This study is an attempt to investigate part form structures in Brahms' Intermezzi, Opp. 116-119. Chapter One deals with the stylistic perspective in Brahms' piano writing in general as compared to his late works. Chapter Two concerns three aspects: 1) structural norms in part forms which are presented in many currently available textbooks on musical forms, 2) application of selected Brahms Intermezzi to above norms, and 3) the role of cadential types in part forms. Chapter Three analyzes structural aspects of all the Brahms Intermezzi in Opp. 116-119 and comments on pieces which appear problematic in terms of structural layout. Chapter Four, deals with the relationship between different thematic types and overall formal schemes.

Bibliography: leaf 83-86. A critical analysis of Intermezzo, a portfolio of twelve etchings published in 1881 by the German printmaker, Max Klinger (1857-1920) and held by the Art Gallery of South Australia. Recorded as Opus IV, Intermezzi is a relatively unknown and unusual work in Klinger's printmaking oeuvre. It is unlike Klinger's other graphic cycles in that it does not appear to be a related set of prints but a series of free fantasies without associative or thematic connection.