9:02 [m. 214]--Re-transition, beginning with the D-minor cadence.

Note the highly

syncopated bass in the second cello. Material from Theme 1 is passed between the

first cello and the violas. There is a buildup of intensity as the music moves
back

to the home key of B-flat. The syncopation moves up to first cello and second
viola.

The violins enter with the Theme 1 material Then the syncopations are taken by

the violins over a huge swelling of volume as the moment of return is approached.

RECAPITULATION
9:34 [m. 234]--Theme 1. It enters in a new, powerful, and fully scored version.

The lower instruments take the melody while the violins (and second cello)
continue

the syncopations from the end of the development.

9:48 [m. 243]--The new phrase from 0:32 and 4:07 [m. 20] begins in the violins,
with

the syncopation moving to the violas and first cello. It moves in a different
direction

from before, avoiding the motion to D-flat. It maintains the power and builds even

more, leading to very high notes in the first violin over richly scored
accompaniment.

10:09 [m. 257]--The winding broken-chord line from 0:50 and 4:24 [m. 31] begins in

the second violin. The first violin adds high octave doubling on certain two-note

figures within the broken-chord line. As in the exposition, sliding chromatic

notes

in the violas and cellos are heard as the violins lead to a cadence. This time,

however, the intensity from the beginning of the recapitulation is still

maintained,

and the cadence is powerful rather than gentle.

10:27 [m. 269]--Transition. It is very similar to 1:09 and 4:43 [m. 43] in the
exposition,

but an alteration to the triplet line causes the music to stay at home in B-flat

instead of moving toward F.

10:41 [m. 277]--The passage is analogous to 1:23 and 4:57 [m. 51], but the second

violin plays a decorated variant of the Theme 1 fragment. The triplet passage now

begins at the same level as the previous one instead of higher. Other than the
fact
that the active accompaniment stays in the first viola instead of moving to the
cello,

the triplets are completely analogous, with their extension and slowing. Because

of the alteration from before, the new arrival key is D major rather than A major.

10:59 [m. 287]--Transition Theme from 1:41 and 5:15 [m. 61]. The recapitulation

is supposed to remain in the home key, but in order to get there, Brahms sets the

“extra” transition theme in D major, which has the same relationship to B-flat as

A major did to F in the exposition. It follows the theme from the exposition
rather

closely, with some important voicing changes. These include the plucked
accompaniment

being played only by second cello, and the later, faster rising plucked arpeggio

being played by the first viola instead of the second. Decisive motion back to B-
flat

and strong arrival.

11:38 [m. 311]--Theme 2, now in the home key. It is played by the first viola
instead

of the first cello. The accompanying instruments are the same as in the exposition

at 2:18 and 5:52 [m. 85].

11:51 [m. 320]--Since the first viola had the previous presentation, Brahms now
assigns

the first cello to double the first violin on the restatement of Theme 2. The
first

viola takes the first cello’s previous “straight” accompaniment as heard at 2:30

and 6:04 [m. 94]. Buildup of intensity as the music reaches higher before being

interrupted.
12:03 [m. 329]--Moment of disquiet, as at 2:42 and 6:16 [m. 103]. The first viola

now harmonizes with the long notes in the first violin, leaving the dissonant
plucked

figure to the second viola and first cello.

12:10 [m. 333]--Closing theme in the home key, with the same scoring as at 2:48 and

6:22 [m. 107].

12:22 [m. 341]--First violin countermelody, as at 3:00 and 6:34 [m. 115]. Very
gradual

intensification. The plucked chords are played by second violin and second (not

first) viola, and there are other scoring reassignments.

12:34 [m. 349]--Countermelody transferred to first viola and second cello, similar

to 3:11 and 6:46 [m. 123]. Climax and subsequent dissolution/relaxation to end the

recapitulation. Essentially, the viola parts are reversed from the exposition in

this passage.
CODA
12:55 [m. 363]--The coda begins with a dreamy, lingering passage based on Theme 1.

It is similar to the beginning of the development, but remains in the major key.

The first cello leads, followed by first viola, and the other instruments join in

a final swell of intensity and retreat that includes chromatic notes. The second

violin plays an oscillating accompanying, the second cello a long pedal bass note

that becomes syncopated during the retreat. Descending figures lead smoothly into

the final passage as the music slows.

13:33 [m. 387]--Brahms marks the slower ending “Poco più Moderato.” The first
viola

plays the Closing Theme in pizzicato (plucked strings). All instruments except the

second cello, which holds over its pedal bass note, are now plucked, punctuating

the melody with chords. The first violin takes over from the first viola, and the

second cello finally abandons its long bowed note to join the pizzicato. All
remains

quiet and gentle through a high-reaching arrival and subsequent confirming cadence

gestures. Then suddenly, the instruments take up their bows for the strong final

chords.
14:03--END OF MOVEMENT [398 mm.]

2nd Movement: Andante, ma moderato (Theme and Variations). D MINOR, 2/4 time.
0:00 [m. 1]--Theme, Part 1. The first viola presents the broad, noble, and
somewhat

tragic theme. It begins with an upbeat. The violins are absent. The lower
instruments

have accompanying chords that are steady, strong, and austere. Note the many
florid

decorations in the melody. Part 1 ends on a half-close.

0:24 [m. 9]--Theme, Part 1, Varied Repeat. The first violin now plays the theme

an octave higher, and with the entry of the violins, the accompaniment becomes more

rhythmic and full, especially in the first viola, which just gave up the melody to

the first violin. It plays very forceful, rhythmic gestures.

0:45 [m. 17]--Theme, Part 2. The second phrase of the Theme is again given to the
first viola, with the violins dropping out. The steady accompaniment continues.

Part 2 is somewhat more striving and tense than Part 1. The cadence is extremely

satisfying. The viola reaches into its very highest register.

1:08 [m. 25]--Theme, Part 2, Varied Repeat. The second phrase is repeated an
octave

higher by the first violin. The accompaniment is again more full and rhythmic.

The cadence is even more satisfying as the violin reaches into its very high
register.

1:29 [m. 33]--Variation 1, Part 1. The first cello begins a broken-chord

“deconstruction”

of the theme, which is echoed and imitated by higher instruments, who enter from

the bottom up. First viola and second cello play accompaniment from the outset,

with the other instruments also taking an accompanying role as the “deconstructed”

theme is passed to higher instruments. At the close, there is a quick downward

motion.

1:48 [m. 33]--Variation 1, Part 1 repeated.

2:07 [m. 41]--Variation 1, Part 2. The second phrase passes the “deconstructed”

theme more freely between the instruments in a sort of “arch-like” arrangement.

2:25 [m. 41]--Variation 1, Part 2 repeated.
2:43 [m. 49]--Variation 2, Part 1. The violins, imitated by the violas, intensely

play a new, forceful triplet rhythm. The second half of the phrase is more gentle

and restrained in the violins, who turn to “straight‘ rhythm. The violas quietly

continue the triplet rhythm underneath them, creating a fine example of Brahms’s

famous clashing rhythms. A strong downward cello line in triplets leads to the
repeat

or to Part 2.
3:01 [m. 49]--Variation 2, Part 1 repeated.
3:20 [m. 57]--Variation 2, Part 2. The second phrase follows the pattern of the

first, with the forceful triplets followed by the more gentle second half and the

clashing rhythms. There is a powerful crescendo at the end, with another strong

cello line.
3:38 [m. 57]--Variation 2, Part 2 repeated.
3:57 [m. 65]--Variation 3, Part 1. The cellos stormily rush up and down. The
other

instruments respond with short two-note figures. There is a buildup in the second
half as the cellos play a sequence of rising scales. At the end, the violins and

violas play rushing, descending scales to close off the phrase.

4:14 [m. 65]--Variation 3, Part 1 repeated.
4:31 [m. 73]--Variation 3, Part 2. The cellos continue their rapid, stormy,
arching

scales in octaves. Slightly longer responses from the other instruments. The
second

half has another buildup with rising cello scales. This time, the violins
emphatically

play the closing gesture of the theme during the last of them. Descending,
decorated

scales from violins, then violas end the variation.

4:49 [m. 73]--Variation 3, Part 2 repeated.
5:06 [m. 81]--Variation 4, Part 1. A dramatic shift to the major key (still on the

same keynote, D, as is typical with “modal shifts” in variation movements). This

version of the melody is extremely warm and expressive. It is played by first

violin

and first viola with a gently descending accompaniment from second viola and first

cello. The second violin only joins at the very end of the phrase with a low
harmonization.

5:26 [m. 89]--Variation 4, Part 1, Varied Repeat. For the repeat, the first violin

takes the melody an octave higher, while the first viola stays at the same level.

This time, the second violin plays the descending accompaniment with the first
cello,

the second viola taking over the low harmonization at the end.
5:46 [m. 97]--Variation 4, Part 2. For the second phrase, the music becomes
slightly

more intense, as in the original theme. It is also highly chromatic, with a long

rising half-step scale. The second violin and first viola now play the melody.

The first violin is entirely absent for the phrase. The descending accompaniment

is again in second viola and first cello.

6:08 [m. 105]--Variation 4, Part 2, Varied Repeat. In an intensification, the two

violins now play the melody an octave higher than the first statement. The first

viola joins the accompaniment. Brahms indicates great expressiveness in this

phrase.

6:29 [m. 113]--Variation 5, Part 1. This variation remains in the major key.
After
the swell of emotion at the end of the last variation, it is suddenly very quiet.

Both cellos drop out completely. In a “music box” effect, the first viola plays

a variant of the melody in its very highest register over a repeated “pedal point”

D. The violins accompany with short figures, usually descending octaves, also in

a very high range.

6:50 [m. 113]--Variation 5, Part 1 repeated.
7:11 [m. 121]--Variation 5, Part 2. The first viola continues its high melody with

the violin responses. Now the cellos join in with descending plucked punctuations.

In the second half of the phrase, all the four top instruments play in harmony in

a lower range, the cellos continuing their short plucked punctuations.

7:34 [m. 121]--Variation 5, Part 2 repeated.
7:56 [m. 129]--Coda, Part 1. A full statement, without repeats, of the Theme in

its original minor-key form. It is played by the first cello with light
accompaniment.

The violins play short plucked figures as echoes.

8:41 [m. 144]--Coda, Part 2. As the theme reaches its cadence, the violins begin

an extremely gentle and organically emerging extension. A short phrase derived

from

the end of the theme is passed twice between violins in harmony and first cello,

then the violins play a longer phrase. The second cello plays a constant,
throbbing

low D.
8:58 [m. 150]--Coda, Part 2, continued. The previous sequence is repeated with
cello

and violins responding to the viola pair, the violas then playing the longer
phrase.

The second cello continues its constant low D, moving only during the last viola

phrase. The entire extension mixes major and minor, and the final four closing
bars

after the last viola phrase move decisively to a warm major-key cadence.
9:34--END OF MOVEMENT [159 mm.]

3rd Movement: Scherzo - Allegro molto; Trio - Animato (Scherzo with Trio). F
MAJOR,

3/4 time.
SCHERZO
0:00 [m. 1]--A rustic and heavy tune with strong accents and trills. The violins

play it in harmony with a steady, wide-ranging bass from plucked cellos in unison.
 The violas enter in the third bar with brief rising figures. These develop into

a more active counterpoint at the end of the twelve-bar phrase. The last half also

has a powerful crescendo and key change that propel the phrase to a strong cadence

in C major.
0:11 [m. 1]--Part 1 repeated.
0:21 [m. 13]--Part 2. In a contrasting phrase, the six instruments enter in
imitation

from top to bottom on the main tune. The music turns briefly to minor. There are

strong syncopated accents on the third beats of bars, with notes and chords held

across bar lines. After all the instruments have entered, the top lines become
more

active, leading to a quick descending arpeggio and the return of the main material.

0:31 [m. 25]--Part 2, continued. A quick return to major and a reprise of Part 1.

The violas play in harmony from the outset, merging into their counterpoint after

six bars. After the first eight bars, the remainder of the phrase is altered and

extended using material from the contrasting phrase. This extension helps to avoid

the key change, and the ending, which returns to the Part 1 material, is in the
home

key after an even more powerful increase of volume. The last four rising notes are

repeated for emphasis.

0:45 [m. 13]--Part 2 repeated. Reprise of contrasting phrase from 0:21.
0:55 [m. 25]--Reprise of return and extension from 0:31. The repeated four rising

notes merge directly into the Trio.

TRIO - Animato
1:09 [m. 43]--Part 1. The Trio remains in F major. It is much more animated and

exuberant than the main Scherzo. It grows out of the punctuating repeated notes

at the end of the Scherzo, which are restated an octave lower to lead into the
Trio.

The cellos propel things forward with jubilant rising arpeggios as all six
instruments

play together. The material is based on a descending scale in a long-short rhythm.

Part 1 is brief, and quickly moves to C major, as the Scherzo had done.
1:15 [m. 43]--Part 1 repeated.
1:22 [m. 53]--Part 2. The six instruments play an expansion of the opening figure

in forceful unison. The trio material from part 1 is stated and extended in the

unexpected and remote key of D-flat. The extension becomes somewhat contemplative,
and culminates in a series of long-short two-note “sigh” figures. These make a
rather

striking key change to B-flat major.

1:36 [m. 73]--Part 1 is restated and varied, beginning on B-flat and ending on F.

The key relationships are analogous to Part 1 itself. The restatement reaches
somewhat

higher at its climax than had Part 1, and the violas are more active. Ending and

cadence in F major [to m. 82].

1:42 [m. 53]--Part 2 repeated. Reprise of unison passage and extended statement

in D-flat from 1:22.

1:57 [m. 73]--Reprise of varied restatement of Part 1 beginning on B-flat and
ending

on F.
SCHERZO REPRISE
2:05 [m. 1]--Part 1, as at 0:00 and 0:11. No repetition.
2:15 [m. 13]--Part 2, contrasting phrase, as at 0:21 and 0:45.
2:25 [m. 25]--Return and extension, as at 0:31 and 0:55. The repeated four rising

notes lead to the coda.

CODA
2:39 [m. 83]--The coda is based on the Trio and is approached in the same way. It

begins with the Trio’s first five bars, then digresses with an elaboration and
rising

sequence of rhythmic figures derived from the Trio, including a distinctive long-
short-short-short

rhythm and descending scale fragments.

2:46 [m. 95]--All six instruments come together for a large complete chromatic
scale

(half-steps, skipping no notes) in unison. This emerges into a series of rapidly

repeated first violin notes with accompanying chords moving like the descending
scales

from the Trio. Two final chords end the movement.

2:57--END OF MOVEMENT [106 (+42) mm.]

4th Movement: Rondo - Poco Allegretto e grazioso (Large true Rondo form). B-FLAT

MAJOR, 2/4 time.

FIRST RONDO THEME COMPLEX (A)
0:00 [m. 1]--The expansive, sunny, and leisurely Rondo theme is played by the first

cello with light accompaniment from the second viola and a plucked bass line from

the second cello. The theme has a regular phrase structure and is completely
closed.
0:19 [m. 17]--The theme is passed from the bottom three to the top three
instruments,

the first violin taking the melody with smooth, somewhat chromatic accompaniment

from second violin and first viola.

0:38 [m. 33]--A new phrase, characterized by its two opening repeated chords, which

are played by second viola and second cello. The first cello again takes the
melody,

which winds expansively and chromatically.

0:47 [m. 41]--Full statement of the Rondo theme from all six instruments, with
pizzicato

strings in first viola and first cello until the cadence. There is a swell in
volume

during the second half, and the first violin varies this part of the melody by
striving

higher than the original tune at the climax and holding the top note over a bar
line.

The volume diminishes at the cadence.

FIRST CONTRASTING SECTION (B)
1:05 [m. 57]--Transitional passage moving away from the main Rondo melody. Some

reiterations of the closing cadence lead to a new detached triplet rhythm in the

upper three instruments. This reaches a high point, then a quiet undulating
passage

moves the music to F major.

1:22 [m. 71]--The contrasting theme begins with a harmonized upward striving figure

which is immediately turned upside down by the cellos, then relaxes and dissipates

into a series of descending figures (F major).

1: 29 [m. 77]--Another leisurely and expressive melody in the character of the
Rondo

theme. It is presented by the first violin and first viola with undulating
accompaniment

from second viola and first cello. The second cello holds a long F. The second

violin drops out during this melody. Motion to C major.

1:42 [m. 89]--Return of the upward striving figure, which immediately steers the

music back to F. It is stated three times with increasing intensity. The

succeeding

descent is in longer notes, with pulsations in the cellos. It settles to a cadence

in F major.
1:56 [m. 101]--Statement of the leisurely and expressive melody from the first
cello.
 It overlaps with the preceding cadence. The first violin and first viola provide

very quiet undulating accompaniment. The second cello again holds a long F that

moves at the end. The second violin and second viola are both absent during this

statement of the melody, which is extended by one bar and moves to the home key of

B-flat.
2:11 [m. 114]--Re-transition. It is based on the upward striving figure, which is

presented by the cellos, to whom the violins respond. This merges into a series

of quiet repeated violin notes that then become syncopated. The other instruments

provide a very chromatic accompaniment based on the Rondo theme. The syncopations

briefly oscillate between two notes. The accompaniment then emerges as Rondo theme

fragments passed between the instruments over continued syncopation in the violins.

These nebulous fragments emerge joyously and brilliantly into the Rondo theme
itself.

SECOND RONDO THEME COMPLEX (A’)

2:38 [m. 138]--Statement of the Rondo theme with full scoring. The theme is in its

original form, without the variations heard at 0:47 [m. 41].

2:56 [m. 154]--The new phrase from 0:38 [m. 33]. The repeated chords are again
played

by second viola and second cello, the phrase itself by first cello. The phrase is

now extended two bars by echoes in the violins.

3:08 [m. 164]--Full statement of the Rondo melody, including the swell in volume

and varied climax with higher notes. The accompaniment is different throughout.

The first half has a new line in descending arpeggios from the second violin that

obscures the rhythm by beginning the arpeggios off the beat. The second half
introduces

triplet rhythms in the second violin and second viola, and the pizzicato notes only

begin then, later than at 0:47 [m. 41] and 2:38 [m. 138].
SECOND CONTRASTING SECTION (C)
3:26 [m. 180]--The violins begins with forceful repeated notes derived from the
opening

chords of the melody heard at 0:38 [m. 33] and 2:56 [m. 154]. The violas enter
with

rapidly sweeping accompaniment figures passed between them. The cellos follow the

violins on the forceful repeated notes. These become more active, with smaller
note
values, but the longer repeated notes return in powerful octaves. B-flat major,

moving to D minor.
3:39 [m. 192]--A more gentle phrase based on the same material is played in harmony

by the violas in E-flat major. The cellos play a low, throbbing E-flat. The first

cello joins the harmony after five bars, leaving the low E-flat to the second
cello.

Halfway through the expressive phrase, the violins join as well, creating a warm,

full harmony. The low E-flat persists in the second cello until the half-close.

3:57 [m. 208]--The forceful material returns in B-flat, overlapping with the
previous

half-close. The repeated notes are now led by the violas and the rapidly sweeping

accompaniment figures are now passed between the violins. Motion to G minor
instead

of D minor.
4:05 [m. 216]--Stormy and passionate development of the forceful material beginning

in G minor and quickly moving to C minor. The rapidly sweeping gestures are passed

between the second violin and second viola while the first violin and first viola,

followed by the cellos, take the opening repeated notes. These now sound like
hammer

blows. The material builds to an intense climax as the repeated notes evolve into

two-note hammering gestures that fall in the upper instruments and rise in the
cellos.

This is followed by a rapid subsiding, with the first viola and first cello left

alone on the two-note figures. Motion to A-flat.

4:27 [m. 236]--The gentle phrase from 3:39 [m. 192] returns, now in A-flat major.

It is decorated by occasional triplet rhythms. The two-note rising figures

continue

from the previous section in the accompaniment. The phrase develops into a re-
transition

as the “sweeping figures” subtly enter in the second violin. The repeated chords

are passed between the first violin and the lower three instruments, the first
viola

continuing the two-note rising figures. This material builds to an intense climax.

4:57 [m. 264]--The climax marks the return of the home key. The music then
subsides
in preparation for the return of the Rondo theme. The second viola plays a triplet

rhythm. The cellos play long held notes in octaves, first on B-flat, then on F,

which has a very strong pull toward B-flat, increasing the tension, anticipation,

and expectation before the return of the long-absent Rondo theme.

THIRD RONDO THEME COMPLEX (A”)
5:13 [m. 278]--Rondo theme. In this statement, the four phrases are separated with

alternation. The second viola is completely absent, and only the first viola plays

continuously with a flowing line. The violins play in the first and third phrases,

and the cellos in the second and fourth. Each pair drops out when the other enters

in alternation.
5:31 [m. 294]--Contrasting phrase from 0:38 [m. 33] and 2:56 [m. 154]. It is
scored

as at 2:56, but the extending echoes are played by the first viola instead of the

violins.
5:43 [m. 304]--An unexpected key change sliding a half-step upward heralds a
presentation

of the Rondo theme in B major from the first cello. The statement is aborted by

echoes from the violins as the theme reaches its distinctive trills. These echoes,

reduced to two-note “sigh” figures over viola syncopations, gently force the music

back down to B-flat, where quiet rising figures, the second in triplet rhythm, lead

to the next contrasting section.

THIRD CONTRASTING SECTION (B’)
6:04 [m. 322]--The tune from 1:29 [m. 77] is now heard from the violins in the home

key of B-flat. It is not preceded by the upward striving figures. The violas
provide

the undulating accompaniment, while the second cello holds a long B-flat before
moving

at the end. The tune changes keys, as it has on its other appearances, moving to

F major.
6:18 [m. 334]--The upward striving figures have note been forgotten and are now
heard

from the four upper instruments, the cellos immediately inverting them. They lead

back to B-flat major with a gentle cadence after three statements. Their
appearance

here is analogous to the one at 1:42 [m. 89].

6:31 [m. 346]--Statement of the leisurely melody in B-flat, analogous to the one
at 1:56 [m. 101]. The cello plays the melody, the first violin and first viola the

undulating accompaniment, while the second cello again holds a long B-flat.
6:46 [m. 359]--Re-transition based on the upward striving figures, as at 2:11 [m.

114]. It follows the course of the previous re-transition, with the nebulous
fragments

of the Rondo theme and the high syncopated violin notes. It is extended, however,

by a long series of leaps, descending in the first violin, ascending in the second

cello. These are derived from the previous ending and serve to keep the music in

the home key. The syncopations have moved from the violins to the second viola,

who alone accompanies the two outer instruments on this extension. The violin
leaps

move steadily downward, the cello ones upward.

FOURTH RONDO THEME COMPLEX (A’”)
7:21 [m. 389]--The Rondo theme is now stripped to its essential elements. The two-
note

leaps in the previous re-transition carry their character into the Rondo theme.

It is reduced to groups of two harmonized notes (with occasional upbeats), passed

between the upper three and the lower three instruments, who alternate in every
bar.

The theme is still very recognizable, and the cadence played by the first cello

at the end is as it has always been.

7:40 [m. 405]--Contrasting phrase, last heard at 5:31 [m. 294]. The two violins

now play the repeated chords. The cello still has the melody, but plays a
variation

in triplet rhythm. The second cello plays plucked bass notes. The first viola
joins

the violins, then they speed up the repeated chords over a crescendo. The ending

of the phrase is highly varied, leading to the climactic statement of the Rondo
theme.

7:52 [m. 415]--Climactic statement of Rondo theme. The first cello, its original

instrument, plays it. The second violin, first viola, and second cello play a
plucked

(pizzicato) accompaniment. The second viola has an oscillating line in straight

rhythm, and the first violin crowns everything with a soaring line in descending

triplet figures. The first viola takes over the melody from the first cello (which
harmonizes it) in the second half of the theme, which seems as if it is going to

go in the direction of the varied version with higher notes, but avoids the cadence

and continues.
8:10 [m. 432]--The extension of the Rondo melody continues and swells to a climax.

Figures similar to the theme’s cadence gesture lead to two more repeated notes
held

across bar lines. The first violin now leads the melody. The descending triplets

move to the first viola. More cadence gestures are played as the music diminishes.

Four two-note descending leaps in the violins (the last two stretched out into a

single one in the first violin) settle everything down for the coda.
CODA
8:33 [m. 451]--The repeated chords from the contrasting phrase is now plucked in

the lower four instruments. The violins linger on the contrasting phrase itself,

playing a variant with several evocative chromatic notes that do not belong to B-
flat

major.
8:44 [m. 459]--The lower instruments, except for second viola, now bow the repeated

chords. The violins, joined and harmonized by the second viola, play another
similar

variant of the contrasting theme with plucked strings (pizzicato).

8:56 [m. 468]--Brahms now marks that the music should steadily accelerate with the

indication “Animato, poco a poco più.” The repeated chords become very animated,

passed between plucked violins and plucked cellos. A detached running line in the

first viola propels the acceleration.

9:09 [m. 480]--The violins and cellos are now bowed. The second viola enters,
taking

over the pizzicato element. The first viola continues its detached running line.

The repeated chords swell up and down the scale, becoming ever faster. In the
continuing

alternation, the second viola joins the cellos, abandoning the plucked notes. A

huge increase in volume leads to the final climax, with the violas coming together

in a fast tremolo-like repeated chord.

9:23 [m. 498]--In the final passage, the fast viola tremolo is taken over by the

violins, who use it to punctuate the highly exuberant ending chords.

9:48--END OF MOVEMENT [508 mm.]
END OF SEXTET
THEME AND VARIATIONS IN D MINOR FOR PIANO SOLO
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