Abstract
This paper examines Brahms’ Intermezzo Op. 119 No. 2 through the interpretive frameworks of Kierkegaard’s concept of repetition and Schoenberg’s “developing variation”. It is argued that the repetitions of motive 1 in the Intermezzo embody Kierkegaard’s philosophical concept of repetition. According to Kierkegaard, there is value in both cherishing life’s recurring “beauty” and embracing the necessity of “novelty” presented by new challenges. This duality finds a parallel in Schoenberg’s “developing variation”, where a theme evolves through varied repetitions and transformations. Within the Intermezzo, motive 1 is not merely restated but undergoes continuous transformation, facilitated by variations in accompaniment, interval patterns, rhythm, and meter. Although this is philosophically linked to developing variation, true musical repetition inherently involves temporality, narrative, and dynamic motion. The evolving variations of motive 1 construct this temporal narrative progression, generating the piece’s dynamic forward thrust. Thus, the Intermezzo exemplifies Kierkegaardian repetition across diverse musical forms, offering a concrete demonstration of how musical structures can philosophically articulate the concept of repetition, thereby bridging music and philosophy.
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How to cite this paper
Repetition in Brahms’ Klavierstücke Op. 119, No. 2
How to cite this paper: Meihui Li, Jing Liu. (2025) Repetition in Brahms’ Klavierstücke Op. 119, No. 2. Journal of Humanities, Arts and Social Science, 9(7), 1362-1370.
DOI: http://dx.doi.org/10.26855/jhass.2025.07.019