2:20 [m.

48]--The previous string passage has veered at the last moment to F minor
from B-flat. Here, the passage from 1:56 [m. 40] erupts with the rapid piano
arpeggios,
the bass line outlining the theme, the soaring violin/cello phrases, and the
syncopation,
given in a new minor-key version.
2:32 [m. 52]--The “contrasting” phrase is heard again as the piano drops out and
the music again becomes suddenly quiet. The viola plays repeated harmonized
triplets,
as before. The phrase is extended with a piano entry. The piano right hand takes
over the harmonized triplets from the viola. The crescendo is more powerful, and
the harmony moves strongly toward C minor, as it had before 0:58 [m. 21]. The
instruments
come together at the end in emphatic chords.
2:52 [m. 59]--The instruments arrive on a G-major chord that functions as the
“dominant”
leading to C. The strings drop out and the piano suddenly begins playing clipped
octaves in long-short rhythm, anticipating the upcoming march in the middle
section.
These rapidly become quiet. A middle voice emerges in the right hand on a strong
half-step dissonance.
2:59 [m. 61]--The middle voice moves down by half-steps in both hands. Against
this, the cello, then the viola, and finally the violin enter with a mournful
phrase
in C minor. The string counterpoint eventually comes together with the piano’s
clipped
long-short rhythm. After the middle voice reaches D, the piano bass leaps up and
comes down in a scale, and the volume rapidly increases. The middle voice in the
right hand rapidly moves back up by half-steps, doubled by the violin. The
instruments
arrive on another G-major chord.
3:14 [m. 66]--The music again becomes suddenly quiet. The strings now play the
clipped
long-short rhythm, the descending “middle voice” being placed in the viola. The
piano bass, then the right hand doubled by the cello, play the “mournful phrase.”
The right hand then takes it alone in octaves. As in the previous passage, the
instruments come together and move toward a G-major chord over a strong increase
in volume. This time, the voice moving by half-steps moves from the middle to the
top of the piano chords.
3:29 [m. 71]--In the final transition to the B section, the piano’s long-short
rhythm
is reduced to quiet double notes in the left hand. The viola takes the “mournful
phrase,” followed by the violin, then the viola again, and finally the violin and
cello together. These entries dovetail together. The “mournful” phrase now sounds
more hopeful, as it has been transformed to C major instead of minor. The piano
left hand reaches “dominant” chords under the last violin/cello entry, leading
finally
to the central march.
B section--Animato, C major
3:41 [m. 75]--First statement of march. The piano quietly plays the triple-time
march in C major, which features clipped long-short rhythms as well as triplet
rhythms.
The harmonies are largely doubled in both hands. The strings play very short
interjections
of repeated notes and other figures, the viola and cello sometimes playing plucked
chords.
3:57 [m. 83]--Second statement of march. The second statement is longer, making
large digressions to E-flat major and C minor. The volume remains quiet
throughout,
but toward the end, the short interjections of the strings expand to repeated
octaves
in triplet rhythm from the violin and viola as the cello moves to double the piano
bass. The first cadence in C major is diverted for more triplet rhythms and minor-
key
digressions, with drum-like figures in the piano and the strings taking over the
march melody. Finally, the cadence is reached. It is reiterated in the strings
with drum-like cello repeated notes.
4:31 [m. 101]--Bridge passage. The reiteration of the cadence is loudly
interrupted
with a sudden A-flat major chord from the piano. A march phrase is strongly played
with three sequences in A-flat. The strings play rapid repeated notes leaping down
an octave at the end of their four-note sets. The harmony of the last sequence is
diverted again to C.
4:43 [m. 107]--The piano drops out, and the strings, still playing at a strong
volume,
present a new phrase with a winding and highly chromatic violin line against
sharply
marked triplets from the viola and cello. These are also quite chromatic, and the
phrase vacillates between minor and major.
4:51 [m. 111]--The winding phrase is now given a fourth lower from the viola and
cello in unison. The piano left hand, then the right hand imitate the viola/cello
line in succession. The strong triplets are now played by the violin. This
extended
passage acts as a transition back to the main march. The piano suddenly interjects
the short clipped figures previously played by the strings, and the strings play
unison triplet arpeggios that lead to a strong C-major cadence and the return of
the main march melody.
5:07 [m. 119]--Third statement of march. With a grand and triumphant arrival, the
march melody is played by the violin and viola in unison with the cello harmonizing
them in rhythm, the piano joyously playing the short repeated-note and chord
interjections.
The statement uses the melody and harmony of the first statement from 3:41 [m.
75],
but with the instrumentation reversed and with the character transformed from the
originally quiet presentation.
5:23 [m. 127]--Fourth statement of march. The piano takes over the melody again,
passing the short interjections and chords back to the strings. There are now no
plucked chords. The statement begins in a similar manner to the second statement
from 3:57 [m. 83], with the same digression to E-flat, but suddenly it takes on the
character of the bridge passage from 4:31 [m. 101], merging directly into the third
sequence from that passage, now in E-flat instead of A-flat and moving toward G.
The volume remains strong.
5:35 [m. 133]--The winding phrase enters in the manner of that played at 4:51 [m.
111]. The piano right hand begins in octaves, with the left hand imitating. The
two upper strings play the strong triplet rhythms. The emphatic chords at the end
merge with a second statement begun by the cello and joined by the violin. The
piano
left hand, then the right hand (both in octaves) imitate them, the viola alone
playing
the triplets. The emphatic chords now lead to an apparent strong arrival in C
minor.

Re-Transition
5:58 [m. 144]--The expected C-minor arrival is harshly interrupted by a dissonant
“diminished seventh” chord. Out of this, at a suddenly quiet volume, emerges
material
from the melody of the A section in the viola and cello. The cello begins to play
syncopated notes, and the piano bass plays low two-note figures in octaves. The
music remains in minor until the following violin entry.
6:16 [m. 152]--The violin begins an apparent full statement of the first phrase
from
the A section melody in the key of the B section, C major. The violin even
decorates
the melody with a turn figure. The viola and cello play the steady octave
accompaniment
previously associated with the piano, the piano itself playing only low bass
octaves
on G. After four bars, the piano right hand enters, doubling the violin with
harmony,
the viola and cello also contributing to the harmonization. The piano bass now
plays
the winding line in octaves. The phrase is brought to completion with a small
digression
at the end.
6:36 [m. 160]--The viola and cello, in unison, lead an extension of the phrase, the
violin and piano right hand following them. The piano bass continues to play the
steady winding octaves. The violin/piano melody begins to move up by half-steps.
The volume strongly builds. The piano bass, then the violin, then the piano right
hand emerge in descending arpeggios. The violin and piano right hand each, in that
order, present two more descending arpeggios, the second adding syncopation.
Against
these arpeggios, the viola and cello play rising two-note figures in thirds. The
final violin and piano arpeggios lead back to E-flat major and to the warm,
satisfying
return.
A’ Section
6:57 [m.168]--The violin presents the main melody, with syncopation and other
decorations,
including a turn figure. The cello harmonizes the melody at the beginning, but
then
diverges into a new line, which it never did in the first A section. The viola
enters,
harmonizing the cello line. The piano now accompanies with arpeggios in triplet
rhythm, first with the hands playing together and then in opposite directions.
7:18 [m. 176]--The piano alone plays the second phrase. The material is the same
as that from 0:23 [m. 9]. An inner voice provides the steadily moving line. The
echoing “sigh” is included, as is the motion toward B-flat and to D. The music
quiets
down. The strings enter right before the arrival point on D.
7:40 [m. 184]--The contrasting phrase from 0:47 [m. 17] is played in a very similar
manner as before. The violin line is identical. The viola and cello harmonies are
somewhat different. The piano right hand plays a single winding line in triplet
rhythm instead of the repeated chords. The “drone” bass in the piano left hand
includes
more steady and rapid thumping of the note.
7:51 [m.188]--For this statement of the contrasting phrase, the piano right hand,
which presents it, is identical to 0:58 [m. 21]. The surroundings, as in the
previous
passage, are different. The left hand continues the more steady, rapid thumping,
now on G. The violin plays the winding triplet rhythm instead of repeated chords.
The viola and cello continue their smoother lines. There is a crescendo, but the
following music returns to the quiet level.
8:06 [m. 193]--This music is a highly transformed version of what was heard at 1:14
[m. 26]. The E-flat chord and arpeggio arrive, but they are now against sweeping,
arching triplets in the strings. When the melody enters, it is in a decorated and
embellished version played by the piano in octaves. The left hand plays slower low
octaves. The strings continue their sweeping triplets. The chromatic notes and
minor-key suggestion at the aborted cadence are all present within the embellished
theme. This “return” begins softer, but swells near the aborted cadence.
8:34 [m. 203]--This is an even greater intensification of the music from 1:44 [m.
36]. All strings lead out of the dissonant chord, then continue with their arching
triplets passed between them. The piano, instead of the strings, leads with a turn
into the full-hearted cadence music, finally reaching the satisfying arrival with
another turn. Brahms originally included a passage after the cadence that was
similar
to the beginning of the earlier “transition” music (with rapid piano arpeggios),
but he deleted it, opting to move right into the new coda music from the cadence.

Coda
8:47 [m. 207]--The coda begins with the music of the “contrasting phrase” from 0:47
[m. 17] and 7:40 [m. 184]. The phrase itself is played by the violin. The piano,
after its strong cadence, breaks into harmonious descending triplets doubled
between
the hands. The viola and cello play more static, drone-like triplets. The violin
ends its phrase with a new trill and cadence.
8:57 [m. 211]--The viola leads a new statement of the phrase, the violin lagging
behind and eventually joining it in octaves. The piano and cello continue their
triplets. The cadence is extended, adding two more trills. The second of these
is held for a full bar, building for its lead-in to the faster closing passage.
9:18 [m. 218]--Brahms marks the closing passage poco animato. The piano begins a
rapid development of the main melody with undulating inner-voice motion, the cello
doubling the drone-like bass. The viola enters prominently with Theme 1 material
and emerges into a trill. The cello breaks from the piano bass under the trill.
The violin then enters on the viola trill, doubling the top piano voice.
9:29 [m. 224]--The violin and piano right hand begin to undulate and wind around
the melodic material. This includes a prominent minor-key inflection (C-flat).
The cello and piano bass imitate these lines, while the viola provides a constant,
steady repeated two-note “sigh” pattern. The violin and piano then settle on
“sigh”
patterns including the dissonant C-flat. The cello’s lower voice and the piano
bass
break into an oscillating motion with syncopation across bar lines. Here the music
slows and quiets to the end. The violin, viola, and piano “sigh” figures move down
for the last two bars of this pattern (while the cello’s upper voice imitates the
“dissonant” sighs). After the pattern breaks, piano arpeggios under long, soft
string
chords bring a final arrival and close.
10:12--END OF MOVEMENT [235 mm.]

4th Movement: Rondo alla Zingarese - Presto (Highly sectionalized Rondo form). G
MINOR, 2/4 time.
FIRST RONDO THEME COMPLEX (A)
The complex is completely organized into three-bar units, which is part of the
“gypsy”
character.
0:00 [m. 1]--Main Rondo theme (a). The furious beginning is launched with
immediate
forward energy. The piano and the two upper strings play the theme itself,
decorated
by grace notes (appogiaturas) and harmonized in thirds and sixths. The cello and
piano bass solidly thump on the keynote G, punctuating each bar with a rolled
chord.
The steady bass G is only abandoned at the end of the first phrase (the first two
three-bar units). The phrase is repeated, with the violin and piano right hand an
octave higher.
0:09 [m. 13]--A contrasting phrase (two three-bar units) moves generally downward
in two waves, with turning “neighbor-note” figures. The cello has broken octaves
while the piano bass plays more free leaping harmonies.
0:13 [m. 19]--Return of the opening music. It begins at a quieter level and works
up again. The repetition of the phrase with the higher violin and piano right hand
is changed to strive farther upward and reach a complete cadence in G-minor.
0:22 [m. 31]--The huge first complex has its own middle section (b). The main
material
is a unison half-step motion from the piano bass, viola and cello, then a rising
violin/viola scale with quieter piano chords after the beat. This is heard twice,
first with the half-step on F-sharp and G. The second sequence begins with the
half-step
on A and B-flat (these are the “leading” motions of G minor and the related B-flat
major).
0:27 [m. 37]--The half-step motion is now played on C-sharp and D, then repeated
with the violin and piano right hand added. A third statement of the motion is
harmonized
in the violin and piano. These half-steps are followed by two expansions of the
rising scale that create their own three-bar units. These transfer the scales to
the piano and the after-beat chords (now no longer quiet) to the strings. The
first
of these is played in doubled octaves and is more halting. The second adds a
broken-octave
bass and is more forward-moving, emphasizing an oscillation after the scale.
0:35 [m. 46]--The first two units from 0:22 [m. 31] are presented again, this time
with the half-step motions harmonized. They are now played by violin (in triple-
stops)
and piano, with the viola and cello taking the scale patterns. The piano takes the
after-beat chords under the scales.
0:40 [m. 52]--The C-sharp to D half-steps and the expanded scale patterns from 0:27
[m. 37] are repeated. The half-steps are played by violin and piano. The second
and third are now harmonized. The first scale pattern is taken by viola and cello
with piano after-beat chords. The second pattern is played by violin and the right
hand of the piano, with the chords in the viola and cello. The piano bass has
broken
octaves under the second pattern, as it did before. This leads directly into the
partial reprise of the main theme (a).
0:47 [m. 61]--The return of the main theme is abbreviated, and begins with the
contrasting
phrase from 0:09 [m. 13]. It is more elaborate, with neighbor-note figures passed
between the strings, the viola leading with new ones on the downbeats. The cello
takes the former viola part. The piano bass now plays the leaping broken octaves
without its previous harmonies, and the piano right hand has new, furious downward-
arching
arpeggios.
0:52 [m. 67]--The opening phrases of the main Rondo theme are played as they were
at 0:13 [m. 19], with the complete G-minor close but without the quieter opening.
A very brief pause breaks the feverish pace.
FIRST CONTRASTING SECTION (B) - B-flat major
This contrasting section is in a “rounded binary” form. The music is now organized
into two-bar units. These are in turn organized into groups of six (three phrases
of two units each, as opposed to two of three). This creates twelve-bar groups,
as in the main Rondo section where the units were three bars each.
1:02 [m. 80]--Part 1 (a). For the entire section, the piano has light, constant,
rapidly running notes in scales, oscillations, or arpeggios. The hands are doubled
in octaves except at the end of each part. The string harmonies are plucked
throughout.
They also play rapidly, but only half as fast as the piano. The first part has
three phrases, the third of which contains rapid descending piano arpeggios and
strong
cadence gestures from the strings. The second phrase moves from B-flat major to
G minor, where the third phrase is heard.
1:10 [m. 80]--Part 1 (a) repeated.
1:19 [m. 92]--Part 2. Contrasting passage (b). Again, there are three phrases.
The strings take their bows. The viola plays in the fast rhythm of the piano with
repeated notes that move slowly. The cello and violin alternate with the “slower”
notes. The piano continues its rapidly running passage work, now with murmuring
trill-like motion. The second phrase is a repetition (a sequence) of the first,
but a step higher. The third phrase begins by repeating (only) the second unit of
the second phrase a step higher still. It then diverges as the trills creep back
down and the music slows, moving back to B-flat major.
1:29 [m. 104]--Return to the main portion (a’), with the strings again plucking.
The second and third phrases are altered, both reaching higher. This is to allow
the section to end in B-flat rather than moving to G minor. It does pivot to G
minor
at the last second for the repetition of Part 2.
1:38 [m. 92]--Part 2 repeated. Contrasting passage (b).
1:48 [m. 104]--Return to main portion (a’). Last-second pivot to G minor for the
return of the Rondo theme, into which the arpeggios rush.
SECOND RONDO THEME COMPLEX (A’)
The middle section (b) is omitted in this complex.
1:56 [m. 116]--Main Rondo theme, as at the opening. Phrase and repetition an
octave
higher. The piano right hand is quite different in this statement. It does not
double the violin on the melody, instead providing harmony and holding certain
notes
across bar lines. The strings and piano left hand are identical.
2:05 [m. 128]--Contrasting phrase, as at 0:09 [m. 13].
2:10 [m. 134]--Return of the opening music, as at 0:13 [m. 19]. The “new” harmony
and notes held across bar lines are transferred to the violin and viola. The piano
plays the original melody. The music begins quietly, but for this statement, it
remains quiet, even getting softer. Brahms even thins the texture somewhat near
the cadence. After the cadence, there is a brief extension that trails down and
quiets even more. Three more three-bar units are added, reiterating the cadence
and steadily decreasing in activity.
SECOND CONTRASTING SECTION (C) - Meno Presto, G major
“Rounded binary” form, organized into three-bar units. Six-bar phrases, two units
each.
2:27 [m. 155]--Part 1 (a). Loud, ringing chords from all instruments. The strings
reiterate the longer chords with a short-long pulsation. The single phrase ends
with a trill and a motion to the “dominant,” D.
2:34 [m. 155]--Part 1 (a) repeated.
2:42 [m. 161]--Part 2. Contrasting passage (b). This is set in G minor. The
piano
strives upward, incorporating some triplet rhythms. The strings play in an “oom-
pah”
rhythm, with the cello on the downbeats, the violin and viola responding with
chords.
As with the main phrase, this one also moves to the “dominant” D-major chord.

2:49 [m. 167]--Return to the main portion (a’), which is intensified with the
addition
of drum-like triplet octaves in the piano and anticipatory repeated notes in the
upper strings. The second half of the phrase is altered to reach higher upward and
arrive at a full cadence in G major.
2:56 [m. 161]--Part 2 repeated. Contrasting passage (b).
3:03 [m. 167]--Return to main portion (a’) with closed G-major cadence. There is
a short pause.
THIRD CONTRASTING SECTION (D) - E minor
“Rounded binary” form. This section is organized into four-bar units and eight-bar
phrases. This is the only major section that abandons the larger units in six or
twelve bars.
3:12 [m. 173]--Part 1 (a). The slower tempo of Section C continues. The character
is more melancholy, as seen in the slower sections of “Hungarian” music by
composers
such as Liszt. The viola and cello present a mournful theme with triplets, the
cello
playing above the viola. The piano plays a quiet “oom-pah” rhythm with low left-
hand
octaves and right hand after-beat chords. In the second half of the phrase, the
violin enters with brief imitation before joining the harmony. The embellished
cadence
moves to B minor/major.
3:27 [m. 181]--Part 1 (a), varied repeat. The violin now joins the main melody,
doubling the cello an octave higher. The viola’s harmony is more flowing, with
constant
triplets. The cello abandons the melody in the second half that moves to B
minor/major,
allowing the violin to take it. Instead, the cello plays a new counterpoint in
straight
rhythm, clashing with the triplets of the viola.
3:43 [m. 189]--Part 2. Contrasting passage (b). The piano leads this phrase,
playing
an ominous-sounding alteration of the melancholy theme, largely in octaves with
steady
detached bass notes. It gradually works upward as the music moves back to E minor.
The strings provide soft chords at strategic high points, more concentrated at the
end. There is a very gradual rise in volume in preparation for the return. An
extra
bar is added for this preparation, extending the phrase to nine bars.
3:58 [m. 198]--Return to the main portion (a’). It is much louder and fuller than
its first presentation. The approach includes a mild syncopation in all the
strings.
Although the violin doubles the cello on the main melody, it is actually closer
to the initial statement than to the varied repeat, as the viola does not play its
flowing accompaniment, but rather plays in block harmony with the violin/cello
melody.
The cello abandons the melody only at the very end. The right hand piano chords
are more sustained, leaning from higher chords into lower ones during most of the
bars. Unusually, the motion to B minor/major is retained.
4:15 [m. 189]--Part 2 repeated. Contrasting passage (b).
4:30 [m. 198]--Return to main portion (a’). Brahms indicates a slowing and
softening
at the end of the repetition.
FOURTH CONTRASTING SECTION (B’) - G major
4:49 [m. 206]--Part 1 (a). The main Presto tempo returns. The material of the
first
contrasting section is presented in G major. It is indicated to be played even
more
softly and lightly than before. The running piano notes, previously doubled in
octaves,
are now played in harmony between the hands, mostly in close thirds. The strings
are plucked, as before. The motion in the second phrase is to E minor (the related
minor key to G major). This is analogous to the B-flat--G minor motion in the
first
B section. The piano left hand plays rolled chords on the weak beats of the last
phrase.
4:58 [m. 218]--Part 2. Contrasting passage (b). The running notes are now
transferred
to the violin and cello, who play them in octaves. Previously, they were in the
piano throughout. The viola rests for the entire phrase. The piano adds an
entirely
new counterpoint that is based on the second contrasting section (C). This
includes
some octave doubling between the hands, especially in the last half. The three
phrases
are virtually identical in the strings (except for one note alteration in the last
phrase), which is unexpected given the sequences of the first B section. There is
some variation in the second phrase of the piano.
5:07 [m. 230]--Instead of returning to the music of Part 1, the material of the
contrasting
passage is extended for another eight-bar group (two instead of three phrases).
The viola joins the running violin and cello, playing mostly in unison with the
violin.
All three instruments occasionally jump an octave when one or both of the others
do not. The second phrase introduces the sequencing and variation that was absent
in the previous passage. The piano has continued its new counterpoint, adding
syncopation.
In the second phrase, there is a dramatic crescendo, and in the last two bars, the
piano erupts into a rapid downward-arching scale bridge in groups of six and seven
notes. This leads powerfully into the next section.
FIFTH CONTRASTING SECTION (C’) - G major (presumably Meno Presto)
5:13 [m. 238]--Part 1 (a). After a new initial chord leading out of the previous
section, the music is as it was at 2:27 [m. 155], with only minimal variation,
mainly
added double-stops in the strings.
5:20 [m. 244]--Part 2. Contrasting passage (b). The music is as at 2:42 [m. 161],
but the parts of the strings and piano are exchanged. The strings take the upward-
striving
material (beginning in unison but diverging at the end), the piano the “oom-pah”
rhythm.
5:28 [m. 250]--Return to the main portion (a’). The string and piano parts
continue
to be exchanged from the previous appearance at 2:49 [m. 167]. The piano has the
“anticipatory” repeated notes. Full, loud cadence in G major, as before.
THIRD RONDO THEME COMPLEX (A”) - Tempo I, G minor
The “Tempo I” presumably indicates that the previous C’ section was in the “Meno
Presto” tempo.
5:36 [m. 256]--This complex begins with the middle section (b). The music is
essentially
identical to 0:22 [m. 31], with three differences: the piano adds another octave
above on the half-steps, a trill is added to both piano and strings on these half-
steps,
and the piano chords under the scales are now played loudly.
5:41 [m. 262]--The first two three-bar units are identical to 0:27 [m. 37], except
for the addition of string trills on the C-sharp--D half-steps. The third three-
bar
unit, where the piano adds a bass in broken octaves, is set a half-step higher than
it was in the first complex, adding tension and contrast.
5:48 [m. 271]--This is essentially identical to 0:35 [m. 46], except for some
fuller
chords in the piano bass and the lack of a softer dynamic for the piano chords
under
the scales.
5:53 [m. 277]--Identical to 0:40 [m. 52].
6:01 [m. 286]--Contrasting phrase from the main section in its more elaborate form,
as at 0:47 [m. 61]. The ending is altered very slightly and abruptly cut off (in
a one-chord extension), avoiding the rush into the opening music of the main Rondo
theme.
6:06 [m. 293]--The piano and strings play a loud, dissonant chord (a “ninth”
chord).
Then the piano is given an unexpected cadenza. There is a series of sixteen
powerful
descending groups, mostly in accented groups of six beginning with a lower note
(except
for the first two, which are shorter, and the last one, which is extended). When
the opening note reaches “middle D,” on the eighth group, it stalls there, the
following
groups becoming wider and continuing to reach downward. These groups move steadily
down the keyboard. The last is extended to eleven notes plus a final low octave
D, where the music pauses. The cadenza is unmeasured, and notated as one bar.
DEVELOPMENTAL SECTION combining the music of various sections
6:20 [m. 294]--After the piano cadenza, the instrument drops out. The following
music is marked “Meno Presto.” The strings alone play an imitative version of the
music from the third contrasting section (D) in G minor. The strings enter from
high to low, violin, viola, then cello. The counterpoint continues for the first
half of the phrase. In the second half, the cello leads the viola, then the violin
in each of the first three bars. The phrase is extended by one bar, to nine total.
At the end, the music moves to its original harmony and key areas of E and B. It
also becomes quieter. The cello links to the next passage with a trill.
6:43 [m. 303]--The music is marked “Poco più Presto.” It is from the first and
fourth
contrasting sections (B), and played by the piano alone. There are two phrases,
beginning in E minor. The running scales in the right hand are not played as fast
as in the B sections. The left hand plays two arching arpeggios, then breaks into
rising broken octaves. After the two phrases and a crescendo, the piano plays a
long, loud descending scale in one group of seven, then two groups of eight notes
plus the final note, all notated over two bars. The music has moved to F-sharp
minor,
and the scale ends on the “dominant” note of that key.
6:53 [m. 313]--The piano again drops out, and the strings present an imitative
version
of the music from the second and fifth contrasting sections (C). The violin leads
the viola and cello, who play together. There is a six-bar passage in F-sharp
minor.
Then there is a four-bar passage with shorter figures in A minor.
7:03 [m. 323]--The previous passage merges into a new set of imitations with the
viola and cello now separated, the instruments entering top to bottom. There are
two three-bar sets of imitations. These are followed by six one-bar groups where
the viola and cello again enter together. The music becomes steadily louder and
faster and leads gradually back to the home key of G minor.
7:13 [m. 335]--Transition to coda. The piano plays the scurrying music of B while
the strings play figures reminiscent of C. The piano enters surreptitiously as the
previous passage ends. There are three four-bar phrases, each one a fifth higher.
The piano bass, however, steadily plays broken octaves on D throughout. The
volume
and speed steadily increase. After the third phrase, a fourth one sequences two
shorter units up two more steps as the intensity increases. Then the piano breaks
into cascading arpeggios on a fifth phrase, the strings punctuating the beat.
7:28 [m. 355]--The strings briefly drop out and the piano quiets down suddenly.
The pace is now very fast. The piano plays a series of four-note scale figures over
a rapid crescendo. The constant bass octave D’s have now moved down lower and are
played at the same rate as the scales. After one phrase, the strings enter on a
powerful unison arpeggio for the last phrase and break into a trill over the piano
scales.
FOURTH RONDO THEME COMPLEX (CODA) - Molto Presto
7:34 [m. 363]--At breakneck pace, the main Rondo theme enters after the arrival of
the previous scales and trill. It is essentially as at the beginning, but with the
piano left hand slightly simplified to accommodate the speed. All instruments are
playing at full volume.
7:41 [m. 375]--The contrasting phrase begins, but after the first three-bar unit,
a new such unit is inserted to build intensity as the piano bass settles on broken
octaves. Then there is a third unit (expanding the phrase to three of them) that
is like the first one, but a third lower and with more forward momentum.
7:47 [m. 384]--The three-bar units are abandoned. The piano right hand and violin
break into two arching scales, then one purely ascending one, the piano playing in
octaves. The piano bass and cello thump on broken octaves, and the viola provides
double-stop harmony.
7:51 [m. 390]--At the arrival point of the scales, the instruments all join in
unison
(the piano bass in octaves) and play a series of sequences based on the main Rondo
theme, winding up for the close. These continue for nine bars, retaining the
spirit
of the three-bar units. The movement and the quartet are then closed by four
powerful
(harmonized) cadences. The last one is held for two bars before cutting off
sharply
with a unison G. Brahms notates a bar of rest after the cutoff, perhaps to create
an eight-bar cadence unit (if the arrival point of the unison music--its ninth
bar--is
counted as the first bar of this unit).
8:10--END OF MOVEMENT [405 mm.]
END OF QUARTET

PIANO QUARTET NO. 2 in A MAJOR, OP. 26

Recording: Emanuel Ax, piano; Isaac Stern, violin; Jaime Laredo, viola; Yo-Yo Ma,
cello [Sony S2K 45846]
Published 1863. Dedicated to Dr. Elisabeth Rösing.

The G-minor piano quartet, Op. 25, is more extroverted and virtuosic than its A-
major
companion, but the latter is more expansive. It is, in fact, not only Brahms’s
longest
piece of chamber music, but of all instrumental music. At over fifty minutes, its
performance time is longer than any of the symphonies or concertos, although the
First Symphony (with its exposition repeat taken) and Second Piano Concerto come
close. Among all the works with opus numbers, only the German Requiem and the
Magelone
Romances take longer to perform. All four movements last over ten minutes, and all
are rich in content. Coupled with tempo markings that are rarely very fast (except
for the end of the finale), this results in a work that, more than any other, calls
to mind another earlier master, Franz Schubert. The huge thematic paragraphs and
the extended forms are hallmarks of Schubertian “heavenly length,” as are the
leisurely
melodies themselves. But Brahms also did not forget the “gypsy” idioms that played
such a large role in the G-minor piece, especially in the slow movement and finale.
The first movement slowly grows out of its opening oscillation. Unlike the
corresponding
movement of Op. 25, it is a conventional sonata form, and it even includes an
exposition
repeat. The slow movement, which uses muted strings and the aforementioned “gypsy”
coloration (including distinctive unmeasured piano arpeggios), is beautiful and
radiant.
Its expanded ternary form includes a highly unusual return of the middle section
in an unrelated key. The third movement is explicitly called a scherzo, but while
it builds to a great climax, it is unhurried, and has the character of a minuet or
waltz. It is by far Brahms’s largest example of a scherzo or scherzo-type
movement.
The main scherzo is in a full sonata form that goes beyond the usual “rounded
binary”
construction. The more austere central “trio” section uses some elements from the
main section, which is then given a full reprise. The finale has a very
predominant
and distinctive main theme that is typical of a rondo, but Brahms constructs
another
full sonata form, albeit one with vestiges of the rondo, primarily a statement of
the main theme at the outset of the development (as in the first movement of the
G-minor quartet). This main theme is exuberant, but the subsidiary ideas are again
very restrained. Brahms compensates with a joyous “animato” conclusion.

IMSLP WORK PAGE

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck)--Note that the
penultimate page of the finale displays upside down!
ONLINE SCORE FROM IMSLP (First Edition in later printing from Russian State
Library--includes
string parts in the order viola, violin, cello)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke)

1st Movement: Allegro non troppo (Sonata-Allegro form). A MAJOR, 3/4 time.
EXPOSITION
#GSPLIT:u#master - Copy
(2).txt############################################################################
###################################################################################
############################################################################GSplit
Archive############################################################################
##########&{3556881E-0858-4370-BF6F-
3E1C12C2ED45}######################################################################
###################################################################################
#################################################################�######��
#####(+�######