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Thanks, AZ, for the red, white, and blue tribute.

Did you have a safe commute? Minimal traffic? *HUGS*

Johannes Brahms had met Elisabet (“Lisl”) von Stockhausen – no relation to Julius – when she was a teenage piano student of his. She turned out to be a fine pianist and an even better soprano. Jo had fallen for her, but with his misogyny toward women, nothing had happened. Now she was pushing thirty and safely married to music professor Heinrich von Herzogenberg in Leipzig, and she asked Jo to come and visit.

Jo’s relationship with Clara Schumann had experienced its high and low points, and it was entering another low point. Jo now formed another relationship with a musical confidante. Lisl understood exactly how to handle Jo Brahms. Her combination of affection and mock gruffness tickled him, and most importantly, she knew how to make him laugh. Lisl began sanding the rough edges off Jo’s personality. Under her capable hands, Jo started turning into a fat pussycat. Even when he roared like a lion at a party, Lisl could tearfully make him repent.

British composer Ethel Smyth also lived in the household, and as a fine memoirist, she documented the changes in Brahms. Ethel was a lesbian and had a thing for Lisl, which fortunately Lisl did not perceive.

From this period came a goodly number of songs.

Brahms spent his summer at Lake Worth, pronounced “vort” in German, and he would spend the next three summers there. He took his daily swim, and then he worked on another symphony. By the fall, he was ready to rehearse in Vienna.

The introduction begins in the sunny key of D Major, and at 1:57 there is absolute magic. This passage sounds like it’s going to be a first subject, but it’s not. In fact, it never shows up again, but it’s “Clara” spelled out in musical notation. Kleiber caresses this passage, and I had to reach for my handkerchief. The real first subject comes at 2:20 and is succeeded by a second subject in A Major at 3:00. It sounds a bit like his lullaby. At 5:42, Kleiber skips the repeat and goes directly to the development. At 6:45 the dissonance on the trombones is searing. At 8:45 the recapitulations begins, re-composed as Brahms always likes. At 12:46, Brahms leads into a gentle coda.

At one of those discussions in Seattle, there was general agreement that this slow movement was one of the greatest in Brahms’ output. It’s in B Major and is one of his longest slow movements. Just let it flow.

The third movement is a short, sweet intermezzo in G Major in the traditional ternary format. It starts with the oboe in 3/4 and one of Brahms’ most beguiling tunes. The middle section goes into duple time before returning to three. At 27:55 he switches to 3/8 before returning to a more moderate 3/4 at 28:38.

The finale shows Brahms at his most relaxed, yet exuberant. Let Brahms take you for a wild, wonderful ride.

Brahms: Symphony #2 in D Major, Op. 73

I did indeed have a safe commute with no obstructions.

Poor deaf Daisy dog....I walked in the front door after turning on the hose bib to the sound of her barking.

Walked in the door & she’s focused on the wall where the bib is & doesn’t even hear me putting the key in the lock, coming in the door & calling her name.

She jumped when she saw me.....poor girls really getting deeeef!