DAVIES SYMPHONY HALL, San Francisco, March 15 — Brahms’ complete works for violin and piano: it is not a vast list, but each one is a marvel. Pinchas Zukerman has long been an internationally recognized violin master and also a conductor. The pianist in this performance was Shai Wosner. He has performed with other star musicians, including Emanuel Ax, Leonidas Kavakos, and Yo-Yo Ma.

Zukerman walks onto the stage, places his violin under his chin, and plays. He does not sweep  his bow in grand circles in the air. He is a great musician not a juggler. His performance was truly Brahms’ performance. As a listener, I was happy to hear this wonderful music.

Brahms’ Scherzo in C minor, WoO 2, from F-A-E Sonata was new to me. Brahms was 20 years old when he co-composed for Joseph Joachim with Albert Dietrich, Robert Schumann, and himself. He was already Brahms. In the program book, Scott Foglesong explains that F-A-E was a motto for Joachim meaning “Frei aber einsam,” free but lonesome. This scherzo has a strong design and includes a song-like trio part. That kind of composition will be heard in Brahms’ future works.

Brahms does not rush in. Apparently, he wrote other sonatas for violin and piano. They did not please him, and they were refused by their composer. His first Violin Sonata No. 1 in G major, Opus 78 (1879) is beautiful. I have loved it for a long time as I choreographed it as a solo dance named “Clara.” The music is delicate, light, and dances itself. The dance lets the dancer move as though holding hands with two other persons; Schumann and Brahms. They did go to the country and have picnics. Foglesong hears the possibility of tragedy, but writes that sadness is “kept firmly at bay” in the Adagio. Since the dancer has become Clara Schumann, she steps forward to take her bow with her husband, she reaches for his hand, but he is not there. In “real life,” that did happen. Robert Schumann had thrown himself into the river. This is heartbreaking history. And yet, the Allegro molto moderato brings Clara back to her love of music. It was the Violin Sonata No. 1 that satisfied Brahms and whether the listeners think of someone or something happening, it does not matter. This music has a few big waves and rain, the “Regenlied,” rain song, and then the music calms itself. If it sounds like the rain but promises no story, we can be sure that this music from Vivace ma non troppo to Allegro molto moderato is beautiful, perfectly beautiful.

Violin Sonata No. 2 in A major, Opus 100 (1886) is full of love. The names of the three movements tell us that: Allegro amabile, Andante tranquillo, Allegretto grazioso quasi andante. It is all gentle and soft, “loveable,” this is love. Andante tranquillo – this is a walk, not a hike. See the trees, maybe a narrow creek; nature is kind to us.  We are in our comfort, not our favorite blanket to watch TV, we are at peace with each other. Not that we had an argument; all is lovely. Brahms knows more than his audiences think they know all about Brahms. They might think they know this but not that. In truth, he has a large, devoted human heart which partners with a grand brain. He can sift out one kind of mood and another kind of love. He spent a lot of time in the Red Hedgehog, his favorite bar/cafe. He knows and knows where he is going.

Violin Sonata No. 3 in D minor, Opus 108 (1888) is completely different. Brahms moved his Sonata into the minor world. Now there are four movements instead of the three in Violin Sonata No. 1 and Violin No. 2. No. 3, Allegro, opens with passion, changing emotions, perhaps even struggles. Brahms lets the piano jump into syncopation. There are rhythms taking sounds as though a foreign speaker cannot stick with a “normal” speech. It is less hum-able than the second movement, the Adagio. The audience can hear two melodies, one for the violin and one for the piano. Then, the instruments swap melodies. It is so interesting to hear that switch; a violin does sound different playing that other melody, and the piano’s same notes will tell us something different than before they swapped. Mostly, we are in peaceful moments, except when the passionate breaks through the calm. The unusual title for Un poco presto e con sentimento, the third movement, takes the feeling for the “sentimento,” keeps it close but does not dive into sentimentality. The piano creates the feeling while the violin plays watchfully. The last movement, Presto agitato, moves like a wild, fast dance. There are brief moments that cool down the action, but the dance will not stop. No instruments stroll to the chairs with a glass of white wine. Forget that. The audience feels their ears reaching out for all. Brahms is never a fuddy duddy. Actually, he is a superman.