[EdwardBast]

I think the finale was added later before the eventual publication. The main earlier material is also from a tough period in the composer's life as he apparently associated it with Goethes suicidal hero Werther. The E major in c minor had a precedent in Beethoven's 3rd piano concerto and a follower in Brahms first symphony but an origin within a c# minor piece is of course plausible.
With the possible exception of the finale it is a very intense piece.

It was from a stressful period, but Brahms' remarks connecting the work to Werther were jocular. At the time of the original version he was in love with the wife of his friend (Robert Schumann), the same situation which led to Werther blowing his brains out in Goethe's novel. Brahms was poking fun at his youthful passion and he seems to have been embarrassed about how much of it could be heard in Opus 60, hence his statement that it was of little value(?)

 

[Brahmsian Colors]

I can see where you're coming from. They are long, epic, and "intellectual" and are not as immediately rewarding and appealing as works like the clarinet quintet and violin sonatas. The 1st I'm sort of lukewarm on, I don't find it as thoroughly inspired as most of his other chamber output though the third and fourth movements are great, with the finale in particular one of the most fun pieces Brahms wrote. But the 2nd and 3rd are both candidates among many for my favorite of his chamber works. Opulent melodies and soaring expressivity, with the slow movements of both in particular being very close to my heart. For 1 and 3, I highly recommend the Rubinstein/Guarneri recordings which are very smooth and lyrical. For No. 2 there is a great one with Richter and the Borodin Quartet.

Just looking back on this thread from last year I only now realize I somehow missed your response to my initial post (#3). All your feelings and descriptions associated with the Brahms works cited virtually constituted mirrored reflections of my own. My thanks for the pleasant encounter. :tiphat:

addendum: You're on the money too with that Richter/Borodin Quartet showcasing the Second Piano Quartet. It is marvelous!

 

[Gargamel]

Though the Second Piano Quartet remains my favorite among the three, I've come around to a greater appreciation of the other two, especially No.1, thanks in part to my acquisition of the fine set by Rubinstein and the Guarneri. My earlier lp holdings of the First and Second PQs with the Festival Quartet, also on RCA, maintain their high regard in my collection.

The 2nd piano quartet is very low-key, or at least I find it so. I'm much more struck by the 3rd piano quardet, particularly the sweet schubertiana of the strings in the first movement contrasted by some brooding piano chords. Can't you hear how suspenseful the music is, harmonically, and immensely majestetic!

 

[Gargamel]

Though "low-key" might depend on the performance. I probably dislike most performances of Brahms' 2nd piano quartet. This one is high caliber, though: (ignoring the part when his finger slips)

 

[Kreisler jr]

The Richter Borodin is probably the most edgy performance of this piece, a bit over the top. But it might convert some. The Rubinstein is the opposite, very relaxed and others I have heard like Domus or BeauxArts are more neutral or even classical. AFAIR I found these two more successful in the 2nd because they were not wild enough in the others. The later Brahms would probably not have closed sibling works with the same type of hungarian gypsy final.

 

[SearsPoncho]

The Finale to Brahms' 1st Piano Quartet has possibly the greatest coda I've ever heard. It's guaranteed to bring audiences to their feet, which occurred when I saw Issac Stern, Yo Yo Ma, Jaime Laredo and Emanuel Ax perform it.

 

[Brahmsian Colors]

The 2nd piano quartet is very low-key, or at least I find it so. I'm much more struck by the 3rd piano quardet, particularly the sweet schubertiana of the strings in the first movement contrasted by some brooding piano chords. Can't you hear how suspenseful the music is, harmonically, and immensely majestetic!

I'm not exactly sure if you are referring here to the Rubinstein/Guarneri performances or the actual compositions themselves. While the Second Piano Quartet is my favorite work among the Brahms Three PQs, the Rubinstein/Guarneri interpretation of the Second is not a particular favorite of mine. If your reference to "very low-key" applies to their rendition, I am in agreement with you. I much prefer my recording by the Festival Quartet as well as Richter's with the Borodin Quartet....On the other hand, if by "very-low key" you are pointing to the Second PC as a composition, I can't agree with you because of what I feel are its wonderful aesthetic and melodious qualities.

 

[Gargamel]

I'm not exactly sure if you are referring here to the Rubinstein/Guarneri performances or the actual compositions themselves. While the Second Piano Quartet is my favorite work among the Brahms Three PQs, the Rubinstein/Guarneri interpretation of the Second is not a particular favorite of mine. If your reference to "very low-key" applies to their rendition, I am in agreement with you. I much prefer my recording by the Festival Quartet as well as Richter's with the Borodin Quartet....On the other hand, if by "very-low key" you are pointing to the Second PC as a composition, I can't agree with you because of what I feel are its wonderful aesthetic and melodious qualities.

I'm referring to the actual composition (#2) itself, and I'm trying to convey her how I experience it relative to piano quartet #3. By relatively low-key, I mean relatively subtle. You might disagree on that, but it's not a pejorative remark. I mean, there are times when my heart has been with #2, but at other times I'm not in the mood for it, and the wrong players can outright kill it for me. (We're still talking about music.) But I'm never in the mood where I would not be fully into #3.

 

[Kreisler jr]

It's like the Pastoral is low key compared to the 5th. Brahms was traditional enough to strive for contrast when he wrote pairs of works like op.25 and 26 or 51,1+2.

 

[Brahmsian Colors]

I'm referring to the actual composition (#2) itself, and I'm trying to convey her how I experience it relative to piano quartet #3. By relatively low-key, I mean relatively subtle. You might disagree on that, but it's not a pejorative remark. I mean, there are times when my heart has been with #2, but at other times I'm not in the mood for it, and the wrong players can outright kill it for me. (We're still talking about music.) But I'm never in the mood where I would not be fully into #3.

You're okay. That's what I thought. Thanks too for your clarification on "low-key". And I can certainly relate to those "not in the mood" and lousy interpretation situations. Otherwise, PQ 3 is growing on me, and that can be a good thing :cheers:

 

[Bruckner Anton]

Brahms' piano quartets are among my favorite chamber music.