Composition of the first piece in this collection began in 1871, but the collection was compiled as a whole in 1878 during Brahms's stay in Pörtschach. This period, particularly from 1877 to 1879, is considered the most prolific time in Brahms's creative activity.

This section will first describe Brahms's activities from 1871 to around 1878, touching upon works deemed particularly important during that time.

In 1871, when Brahms was 38, the German Empire was established with Bismarck as Chancellor (following the victory in the Franco-Prussian War the previous year). Brahms was an ardent admirer of Prussia and Bismarck, and composed Triumphal Song of German Victory, Op. 55, to celebrate the victory in the Franco-Prussian War. This work is dedicated to Wilhelm II (1859–1941). He also composed Schicksalslied (Song of Destiny), Op. 54, for orchestra and chorus. This piece, inspired by the poem 'Hyperion' by the German poet and philosopher Friedrich Hölderlin (1770–1843), was completed and premiered in May 1871. It is regarded as a masterpiece that expresses Brahms's view on life and death. From December 1871, Brahms served as the Music Director of the Gesellschaft der Musikfreunde in Vienna until April 3, 1875. A notable characteristic of his concerts was the infrequent inclusion of contemporary composers; instead, he focused on older music, such as works from the 15th and 16th centuries, and by Handel and Bach.

From 1873, works that served as stepping stones towards Symphony No. 1, Op. 68, were completed, including String Quartets, Op. 51, Piano Quartet No. 3, Op. 60, and Variations on a Theme by Haydn, Op. 56. In the same year, Brahms was awarded the 'Maximilian Order for Science and Art' by King Ludwig II of Bavaria (1845–86), renowned as Wagner's patron (Wagner also received the award simultaneously). Furthermore, in 1874, Brahms's reputation grew as he was elected an honorary member of the Prussian Academy of Arts.

In 1875, Brahms accepted a position on the selection committee for the Austrian State Scholarship, where he reviewed the works of the young Dvořák (Brahms highly valued Dvořák's talent and introduced him to the publisher Simrock, among other things). Although Brahms resigned as Music Director of the Gesellschaft der Musikfreunde that year due to disagreements, losing his position did not impoverish him; rather, he was one of the first composers able to live solely on composition fees. In 1876, Brahms's first symphony, Symphony No. 1, Op. 68, was premiered. This symphony is a monumental work that took approximately twenty years from its initial conception to completion. The period from the 1850s, when Brahms began composing, to the 1870s, when it was completed, was a turning point for the symphony genre, a time when various new directions emerged, such as Liszt creating the new genre known as the 'symphonic poem'.

From 1877 to 1879, Brahms spent his summers in Pörtschach, a town in Carinthia, southern Austria. Pörtschach is a resort town surrounded by the Alps and situated on the shores of Lake Wörthersee, the largest lake in Carinthia. It is a scenic location that remains popular with many visitors today.

In 1877, Brahms completed Symphony No. 2, Op. 73, which he had begun in June of the same year. Composed in a shorter period than the First Symphony, the Second possesses a more expansive atmosphere. Many other works were also composed, including the song collections Nine Songs, Op. 69, and Five Songs, Op. 71, and the duets Ballads and Romances, Op. 75.

The following year, in Pörtschach, the remaining five pieces of the collection discussed in this entry were composed. Together with the previously composed pieces, they were compiled as Eight Pieces, Op. 76. The first edition was published in 1879.

(For more on Brahms's circumstances from 1877 to 1879, please refer to the commentary on Two Rhapsodies, Op. 79, composed in 1879.)

The complete collection was premiered on October 29, 1879, in Berlin by Hans von Bülow (1830–94). Bülow was one of Germany's foremost conductors and a piano virtuoso. In his early career, he was particularly devoted to Wagner, conducting the premieres of Wagner's Tristan und Isolde and Die Meistersinger von Nürnberg. Later, he distanced himself from Wagner, and his friendship with Brahms began when he became Music Director and conductor of the Meiningen Court Orchestra in 1880. While Wagner and Brahms are often portrayed as rivals in music history, the reality is not so simple (Brahms heard many of Wagner's works and even incorporated some of his musical language into his own). Bülow was deeply involved with both composers and was a good understanding friend to Brahms. He reportedly loved this collection and performed it widely.

This collection is structured in two parts: Nos. 1 to 4 form the first set, and Nos. 5 onwards form the second set. Both the first and second sets contain Capriccios and Intermezzos. This work can be regarded as the starting point of Brahms's late period. Generally, the Capriccios are characterized by their lively movement, while the Intermezzos possess a more introspective character. However, Brahms seems to have found it difficult to decide on titles for these pieces, as he inquired with his publisher Simrock if they could suggest any good titles. Brahms apparently used the term 'Intermezzo' for pieces that were neither capricious nor passionate.

No. 1 Capriccio in F-sharp minor, Capriccio fis moll

Composed in 1871. It is said to have been presented to Clara Schumann on her birthday in September of the same year. It begins quietly with arpeggios on the tonic chord of F-sharp minor in the low register. While the arpeggios descend further into the lower register, chords struck in each measure gradually ascend to the higher register, reaching a fortissimo dominant chord in measure 9. The new melody that appears next, C-sharp-D-F-sharp-E-sharp, shifts to a lower register with each repetition, and in the latter half, an inversion appears in the middle voice. The accompanying part is played by both hands simultaneously, divided between them.

No. 2 Capriccio in B minor, Capriccio h moll

This piece received its earliest premiere, performed by Ignaz Brüll (1846–1907) on October 22, 1879. It is a vibrant work characterized by the constant use of staccato. A distinctive feature of the opening theme is the accent placed on the weak beats of the notes played by the left hand (in the latter half of the piece, when the opening melody reappears with a different accompaniment, the accents are absent).

No. 3 Intermezzo in A-flat major, Intermezzo As dur

Believed to have been composed by around 1878. The opening includes the German instruction Anmutig, ausdrucksvoll (Gracefully, expressively). It is a quiet and impressive work with a high-register melody beginning on a weak beat. Some scholars suggest that the somewhat hollow harmonies used in this piece and No. 4 might allude to a turning point in Brahms's music and life.

No. 4 Intermezzo in B-flat major, Intermezzo B dur

Believed to have been composed by around 1878. It is in ternary form. The melody frequently employs dotted rhythms. A sustained E-flat note is placed in the inner voice of the right hand through syncopation, and the left-hand accompaniment rhythm is persistently maintained. Although the main key is B-flat major, clearly recognizable sections are rare, and an unsettling quality permeates its graceful appearance. Consequently, the piece's ending, which sparkles and ascends into the high register, becomes particularly effective.

No. 5 Capriccio in C-sharp minor, Capriccio cis moll

The first piece of the second set, believed to have been composed around 1878. As indicated by the German instruction Sehr aufgeregt, doch nicht zu schnell (Very agitated, but not too fast) at the beginning, it is a violent piece, striking octaves, a stark contrast to the previous one. It is among the larger-scale pieces in this collection and is considered relatively challenging technically for the piano. A characteristic feature is the multi-layered rhythmic treatment: the opening theme in 6/8 time is perceived as if in 3/4 time, while the subsequent octave-heavy theme is perceived in two beats. It concludes dramatically with a fortissimo.

No. 6 Intermezzo in A major, Intermezzo A dur

Believed to have been composed in 1878. As indicated by the German instruction Sanft bewegt (Gently moving), it is a calm work. Polyrhythm (meaning the superimposition of different rhythms or meters, often seen in medieval polyphonic music or jazz) is employed.

No. 7 Intermezzo in A minor, Intermezzo a moll

Believed to have been composed in 1878. The opening theme is solemn and chord-driven, and this theme is used at the beginning and end of the piece. The middle section features a melody that frequently uses E-D-sharp-E-C-G-sharp (A-flat), and modulations using this melodic shape are repeated, returning to the original melody. The form can be interpreted as symmetrical.

No. 8 Capriccio in C major, Capriccio C dur

Believed to have been composed in 1878. As indicated by the German instruction Anmuthig lebhaft (Gracefully lively), it also possesses brilliance. It is a pianistic work utilizing arpeggiated figures and a wide range. The ending of the piece, similar to the final piece of the first set, No. 4, but even more brilliantly, rushes up into the high register before concluding.