1. Intermezzo in A minor

The theme consists of two intersecting motifs at the beginning (c - b - a - e sung in octaves, and an ascending arpeggio). The descending octave motif appears at the beginning, and from measure 11, it appears in an ascending form. The theme appearing in measure 23 becomes the climax of this piece. From measure 31, the theme's arpeggio is presented with a diminished seventh chord, after which the piece concludes with the crystalline sound of an A major chord, leading into the second piece.

2. Intermezzo in A major

This piece is in a three-part Lied form, broadly divided into A (measures 1-48), B (measures 49-76), and A' (measures 77-116). Furthermore, the B section can be subdivided into a (measures 49-56) with a movement in F-sharp minor, b (measures 57-64) which modulates to F-sharp major and contains chorale elements, and a' (measures 65-76) which returns to F-sharp minor and is sung espressivo.

3. Ballade in G minor

The third piece can also be described as a three-part Lied form, divided into A (measures 1-40), B (measures 41-72), and A' (measures 73-117). The A section in G minor, marked Allegro energico, evokes Brahms's beloved Hungarian Dances. After passing through G major, the B section modulates to B major. In contrast to the leaping character of the A section, the B section progresses with a swaying motion, possessing a completely different character.

4. Intermezzo in F minor

The fourth piece is also divided into three parts: A (measures 1-51), which is p yet agitato in character; B (measures 52-91), which modulates to A-flat major and presents pp chords reminiscent of distant bells; and a section (measures 92-99) that, while retaining the B motif, suddenly shifts to an aggressive character. After presenting the A motif with this energy, the piece concludes with a soft F major sound, foreshadowing the fifth piece.

5. Romanze in F major

This piece consists of an A section (measures 1-16) where the descending second theme presented in the soprano at the beginning is repeated four times; a B section (measures 17-47) which modulates to D major, where a four-measure phrase is repeated with gradual variations; and a final A section (measures 48-57) which concludes with the opening theme and a più espressivo climax.

6. Intermezzo in E-flat minor

The four-note progression of the opening theme (G-flat - F - G-flat - E-flat) evokes the Gregorian chant “Dies Irae,” while the diminished seventh chord arpeggio in the bass from measures 3-4, conveying anxiety and fear, recalls measures 31-34 of the first Intermezzo.

From measure 41, the piece modulates to G-flat major. The musical flow shifts from a long, sustained legato to sotto voce chordal leaps reminiscent of the beginning of the third piece, Ballade. This motif gains momentum and, from measure 53, proclaims the opening four-note theme. At measure 63, the piece returns to the opening tranquility. From measure 67, a C-flat major sonority offers a ray of light, but at measure 83, an sff E-flat minor chord signifies exhaustion, and the piece fades away lento.

Observing the overall tonality of the six pieces, they are arranged such that the tonic descends by a major second: A, G, F, E-flat.

As mentioned in the general overview, the four collections of late piano pieces, including Op. 118, were written after Brahms had worked on symphonies, concertos, and chamber music. Why did Brahms suddenly write a series of short pieces for piano? One event that can be inferred as a trigger was the death of a close friend.

In January 1892, Brahms lost Elisabeth von Herzogenberg, who was also his piano student, and became deeply disheartened. Correspondence exchanged between Elisabeth, her husband Heinrich von Herzogenberg, and Brahms reveals their intimate relationship. Furthermore, in March of the same year, Heinrich sent Brahms eight piano pieces composed by his wife.

In the summer of that year, Brahms composed Op. 116 and 117 in the resort town of Bad Ischl, and in the summer of 1893, he composed Op. 118 and 119 in the same location.

The renowned music critic Eduard Hanslick described the six pieces as “Monologues at the Piano” (Ger.: “Monologe am Klavier”). The publisher Simrock also proposed to Brahms that Op. 118 and 119 be published together under the title “Monologues.” Although Brahms seemingly considered the word “monologue” itself not bad, he declined the offer (from Brahms’s letters).

Furthermore, it appears Brahms was particular about not having the content or atmosphere fixed by words (titles) as much as possible. For instance, Op. 118 No. 3, a Ballade, possesses a rhapsodic atmosphere, but he seemingly disliked the word “Rhapsody,” which had already been used in Op. 79, and thus adopted the word “Ballade.”

The six individual pieces are titled “Intermezzo,” “Ballade,” and “Romanze,” while the collection as a whole is simply named “6 Klavierstücke” (“Six Piano Pieces”). Brahms did not give specific titles, but it can be argued that this allowed performers and listeners themselves to engage in an internal dialogue (monologue) through the music.

One of the four collections of piano pieces (Op. 116–119) composed by Brahms in his later years. Op. 116 and 117 were composed in 1892, and Op. 118 and 119 in the following year, 1893, both during his summer stays in the Austrian resort town of Bad Ischl. Among the Six Pieces, Op. 118, the second piece, Intermezzo, is arguably one of Brahms's most frequently performed piano solo works today.

Surprisingly, given the current high regard for Brahms's late piano pieces, the collections Op. 116–119 do not seem to have been highly acclaimed by his contemporaries at the time of their composition.

For instance, a letter from Brahms's close friend, Theodor Billroth, states to the effect that “Brahms should compose large-scale works such as symphonies and chamber music, and refrain from writing such piano jokes (Ger: Scherz).”

After composing the two Rhapsodies (Op. 79, 1879), Brahms did not publish any piano solo works until this series of piano pieces. During that period, Brahms produced masterpieces in symphonic and chamber music, including Piano Concerto No. 2, Op. 83; Symphony No. 4, Op. 98; Double Concerto for Violin and Cello, Op. 102; Violin Sonata No. 2, Op. 100; No. 3, Op. 108; and Clarinet Quintet, Op. 115.