I have just listened to umpteen recordings on-line this morning and not one single pianist observes the mezzo-staccato markings in bars 12 -13. Am I misinterpreting how these should be played? What did Brahms mean if not to slightly detach them?

Thanks

I love this piece so much I had to comment. Not listened to any recordings, I agree with your 'slightly detach' comment. My thoughts are :-
1. imagine how another instrument might play it - how might a violinist bow it...
2. play it as pure legato to see what Brahms presumably didn't want

lovely canonic writing at the bar you mention
delightful sevenths 9 bars from the end

my Mum bought me the complete Brahms (dover edition) when I was a teenager before I even knew I liked Brahms and there are no words for some of the beauties therein.

Thank you jch48 I think you helped me out on here once before but I can't remember when!
Your ideas are good and you have prompted me to do some more work on this - not tonight though as I am nearly

....and yes it is a beautiful piece.

I also have the Dover edition of Brahms complete shorter works for piano, and probably more than anything else of late, have been focused on this particular book. Having earmarked about twenty or so of these masterpieces, most from Op 76 and the later ones i'm about half way there... they are often cited as among the most emotionally powerful of the repertoire, and I'd go along with that. don't have the book here with me... The first piece of Op119, i'm not excactly sure which one it is, have a look look later, but I do know that Brahms did sometimes indicate staccato markings where he also intended pedalling. I have several recordings of it so I'll give some versions a listen later.