proves its significance and role
in the composition, rather than a role as an intro. On the larger scale, the motive plays a crucial
role in expanding harmonic context and motion. The chromatic movement assists the tonal
ambiguity, that shifts between diatonic and chromaticism. This can be shown in the middle
section of the intermezzo, in mm. 17-22, where the motive is fragmented and modified. This
leads to changing the harmonic direction of the piece. In mm. 22-24, Brahms utilizes modulation,
allowing the motive to further establish the structure of the composition. The E-D#-E motive is
clearly a significant aspect of the piece, and a half step chromatic movement can be seen in other
sections of the composition, such as in mm. 29-30 (see e.g. 3) with A-G#-A being played in the
top voice.
There are interesting aspects of this piece besides the motivic development and harmonic
context. Brahms has a unique use of rhythm that elevates the piece. The use of syncopations and
hemiola in mm. 1-8, and throughout the piece lends itself to interesting rhythmic texture and
ambiguity. Brahms also excellently uses modulation and tonal shifts to further the musical
emotion and tension of the piece. The composition starts in A minor, eventually modulates to C
major (the relative major key) briefly in mm. 3-4. Mm. 17 begins in F major, a shift of the tonal
center of A minor. What is also intriguing is the use of a descending chromatic baseline in mm.
25-28 (see e.g. 4) that creates a sense of “going somewhere”. Brahms also takes advantage of the
inner voices when it comes to harmonic development. Such as in mm. 36-37, (see e.g. 5) where
the upward motion (G-E and A-E) in the lower voice, and the descending upper voice create a
contrapuntal movement that adds complexity and interest. As well as the diminuendo. E poco
ritardando in mm. 36 which is a fantastic way to lead into the opening motive once again.
Brahms shows his mastery of composing in this piece, with a very simple and less texturally
complex opening to the intermezzo, which allows the listener to pay attention and “lean in”
because they know that something is coming. The feeling of “waiting” or being on the edge of
something is then satisfied in mm. 9 with the speed increasing and the texture changing. The
brief time signature change in mm. 23 is also another example of Brahms using rhythmic
elements to intrigue the listener. This meter change almost “halts” or lifts the music for a
millisecond, before it continues to move forward.
The form of the composition is ternary; however, it is unique and requires a closer look to
understand it’s structure and foundation. The significance of the opening motive in mm. 1-8, and
the evidence of its use and development throughout the piece is proof that the first 8 measures
are not simply an intro, and likewise, the return of this material at the end of the piece (mm. 38-
46) is not a coda. The first 8 measures of the intermezzo are the A section. Just because this exact
material is not repeated in other sections of the piece (besides the end) does not mean the
material itself is removable. Some people may argue that the beginning and the end are
inconsequential. They can be removed from the composition and the internal structure of the
piece could work on its own, however, what is important in this composition is context. Without
the A section the piece falls a little flat. The A section of this piece establishes the B section
which begins in mm. 9 and ends in measure 37. This is consistent with a typical ternary form
where the B section is usually larger than the A section. The form of this piece (ABA) is reflected
by the opening 8 measures. The notes in mm. 1-2 (E, A, G, F, E) sound important when first
listening to the piece, but then the E-D#-E motive takes the spotlight. This transition is similar to
the overall composition, where the initial statement is taken over by an interesting and complex
motivic framework. The return of the A section in mm. 38 is not a coda or outro, but a reiteration
of the intermezzo purpose.
Brahm’s Intermezzo Op. 76, No. 7 is more complex than at first glance. He created an
excellent example of taking a motive, and expanding, elaborating and fragmenting what was
originally a very simple and short musical idea. The E-D#-E motive is subtle and could be seen
as something negligible, but is actually the foundation of the entire composition. Besides this,
Brahms used rhythmic texture and interesting voicings to compose a cohesive and clever
intermezzo with a ternary form.
