0:00 [m. 1]--Part 1.

The principal gesture of the scherzo is a skittish three-note

upbeat figure that takes up half the measure in the fast triple time. At first,

it is heard in both hands in the treble range. In the right hand, it usually
consists

of a rising half-step and a falling third. The left hand harmonization is a

falling

fifth and rising third. There is typically an outward leap to the downbeat. The

opening gesture is heard three times. On the third, it leads into a continuation

of descending chords in the right hand in a downbeat-upbeat pattern. These are

accompanied

by two more statements of the upbeat figure in the left hand (now in the version

originally played by the right). After the chords, the upbeat figure is isolated

in the left, then the right hand, landing on the “dominant” note, B-flat.
0:09 [m. 10]--The left hand sustains the B-flat, and above it, the upbeat figure

continues. The harmonization is now a rising half-step and third. After two of

these, the held B-flat rises three half-steps to D-flat. After another upbeat
gesture

a third higher, the bottom note rises a whole step and another two half-steps, to

F. After this, both hands play the rising motion in full harmony and with building

intensity. The left hand plays full chords that rise above the F. A climactic
point

is reached.
0:13 [m. 17]--A forceful descent begins with two longer chords, then accelerates

to four faster ones that confirm a full motion to B-flat minor. The upbeat gesture

leads into a rising arpeggio in the right hand. Against it, the left hand repeats

the descent, now in octaves instead of full chords. The right hand arpeggio
culminates

in a hammered gesture in octaves. This is a descending half-step and a repetition

of the lower note. It is played a total of seven times. Under these reiterations,

the left hand continues with overlapping statements of the four shorter notes from

the descent, reaching a low B-flat. The volume diminishes. After a one-bar pause,

the “hammered gesture” is converted to a gentle descending third representing a

cadence.

0:22 [m. 1 (upbeat from m. 32a]--Part 1 repeated. First statements of upbeat

figure

and descending chords.

0:29 [m. 10]--Sustained notes and half-step motion under upbeat figures, then
strong

buildup, as at 0:09.
0:33 [m. 17]--Forceful descents and “hammered” gestures in B-flat minor, as at
0:13.

The second ending (m. 32b) is a full measure pause with no upbeat.
0:43 [m. 33]--Part 2. With an immediate return home to E-flat minor, the
“hammered”

gesture is isolated in the left hand. It is quiet, detached, and light (staccato

e leggiero). It begins with the descending third, then moves up by half-step. It

is accompanied by isolated reiterations of the upbeat figure in the right hand.

These do not land on a downbeat. After the hammered figure rises two half-steps,

the top note stalls and the figure contracts to a half-step. Then the bottom note

moves back down and remains anchored on C-flat. The top note expands upward back

to a third, then a fifth and sixth. Over this, the right hand upbeat figures are

moved earlier in the measure and expanded upward, reaching higher over a mild
buildup

to an arrival point.
0:49 [m. 43]--After the arrival, the left hand plays a brief chromatic ascent in

octaves. This leads to what could be called the “second theme” and the first real

melody, the quotation from Hans Heiling. It begins in the left hand, in the middle

register. The plaintive arching lines are in two-note harmonies. Brahms marks it

ben cantando ed espressivo. Above it, the “hammered”’ gesture is played eight
times

on a half-step, still leggeiro. After the first phrase, the right hand takes over,

continuing the melody in a higher range in full chords. The left hand takes over

the “hammered” gesture, expanding it to a descending octave. The volume begins to

build toward an ornamented half-close.

0:58 [m. 59]--The half-close merges with the chromatic ascent in octaves, now
played

by both hands and strongly building. The “second theme” is played in full again,

now ingeniously combined with the “hammered” gesture in both hands. Where the
first

statement began plaintively, the entire theme is now played forcefully, with
strongly

marked downbeats. In the second phrase, the right hand abandons the “hammered”
gesture

and plays full fortissimo chords while the left hand again moves to descending
octaves

with some added harmony. The embellished half-close is directly followed by three

statements of the upbeat figure over the continued octave hammering in the left
hand.

1:10 [m. 80]--A series of upbeat gestures combines material from the opening and

from 0:09 and 0:29 [m. 10]. The gestures start on on the pitch level of the
opening,

but they begin in the low range and work upward. After the first two bare figures,

a B-flat is sustained and the supporting harmonies are shaped as they are over the

previous such sustained note. Two more gestures resemble the opening, but they are

followed by the variant that had landed on the B-flat before. This is an
interruption.

From that point, the descending downbeat-upbeat chords are again heard as a
continuation,

but the left hand is higher, still above the mid-range B-flat, which is reiterated.

Then follow the two isolated figures that originally landed on the B-flat.
1:17 [m. 90]--From here, the music initially follows the pattern from 0:09 and 0:29

[m. 10], but the second upward rise of the held bottom note is subtly altered to

three half-steps, like the first one. Thus, the bottom note lands on E. This acts

as the “dominant” in A major, a distant key that is briefly suggested in three more

upbeat gestures above the sustained E. Then, in a powerful series of chords, the

music moves back home to E-flat minor via the unstable “diminished seventh”
harmony.

A point of extreme tension is reached as these chords cut off and there is a brief

pause.
1:24 [m. 102]--The forceful descent from 0:13 and 0:33 [m. 17], originally heard

in B-flat minor, is stated in a massive fortissimo in the home key. The left hand

continues, as it had before, but instead of the upbeat figure and rising arpeggio,

the right hand asserts the descent again an octave lower, the left hand joining
with
octaves. This descent is interrupted by an upward leap to a chord that suggests

another motion to B-flat minor. Then, more full chords descend in that key, which

is only briefly hinted. These add a syncopated “hemiola” (implied 3/2 measure)
before

leaping up to a heavily accented “diminished seventh” chord, which is sustained

with

a fermata.
1:35 [m. 116]--After the fermata, the upbeat figure is isolated, with the left hand

playing the rising harmonization. It is stated twice in succession with a pause

in between. The second is a minor third above the first. After another pause, the

figure leaps upward and is expanded, rising up the keyboard in angular motion with

a cross-rhythm (three duple groups superimposed on two 3/4 measures). There is

then

a precipitous downward plunge in a scale that is doubled two octaves apart between

the hands. The scale continues to descend for three octaves. Brahms marks it
strepitoso,

or boisterously.
1:42 [m. 126]--The huge downward scale leads into the forceful combination of the

“second theme” and the “hammered” gesture as heard after 0:58 [m. 59], but with a

lower and fuller left hand that now fully doubles the right hand two octaves below.

Only the first eight-measure first phrase is stated, then it is immediately

repeated

an octave higher in both hands. In the repetition, the last two measures are cut

off and replaced by a descending arpeggio in octaves. The last four measures are

then repeated, with a more active variation of the fifth and sixth measures
preceding

the new arpeggio.

1:53 [m. 146]--The arpeggio lands on a full E-flat-minor chord. This is punctuated

by two statements of the upbeat gesture, supported by low bass octaves. The
downbeat

after the second one is repeated without the upbeat, marking the end of the main

scherzo section, which is closed off by a two-measure pause.

TRIO I (E-flat major)
1:56 [m. 152]--Part 1. On the upbeat of the last measure of pauses at the end of

the main scherzo section (m. 151), the left hand plays an low octave. This leaps

up a ninth to another octave on the downbeat. It is held for two beats, then moves
down the scale, still in octaves, before turning around and reaching a close.
Overlapping

with that close, the right hand, also in octaves, imitates the upward leap, scale

descent, and closing upward turn. Under the right hand, the left introduces
characteristic

upward-arching figures that land on the downbeats. The opening leaps in each hand

are loud, but the scales become light and quiet.

2:02 [m. 161]--Brahms turns directly to the “dominant” key, B-flat major. A series

of downward chordal leaps begins, leaning from upbeats into downbeats. Long-held

and tension-filled downbeat chords alternate with shorter, more settled ones.
After

two alternations, the shorter figure is reiterated a step higher, then emerges into

a plaintive line ending on a half-close in G minor (“relative” to B-flat). Brahms

marks the passage scherzando, ensuring that it does not become too heavy.
2:09 [m. 172]--The series of chordal leaps is repeated, but this time the
reiteration

of the shorter figure happens with both alternations, and it is an octave higher

than before. Thus, the hands leap up to it, and it seems like an interruption or

interpolation. It is also hushed, like a whisper, even more so than the

surrounding

chords. The plaintive line begins again, but it does not move toward G minor. It

is diverted back to B-flat major and continues. The line is then repeated a third

higher, and more strongly, leading to an arrival on the chord of B-flat for an
incomplete

cadence.
2:22 [m. 189]--A figure based on a wide upward leap followed by a descending
arpeggio

takes over, with the bottom anchored on F (the “dominant” of B-flat, the current

key). This figure is gentle at first, even marked piacevole. The right hand
begins

on an upbeat, held over the bar line, and the left hand joins an octave lower on

the downbeat. The hands come together on the descents. The first leap is a
seventh,

the second a ninth. These two patterns are stated a second time. Then the leaps

are given two more times each without the following arpeggios, increasing the
intensity
and activity. The bottom note of the higher leap is placed where the arpeggio
would

have ended, and is also now a seventh.

2:29 [m. 201]--Part 1 repeated. The leaps emerge into upward leap of a ninth and

descending scale in octaves that began the section, but in the right hand and in

B-flat. The left hand now imitates, as the right hand had done before, but neither

hand turns upward. Instead, the right hand pauses, then enters again, overlapping

with the left. It is now on its original pitches from its entry after 1:56 [m.
152].

The left hand introduces the upward-arching figure landing on the downbeat, but

the first one is lower than its earlier counterpart. These six measures serve to

move the key back to E-flat, and replace the first six measures of the first
statement.

The repeat sign then leads back to the last three measures of the previous passage

(mm. 158-160).
2:34 [m. 161]--First series of chordal leaps, as at 2:02.
2:42 [m. 172]--Second series of chordal leaps with high interpolations, leading to

incomplete cadence in B-flat, as at 2:09.

2:54 [m. 189]--Series of upward leaps and descending arpeggios building to return

of opening scales, as at 2:22.

3:01 [m. 201]--Part 2. The six measures before the repeat sign are stated as at

2:29. But after the repeat sign, what is essentially a “second ending” begins at

m. 207 with a repetition of the last two measures (mm. 205-206). The turn back to

E-flat is still accomplished. But what now follows is an ominous and lower variant

of the opening descent that changes E-flat major to E-flat minor (the key of the

main scherzo section).

3:07 [m. 211]--The figures from 2:22 and 2:54 [m. 189], with the wide leaps and
descending

arpeggios, are developed. They begin in E-flat minor and are played by the right

hand over low bass chords. They now reach up a sixth and an octave. A descending

left hand arpeggio leads to another pair of figures played over a “diminished
seventh”

chord. The second of these makes a very wide upward leap of an octave plus a
fourth.

Another left hand arpeggio introduces a shorter variant of the right hand figure
over unstable harmony suggesting D-flat minor, then D major. The passage is quiet

and gentle, despite the harmonic activity.

3:18 [m. 227]--The harmony is diverted to C-flat major, where the “original”
version

of the leap/arpeggio figure returns, with the left hand on the downbeat following

after the right hand on the upbeat. Brahms marks it teneramente (tenderly). After

two statements with a seventh and ninth, the patterns again dissolve into the
shorter

variant of leaps without the arpeggios. The key abruptly shifts down a half-step,

to B-flat minor, where the arpeggio is again heard after wide upward leaps.
Finally,

after another downward shift, the figures, over “diminished” arpeggios, move back

home to E-flat (major).

3:27 [m. 240]--Abruptly, the opening scale descent, with the following upward turn,

returns in the right hand, an octave higher than it has previously been played.

The opening left hand figure with the upward arch leading into the downbeat is
again

varied, incorporating a wider leap. After this return, the chordal leaps from 2:02

and 2:34 [m. 161] follow, but they now stay “home” and are played in E-flat major.

The pattern is followed and transposed exactly from the B-flat version. The
plaintive

half-close is in C minor.
3:37 [m. 256]--Chordal leaps with high interpolations, now in E-flat with
incomplete

cadence there, analogous to 2:09 and 2:42 [m. 172].

3:49 [m. 273]--The upward leaps and descending arpeggios are heard in E-flat, but

only in the right hand, whose patterns correspond exactly with those at 2:22 and

2:54 [m. 189]. The left hand, instead of shadowing the right hand patterns,
returns

to the opening scale descent, but without the upward turn and not played in
octaves.

Against the longer opening patterns, the descent is twice played with its initial

longer note. When the right hand patterns become shorter, it is played two more

times, but without the longer opening note. Brahms marks the passage legato e
scherzando,

in contrast to the previous piacevole.

3:56 [m. 285]--With sudden force, the scale descent is played by both hands in
octaves,

analogous to its return at the repeat of Part 1 and the beginning of Part 2, where

it was still passed between the hands. Now it descends below the point where it

has typically turned upward and stops on F, just above the keynote E-flat. The
octaves

then leap up to the “dominant” note, B-flat, and there is a two-measure pause.
These

last two notes (F and B-flat) are repeated an octave lower (without the top right

hand note) and pianissimo, with a measure pause between them, creating a slowing

effect. The phrase is completed with another empty measure after the last B-flat.

Three and a half more measures of rests precede the return of the scherzo. Thus,

Trio I ends without a final resolution on the keynote.

FIRST SCHERZO REPRISE
4:05 [m. 1]--Part 1. The three-note upbeat essentially occupies the second half

of the last Trio I measure (m. 300), but only the first half of that measure is
notated

before the Da capo marking leads to the beginning of the scherzo, including the
upbeat.

First statements of upbeat figure and descending chords, as at the beginning and

at 0:22.
4:11 [m. 10]--Sustained notes and half-step motion under upbeat figures, then
strong

buildup, as at 0:09 and 0:29.

4:16 [m. 17]--Forceful descents and “hammered” gestures in B-flat minor, as at 0:13

and 0:33. Because this is a reprise, the repeat is omitted and the second ending

(the full measure pause, m. 32b) is taken.

4:25 [m. 33]--Part 2. “Hammered” gestures in the left hand and upbeat figures in

the right, expansion and buildup, as at 0:43.

4:31 [m. 43]--Octave lead-in to the “second theme” and first two statements of the

theme in the left hand followed by the right hand, accompanied by the “hammered”

gesture, as at 0:49.
4:41 [m. 59]--Octave lead-in, then forceful statement of “second theme” with
incorporation

of “hammered” gesture in the first phrase, followed by return of upbeat figures,

as at 0:58.
4:53 [m. 80]--Series of upbeat gestures combined with sustained notes and return

of downbeat-upbeat chords, as at 1:10.

5:00 [m. 90]--Sustained notes and half-step motion, harmonic detour, and powerful

chords leading to a tension-filled pause, as at 1:17.

5:07 [m. 102]--Forceful descent in the home key, then full chords incorporating
metric

“hemiola,” leading to sustained “diminished seventh” chord, as at 1:24.

5:18 [m. 116]--Isolated upbeat figures, then upward expansion with cross-rhythm,

followed by precipitous downward scale plunge in both hands, as at 1:35.

5:25 [m. 126]--Combination of “second theme” with “hammered” gesture, first phrase

repeated an octave higher, then descending arpeggio and reiteration of last

measures,

as at 1:42.
5:36 [m. 146]--Arrival on E-flat-minor chord, then closing upbeat gestures and two-
measure

pause, as at 1:53.
TRIO II (Molto espressivo, B major)
5:40 [m. 302]--Part 1. The last measure of the scherzo (m. 151), which contains

the upbeat to Trio I, is omitted and replaced by another “upbeat” measure, m. 301,

leading into m. 302. The upbeat itself is F-sharp, the “dominant” note in the new

key of B major and a re-spelling of the third (G-flat) in the home key of E-flat

minor. It is in the right hand, and leads into the rich, chordal Trio II theme.

The chords are short-long, long-short, followed by a longer held chord. They
include

an inner descending line. The bass octaves rise by half-step against these chords.

These opening chords are followed by a yearning line, doubled in both hands, that

includes a prominent “turn” figure before a half-close.

5:46 [m. 310]--The second phrase is similar to the first, but it is a step higher

and turns to the minor key, reaching a half-close in C-sharp minor. The long-held

chord leans downward before the upbeat, and another “turn” figure is added toward

the beginning of the yearning line, which is more chromatic and shaped somewhat
differently,

reaching up before leaping down to the original “turn” figure and half-close.
5:54 [m. 318]--Now a new and passionate melody begins with phrases that swing down

and back up. It remains in the key of C-sharp minor. The melody in the right hand

is accompanied by arching arpeggios that surge forward in the left hand. The
second

phrase reaches higher and is longer than the first. Its three closing notes,
beginning
with an upbeat, are reiterated twice, but do not resolve to a cadence.
6:04 [m. 331]--The surging left hand arpeggios continue as the right hand plays
isolated

chords on the upbeats that gradually move back to B major, reaching its “dominant”

chord. There is a buildup, and the last two right hand chords are placed under a

sweeping left hand arpeggio that begins in the low bass, leaps an octave, and
reaches

into the treble range.

6:09 [m. 338]--At the climax of the buildup, the first chordal phrase from 5:40 [m.

302] rings forth fortissimo, with the right hand an octave higher. The descending

line in the middle voice is longer and more chromatic. The yearning line is again

doubled an octave below.

6:15 [m. 346]--The second phrase from 5:46 [m. 310], which moves to C-sharp minor,

is played with the same alterations as the first one: right hand an octave higher

and a longer chromatic descent.

6:22 [m. 354]--The passionate melody begins as it had at 5:54 [m. 318], but it is

extended. The first phrase is heard as before, but with the right hand an octave

higher and with octave doubling. The dolce second phrase is new and moves back to

B major. A third phrase begins like the second one in the previous statement,
briefly

turning again to C-sharp minor. The left hand arpeggios are oriented slightly
differently,

with some narrowing. Right before the closing notes, the harmony is changed to
facilitate

another motion back to B major. The previous closing notes, which had been
reiterated,

are replaced by a warm extension of the phrase. This begins with a colorful
dissonance,

but confirms B major with an incomplete close.

6:37 [m. 371]--The extension is immediately continued with a prolonged, but gentle

dissonant harmony and a long sustained note. The melody works down before a
lilting

upward turn that finally reaches the first full cadence in B major, underscored by

the descent of the arching arpeggio to a low downbeat B.

6:44 [m. 380]--Part 2. The right and left hands begin a canon (strict imitation)

based on the main phrase from the “passionate melody.” It is quiet, and marked
dolce.
 In the first gesture, the opening upward leap is a seventh, and the second one is

a ninth. In both, the left hand imitates the right an octave lower and two
measures

later. Both gestures move toward E major, the “subdominant.” The imitation
continues

with the last three notes of the first gesture. As the left hand imitates this,

the right hand suddenly slips down to the foreign note C, and the imitation breaks.

Under the sustained C, the left hand adds one more three-note gesture that helps

to move the key to the remote and unexpected G major.

6:56 [m. 394]--The main phrase from the melody is twice stated in G major. The
harmonized

right hand is in the tenor range, and the left plays an oscillating undulation on

G and its “dominant” note, D. The passage is gentle and expressive. After these

two G-major statements, right hand harmonies on upbeats, along with the gradually

shifting left hand oscillation, build in volume and steadily move toward the
“dominant”

chord in B major, which arrives on a downbeat, forte. This is followed by three

sweeping arpeggios on this chord. They are doubled in octaves between the hands,

and each is an octave higher than the last. On the last one, the left hand
reverses

direction and descends, in contrary motion to the right.

7:07 [m. 410]--The opening chordal phrase from 5:40 [m. 302] and 6:09 [m. 338] is

given its strongest statement yet. Brahms marks it fortissimo and moves the low

bass down an octave. The right hand is presented as it was the second time, at the

higher level and with the descending chromatic line. The left hand moves up to its

original level under the yearning line.

7:13 [m. 418]--The second phrase from 5:46 [m. 310] and 6:15 [m. 346] begins, and

also places the left hand bass an octave lower than before. It also maintains the

higher level and descending chromatic line. The yearning line, however, is
replaced

by yet another chordal phrase, wrenched up from the expected C-sharp minor to E-
flat.

The low bass octaves and the inner chromatic line are retained. Then, a third
chordal

phrase begins a half-step higher, moving to E major. This last one omits the long
held chord and repeats the short-long, long-short pattern (without the inner
chromatic

descent) before landing on E major.

7:22 [m. 431]--Signaling the upcoming transition, the three-note upbeat from the

scherzo proper is suddenly heard in both hands. After its first statement, a high

rolled “diminished seventh” chord is heard, and then the three-note upbeat is
stated

again, reaching a half-step higher. Then, returning to the Trio II material, the

closing phrase begins with a huge descent in the short-long, long-short pattern.

It seems to return to B major, but it is highly chromatic, and there is a brief

turn to D major.
7:28 [m. 438]--The closing phrase continues with a long buildup to the cadence
based

on the yearning line. After two opening chords, the gesture, beginning with an
upbeat,

works upward in three waves, with the left hand leaping from low octaves to higher

harmonies. The highly chromatic harmony continues. After the third gesture, the

upbeat is removed, as is the space between the gestures. In this condensed form,

over a “diminished seventh” chord, the figure moves up one more time (now a third

rather than a step), is repeated at that level, and lands on the B-major chord in

the unstable “six-four” position. The “yearning” figure moves to the low bass,
with

wide leaps in octaves, under the prolonged B-major cadence, whose arrival is
extremely

powerful. An undulating bass pattern begins based on the “yearning” line.

7:38 [m. 452]--Transition to Scherzo Reprise. The three-note upbeat from the main

scherzo returns over the undulating bass. It is first heard in the tenor range,

and is then repeated twice, each time an octave higher than the last. The
intensity

gradually abates. The third upbeat figure leads to a rapid descending arpeggio on

a “diminished” chord. The whole pattern is stated again, but the bottom note of

the undulating bass slides up from B to C. The notation is gradually changed in

both the bass and the upbeat figures to reflect flats instead of sharps, signaling

the return to E-flat minor. The “diminished” arpeggio is extended another measure,

hinting at the upbeat figure, and then the key signature of E-flat minor returns.
SECOND SCHERZO REPRISE
7:44 [m. 461]--Because the beginning is varied, continuing the undulating bass from

the end of Trio II, the whole scherzo is written out this time. Two introductory

measures are added with that undulating bass, which now has a low note on B-flat

and is unambiguously in E-flat minor. The bass also now includes upbeats and held

notes that cross bar lines, separating the figures. The melodic upbeat enters at

the end of the second “introductory” measure, then the right hand continues as in

the other statements of the scherzo, with the descending chords. The undulating,

“yearning” bass continues, but breaks under the descending chords, moving to
alternation

between a descending bass and a higher E-flat held over bar lines. The two
isolated

upbeat figures at the end are an octave lower than before, and they land on a bass

B-flat octave.
7:52 [m. 472]--The low bass octave, as well as the preceding upbeats, are played

strongly. From there, the music continues as at 0:09, 0:29, and 4:11 [m. 10], but

the half-step motion is in the low bass and in octaves, continuing from the low B-
flat.

The low notes are sustained by the pedal so that the left hand can leap up to play

its notes in the upbeat figures. The last measure of the passage, with the strong

buildup, is notated as in the other statements, and the rest of the reprise, up to

the coda, is largely the same as the other iterations of the scherzo proper, with

one notable exception (see below, at 8:22 [m. 521]).

7:56 [m. 479]--Forceful descents and “hammered” gestures in B-flat minor, as at
0:13,

0:33, and 4:16 [m. 17].

8:06 [m. 495]--Part 2. “Hammered” gestures in the left hand and upbeat figures in

the right, expansion and buildup, as at 0:43 and 4:25 [m. 33].
8:12 [m. 505]--Octave lead-in to the “second theme” and first two statements of the

theme in the left hand followed by the right hand, accompanied by the “hammered”

gesture, as at 0:49 and 4:31 [m. 43].

8:22 [m. 521]--Octave lead-in, then forceful statement of “second theme” with
incorporation

of “hammered” gesture in the first phrase, followed by return of upbeat figures,

as at 0:58 and 4:41 [m. 59]. Three measures are surprisingly varied from the other

statements. These are in the second phrase, where the forceful chords include an

upward motion where a downward one had been before, along with colorful new
harmonies

briefly suggesting A-flat minor. It is a striking departure. These measures are

mm. 533-535, corresponding to mm. 71-73.

8:35 [m. 542]--Series of upbeat gestures combined with sustained notes and return

of downbeat-upbeat chords, as at 1:10 and 4:53 [m. 80].

8:42 [m. 552]--Sustained notes and half-step motion, harmonic detour, and powerful

chords leading to a tension-filled pause, as at 1:17 and 5:00 [m. 90].

8:49 [m. 564]--Forceful descent in the home key, then full chords incorporating
metric

“hemiola,” leading to sustained “diminished seventh” chord, as at 1:24 and 5:07 [m.

102].
9:00 [m. 578]--Isolated upbeat figures, then upward expansion with cross-rhythm,

followed by precipitous downward scale plunge in both hands, as at 1:35 and 5:18

[m. 116].
9:06 [m. 588]--Combination of “second theme” with “hammered” gesture, first phrase

repeated an octave higher, then descending arpeggio, as at 1:42 and 5:25 [m. 126].

The reiteration of the last measures after the first descending arpeggio is
omitted.

The arpeggio leads into the short coda.

9:15 [m. 604]--Coda. This addition is an intensification that replaces the final

measures of the previous scherzo statements. It is not lengthy or elaborate. The

first part, marked “Più mosso,” is a rollicking series of octaves in both hands,

with short figures based on “Theme 2” of the scherzo. The first four measures are

repeated an octave higher, then the first (higher) measure is isolated for four
straight

repetitions.
9:21 [m. 616]--Suddenly, the left hand lands on the note C-flat (one of the notes

that defines the key of E-flat minor). The low octave is marked sff, indicating

an especially forceful accent. The right hand immediately follows with its own C-
flat

octave. Brahms marks these last bars “Più sostenuto.” The octaves descend two
half-steps.

Then the octave suddenly leaps to a “diminished seventh” chord in both hands. A
full-measure pause leads to another quick upward leap, now on the home chord of E-
flat

minor in the unstable “six-four” position. After another full-measure pause, the

“dominant” chord, B-flat, is the target. A third and final full-measure pause is

followed by a high E-flat-minor chord on the downbeat, then a leap down to a low

E-flat octave on the last downbeat.

9:52 (runoff after 9:34)--END OF SCHERZO [627 (+150) mm.]

PIANO SONATA NO. 3 in F MINOR, OP. 5

Recording: Martin Jones, pianist [NI 1788]
Published 1854. Dedicated to the Countess of Hohenthal.

The year 1853 witnessed a confluence of major musical events, including the
publication

of Liszt’s B-minor piano sonata. Wagner was beginning to work in earnest on the

music for the “Ring” cycle. And it was the last year in which Robert Schumann was

active as a critic and composer before his final mental breakdown. Late in that

year, the young Brahms famously arrived on the Schumanns’ doorstep with some of his

music in hand, including what we now know as the first two piano sonatas. A third

sonata, in F minor, was not completed at the time, and was finished in Düsseldorf

while he stayed with the Schumanns. Brahms submitted it to Schumann for

consideration

shortly after the latter had written his momentous article “Neue Bahnen,” which
proclaimed

Brahms as the next great musical voice. It would be the last fruit of this brief,

but happy time. Two months later, Schumann attempted suicide and was admitted to

a mental hospital. The sonata is a tremendous work in every sense, and Brahms’s

largest single composition for solo piano. While following some precedents of the

first two sonatas and combining aspects of both, it is much larger in scope, with

a broad, unusual five-movement design and, in the case of the second and final
movements,

codas of almost overwhelming weight. The first movement is a tight, but intense

sonata form that prominently includes the “fate” rhythm from Beethoven’s Fifth
Symphony.

It ends in the major key. The slow movement, unlike those of the first two
sonatas,
is in the ternary form that would later be favored by Brahms. But the movement is

incredibly diverse, using four tempo markings, five meters, and, most remarkably,

ending in a different key center from the one in which it began. The magnificent,

almost self-contained coda, whose climax rivals anything in Beethoven, is

responsible

for much of this. Brahms headed the movement with some lines of romantic love
poetry

that match the movement’s mood and progression precisely. Indeed, the coda could

be described as the consummation of the courtship that happens through the rest of

the piece. The demonic and virtuosic scherzo contains a hymn-like trio section,

and has similarities to the corresponding movements of the first two sonatas. The

unexpectedly inserted fourth movement is an “intermezzo” titled “Rückblick,” or

“backward

glance.” It transforms the romantic theme of the second movement into a funeral

march, complete with drum roll effects in the Beethovenian “fate” rhythm. The
finale,

in rondo form, is also expansive and diverse. Its heroic central episode forms the

basis for the wildly extended coda in the major key. In addition to F, the key of

D-flat plays a very prominent role in all five movements. It is used for the
second

themes of the first two movements (and the second movement remarkably ends there),

a blong with the trio section of the scherzo and the important central episode of

the finale. Its “relative” minor key is the center of the “Rückblick” movement.

The sonata has a strong claim as the greatest since Beethoven, its only close
rivals

being the last Schubert sonatas (particularly the final one in B-flat) and the
Liszt

B-minor. And with that, Brahms was finished with the genre that launched his
career.

It is of some interest that, other than the four symphonies, Brahms never
published

more than three of any multi-movement instrumental genre throughout his career
(typically

there are two or three examples of any such genre). He considered revising the
sonata
several times (as he did the B-major piano trio, Op. 8), but thankfully never did.

Other than perhaps tightening the wild coda of the finale, improvements are rather

difficult to imagine.

IMSLP WORK PAGE

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke)

1st Movement: Allegro maestoso (Sonata-Allegro form). F MINOR/MAJOR, 3/4 time with

two 4/4 measures, one 5/4 measure, and one 6/4 measure.
EXPOSITION
0:00 [m. 1]--Theme 1. The first gestures of the theme are thunderous calls to
attention.

A low octave F leaps up to a descending harmonized figure in a dotted rhythm that

is prominent throughout the movement: a long note followed by two very short ones.

This leads to a loud chord on the third beat of the measure. Two more of these

sequences follow, with the initial bass octaves moving down by half-step. The
dotted

figures and the following chords are also chromatic. After the three sequences,

two more low octaves, continuing downward by half-step, are broken by a single
higher

chord on the second beat. Finally, a forceful cadence on the “dominant” note C,

with both hands in the treble register, ends the initial statement.
0:16 [m. 7]--A mysterious episode in C minor breaks up the forceful presentation

of the theme. The right hand plays ominous chords in “straight” rhythm while the

left hand plays open fifths and octaves, using a triplet rhythm that is similar to

the short-short-short-long “fate” motive known from Beethoven’s Fifth Symphony.

The second, higher five-bar phrase of the episode turns briefly to G minor, but it

slows to a quiet full cadence on C major. The last chord has a fermata, indicating

an indefinite pause.
0:42 [m. 17]--A loud, zigzagging upbeat figure in octaves, another element that is

extremely prominent in the movement, abruptly and jarringly transitions from the

C-minor reverie back to the commanding main theme in F minor. Its outlines follow

the first presentation, but now the left hand takes the original descending dotted

rhythm by itself, and the chord on the third beat is replaced by a right hand
figure,
shooting up in very high octaves, that uses the same rhythm. The same type of
figure

replaces the chord that separates the two bass octaves in the measure that follows

the three sequences. It also decorates the cadence on the “dominant,” which is now

even more emphatic, with rolled chords and staggered hands.

0:56 [m. 23]--Transition. The cadence on C leads smoothly to the “relative” major

key (A-flat major). There, the right hand plays a noble, march-like tune in rich

chords. Brahms marks it with the German expression “fest und bestimmt” (“firm and

decisive”). The left hand unexpectedly plays the long-short-short figures from
Theme

1, without harmony, still on the second beat, and no longer in a dotted rhythm. The

short notes are lengthened from 32nd notes to sixteenth notes after a straight
eighth

note. The figure leaps up to a higher note, becoming almost melodic. The key very

quickly turns to B-flat minor and the harmony includes dissonant “diminished”
harmonies.

These smoothly lead back to F, but now F major, as confirmed by the last left hand

figure, whose rhythms are doubled in length.

1:14 [m. 31]--A new, much quieter phrase of the same material begins in B-flat
major,

a key whose minor version was just heard. The march theme is played by the right

hand in the tenor range. The long-short-short left hand figures derived from Theme

1 now alternate between the low bass and the high treble. The left hand crosses

over the right for the treble statements. The leap up happens after the beat, and

after the right hand changes harmony. In the bass statements, this leap is a
fifth,

in the treble statements, an octave. The chords that had closed the first phrase

are manipulated to bring the harmony back through F minor to A-flat, where a highly

expectant half-close is reached. This is repeated two octaves higher, even quieter

and becoming slower. The expectant arrival back at A-flat brings this transitional

material full circle.

1:34 [m. 39]--Theme 2. The delayed second theme is marked con espressione. The

right hand plays a gentle, but passionate melody, richly harmonized with moving
internal

voices. The left hand plays very widely spaced arpeggios with added high-low
alternations

over “pedal points.” After the first phrase in A-flat, a second follows in C-flat

with added rolled chords. The high-low alternations take over completely in the

left hand. The right hand shifts to full-measure chords, which steadily build,
then

become shorter and syncopated. The left hand alternations are now extremely wide.

The chords approach an arrival point as the final key of the exposition is reached

(D-flat major).
1:51 [m. 51]--The arrival and climax are very grand. Rolled tenths and chords in

the left hand incorporate a long-short rhythm underneath a tolling, joyous outburst

in the right hand. The key of D-flat is triumphantly confirmed, but a cadence is

avoided. The last figure of this climactic passage is repeated with an added
triplet

rhythm.
2:00 [m. 56]--Closing passage. The music suddenly becomes quiet again. The right

hand returns to material from the beginning of the Theme 2 melody, adding more
chromatic

motion. The left hand moves again to its very wide alternations, now over a long

pedal point on A-flat. The end of the six-bar phrase seems to approach a cadence

as it accelerates, then slows, and the left hand narrows as its top line moves
down.

The cadence is diverted by a full repetition of the entire phrase with both hands

an octave lower. After the repetition, the warm cadence in D-flat finally arrives

and is reiterated three times. Following this closure, the jagged, zigzagging
upbeat

figure in octaves heard at 0:42 [m. 17] returns with an equally jarring effect,
wrenching

the music back to F minor for the repeat.

EXPOSITION REPEATED
2:22 [m. 1]--First statement of Theme 1, as at the beginning.
2:36 [m. 7]--Episode in C minor, as at 0:16.
3:01 [m. 17]--Second statement of Theme 1 leading to cadence on the “dominant”
harmony,

as at 0:42.
3:15 [m. 23]--March-like transition in A-flat major, as at 0:56.
3:33 [m. 31]--Quieter transitional phrase with hand crossing and high repetition

of last phrase, as at 1:14.

3:54 [m. 39]--Theme 2 moving from A-flat to D-flat, as at 1:34.
4:11 [m. 51]--Arrival and grand climax, as at 1:51.
4:20 [m. 56]--Closing passage with repetition an octave lower and cadence in D-
flat,

as at 2:00. The second ending (m. 71b), removes the highest level from the
zigzagging

upbeat figure in octaves, a very slight change. The figure leads into the
development

section, as it had led into the exposition repeat.

DEVELOPMENT
4:43 [m. 72]--The F of the zigzag figure is diverted to F-sharp. Two inserted 4/4

measures follow. In them, Brahms alternates the zigzag figure in octaves between

the right and left hands. In the first measure, it begins on A in both hands, and

in the second, it starts on B-sharp (C-natural) and F-sharp. The key is heading

to C-sharp minor, a direct shift in mode from the D-flat major at the end of the

exposition. The octaves and the chords that accompany them are intense and almost

wild. After the two 4/4 measures, another zigzag pattern begins in right hand
octaves.

It is extended, creating a great anticipation for an arrival on C-sharp that is

intensified by the lengthening of this measure to an irregular 5/4. The left hand

in this measure leaps up from low bass notes to more passionate rolled chords.
4:52 [m. 75]--The prevailing 3/4 meter returns, and Theme 1 appears to begin in C-
sharp

minor. The bass line makes a chromatic half-step descent in octaves. After the

first chord, minor reverts back to major, and after four of the long-short-short

figures, the harmony lands on the “dominant” chord of C-sharp. The left hand then

quiets and begins the triplet “fate” rhythm as heard in the C-minor episode at 0:16

[m. 7].
5:00 [m. 79]--The episode from 0:16 [m. 7] is now heard in a C-sharp-minor variant.

The “fate” triplets are in right hand octaves, holding steadily to the note G-
sharp.

The “straight” rhythm figures are now heard in both hands, in octaves in the left

and single notes in the right. The figures in the right hand follow those in the

left after a long first note at the beginning of the measure that harmonizes both

the left hand figures and the octaves. After two measures, the figures in both
hands

come together in harmony.

5:11 [m. 84]--The “fate” octaves move up to D-sharp, and the variant of the episode

just heard is played a fifth higher, in G-sharp minor.

5:21 [m. 88]--The key moves back to major, now again notated as D-flat. The right

hand begins a very quiet syncopated rhythm that will remain in force for some time.

At first, the note A-flat remains steady while a lower note is added and then
moves

to harmonies in seconds, thirds, and fourths. The first of these is a dissonant

adjacent half-step. After three measures, beginning on an upbeat, a new and very

soulful melody in D-flat major begins. It is in the tenor range and played by the

left hand, which also adds supporting bass notes that are often rolled up to the

continuing melody. The right hand continues with the syncopated pattern that had

been established. A prominent chromatic note (C-flat) colors the melody.

5:39 [m. 96]--A return to the dissonant half-step, or minor second harmony in the

right hand syncopation coincides with the upward expansion and intensification of

the tenor melody. The melody soars up with a triplet rhythm, and then descends.

At the same time, the right hand syncopation expands to full chords. Another
upward

triplet in the tenor melody, colored by more chromatic notes, also descends after

a high note. The right hand syncopation now leaps up into the very high register,

still in full chords. Becoming even warmer, the melody settles to a beautiful
cadence

in D-flat against the continuing high chords.

6:05 [m. 110]--The last notes of the warm D-flat cadence are repeated twice,
inflected

to minor. The right hand chords become more chromatic, still in the same
syncopated

rhythm. A third repetition seems to begin, but expands upward, and the right hand

chords reach even higher. A dramatic crescendo in a sustained tempo leads to a

sudden

outburst of the long-short-short rhythm in a passionate, cascading descent as the

right hand syncopation finally breaks. The key has moved to G-flat major, and
after

the descent, a descending triplet doubled in three octaves leads to a strong

arrival

in that key.
6:23 [m. 119]--A grand, triumphant statement of Theme 1 in G-flat major is expanded
by full tolling chords. In the left hand, these are rolled, enhancing the bell-
like

effect. The meter is somewhat ambiguous here. The placement of prominent chords

and accents creates a subtle cross rhythm, so the four 3/4 measures can almost be

heard as 6 measures in 2/4.

6:32 [m. 123]--Again, the music is suddenly hushed. The syncopated pattern returns

in the right hand, in high chords as it was before it broke. The left hand plays

with the long-short-short rhythm, this time cutting off the expected longer note

or chord that follows. The effect is somewhat disconcerting. Four of these

figures

without the long note are heard. The first three are in G-flat major. The fourth

makes a surprisingly smooth gesture toward F minor, a half-step lower. Immediately

confirming G-flat again, the pattern continues. Four more figures are heard, this

time with the long-short-short pattern leaping up a tenth to the expected longer

note. The fourth one, expanding the leap to an eleventh, makes the same
disarmingly

easy shift down to F minor, and this time it stays there, setting up the re-
transition.

6:50 [m. 131]--Re-transition. The opening is marked misterioso. The “fate”

triplets

quietly return in high right hand chords while the left hand plays the pervasive

long-short-short rhythm. It is heard twice in each bar, leaping up an octave for

the second statement. The triplets are heard at the beginning of each measure,
steadily

moving upward. In the fourth measure, a third long-short-short rhythm is added to

the left hand and a crescendo begins. The harmony also shifts to the “dominant”

key, C major.
7:00 [m. 135]--The triplets become constant beginning with the upbeat to the fifth

measure of the re-transition. Then both hands expand greatly in both texture and

volume. The long-short-short figures in the left hand make a grand arch, and the

triplet chords in the right, now very high, are like tolling bells. As the left

hand arch concludes, the right hand chords leap down to a lower octave, emerging

in a thick six-note texture with the top three notes doubling the bottom three an
octave above. The recapitulation is set up with a hanging and expectant, but very

grand C-major chord in the preparatory “six-four” position. Then the zigzag upbeat

figure, in bass octaves, wrenches the music back to F minor.

RECAPITULATION
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