1. The Brahms Sound Thomas Mastroianni

2. Brahms and Clara Schumann Sound Her playing was characterized by technical mastery, thoughtful interpretation, poetic spirit, depth of feeling, a singing tone, and strict observance of the composer's markings.

3. Masselos Sound Carl Friedberg – disciple of Clara Schumann William Masselos – pupil of Carl Friedberg

4. Retropulsion Reactive force of key depression Leverage Alignment Mobility Onset of Relaxation Power enhancement Reduces Key Noise

5. 51 Exercises “no rules!” (Tone oriented technique) # 1a – contrary motion fingering; 4 against 3; thumb on black notes #5 – broken 8ve scales with 8ve displacement; thumb over or under 5 and on black notes; opening and closing hand #3 – Double thirds 5 and thumb play 3 consecutive notes #9a – legato and staccato with hand extension

6. Legato Legato is aural connectivity not just finger overlap. Legato is a sound

7. Posture Relaxed hand Open elbow Back muscle support and readiness Head up Natural position of foot in pedal release position aids shallow pedal use

8. Other factors of the Brahms Sound Clinging Touch-Key contact reduces noise Richness of Counterpoint, layered sound Texture and Balance Pedal

9. Sonata Op. 5 I 1 st theme: Range, Leaps, Contrasts, Orchestral 2 nd theme: Voicing (alto), wide weave accompaniment II m.1: fingering, flat finger sound (accomp.) 4/16 section: pedal, articulation, lightness III m.1: long line counterpoint, leaps m.42: range, register levels Trio: Chorale –vocal texture IV Tympani effects V 1 st theme: orchestral, broken sixths sound 2 nd theme: AAB_ harp-like melody, wide accomp. – Coda: counterpoint

10. Piano Concerto Op. 15 Waltz Op39 #15 Solo: Layered Texture – static bass under the rich throbbing sounds of 3rs and 6ths P. 12: wide-weave accompaniment sounds 2 nd Theme: chorale sound Waltz in Ab Melody in 6ths Harp-like accompaniment

11. Rhapsody in g Opus 79 #2 p40 1 st theme: AAB_ phrases, register leaps, avoid tonic harmony 2 nd theme: ethereal sound (twilight mood) left hand slurs, flat finger arm sweep, very little articulation

12. Intermezzo Op. 116 #2 p53 Counterpoint within right hand – voicing, 2 against 3 B section (m19): unearthly sound via 8ve displacement, rhythmic displacement

13. Intermezzo Op. 116 #4 AAB_ melodies, fragmented harmonic line, most important thematic material as a counterpoint at the first repetition of the opening. 2nd theme (m 37): Twilight mood (Geiringer)

14. Intermezzo Op. 116 #6 p. 66 1 st theme: Chorale sound, voicing alternately alto and soprano 2 nd theme: A_BB structure (reverse of AAB_) Descending scale with integrated triplet accompaniment

15. Three Intermezzi Op. 117 p.72 #1: simple sound of a folk melody (lullaby) rocking chair rhythm in the accomp. 2 nd theme: twilight mood (stillness) #2: Twilight – quiet sweeping accompaniment with melody blended into the stillness # 3: Stark descent into the subconscious, 5 m phrases, constantly shifting harmony

16. Intermezzi Op. 118 # 2, Op 119 p.86 118 # 2: legato sound, counterpoint, sostenuto, dolce, chorale sound 119 #1: clinging touch, balance, sostenuto 119 #2: layers (lh + ped / rh slur) 119 #3: 3 layers (2 rh touches) m 66: scherzando chords 119 #4 (Rhapsody): Power vs. noise, m94: 3 layers (2 rh touches)

17. Clarinet Sonata Op. 120 #1 Violin Sonata, Op. 108 Op. 120: Legato 8ves with no pedal M 68: legato melody layered with contrary motion arpeggiations Op. 108: Sotto voce sound M 16: throbbing repeated note chords in 2 against 3 rhythm