ABSTRACT
Listening to pianos built during the second half of the 19th century provides an impression of a sound ideal clearly different from the one now accepted in the twentieth century. Brahms knew German and Austrian pianos better than American, French, or English ones. Although Brahms's ideal of piano sound probably developed from his acquaintance with the whole range of pianos in the German-Austrian sphere, he had strong leanings to the more conservative pianos, the Streichers and Bösendorfers. Brahms's 51 Exercises for the pianist show how clearly he understood pianistic problems. These exercises probably derive from Brahms's own pianistic capabilities and were undoubtedly written to fit the pianos of his time. Brahms's 57 Exercises can act as studies for these categories of touch and provide excellent preparation for similarly marked passages within his pieces. The knowledge gained, if sensitively and thoughtfully applied, might bring forward lost aspects of the music and thus enrich our understanding of Brahms's last piano pieces.
