Portrait of Johannes Brahms as a young man. Photograph: Archivo Iconografico, SA/Corbis

The best of Brahms: lesser-known treats

This article is more than 9 years old

Five performers from BBC Radio 3’s Brahms Experience tell us about their favourite under-loved work – and why it should be played more often

Daniel Hope, violin

Brahms plays such an important role in my musical life. Curiously, his Piano Quartet No 2 in A Major, Opus 26, has fallen somewhat from grace over the years. And yet during Brahms’s lifetime this was the more often performed of his three piano quartets. Its “divine length” at 50 minutes, and its appreciation of Schubert, make it a rewarding and inspiring piece to study and perform.

Stephen Kovacevich, piano

I find Brahms’ Capriccio in C Major no 8, Op 76 an amazing, and under-played piece. It has a touch of Scriabin about it, and is a very difficult piece, but one of the best things I ever recorded for Philips. An interesting fact is that Brahms’ friend Joseph Joachim actually saved this manuscript from the bonfire!

Katya Apekisheva, piano

In 2012, Charles Owen and I played Brahms’ rarely performed four-hand version of his Piano Concerto No 1 in D Minor, Op 15. Rather than being a solo with accompaniment, the piece is equally divided between the hands and allows both pianists to relish the orchestral textures cleverly woven into the solo line. It was a real discovery.

Helena Jiříkovská, leader, Skampa String Quartet

In his Double Concerto in A Minor, Op 102, for violin, cello and orchestra, Brahms is shown as a master of melody and drama. The concerto is a perfect combination of chamber music, solo instruments which must work and resonate together, and brilliant solo virtuosity. This work really fascinates me, I love it.

Robert Plane, principal clarinet, BBC National Orchestra of Wales

I first discovered the Piano Trio in A major, Op Posth when I joined the Gould Piano Trio to record the Clarinet Trio for their complete Brahms trio cycle. Although we still await conclusive proof that this work is indeed by Brahms, surely the majesty of the work’s opening theme is evidence enough. It’s a fascinating insight into the young Brahms; innovative, tempestuous, raw and rough-edged. This music really feels like his spontaneous, uncensored first thoughts.

Explore more on these topics

Reuse this content