3:52 [m.

242]--The main theme from Part 1 returns (along with its 6/8 meter) to
round
off the trio section. The preparatory beats are played by the piano, but its bass
moves to the very unstable note B-flat. When the theme enters, it is played by the
strings in full harmony, and at the lower level of the original piano statement
from
the beginning, lower than the string presentation in the varied repeat. The string
harmonies are consistent with previous statements of the theme, but the persistent
B-flat in the piano bass, still in the familiar rhythm originally played by the
cello,
undermines the stability and creates great tension. After four measures, it moves
down through A to the more stable “dominant” note, G.
4:01 [m. 250]--The phrase from 3:11 [m. 202] and 3:28 [m. 218] is altered so that
it settles at home on C major. The long top notes are again played by first
violin,
but the other strings support it in block harmonies. After touching on the
somewhat
dissonant note F-sharp, the piano bass works down to F and then arrives on the
long-awaited
low C. Meanwhile, the melody itself arrives on C with a gentle cadence. The
three-note
upbeats, first in octaves, then harmonized in thirds as before, are in the piano
right hand in the tenor register. They are very chromatic, again emphasizing B-
flat,
and lend color to the C-major arrival. The cadence in the strings is reiterated
twice, extending the phrase by a measure.
4:10 [m. 258]--The phrase abruptly cuts off. The first violin and viola re-enter
with two more C’s, but these are in the distinctive syncopated rhythm of the
scherzo’s
main theme, entering right before the downbeat. These are preparatory for the
rhythm
in the return of the scherzo, to which they form a re-transition. They are
harmonized
by the piano right hand. The cello plucks low C’s on three straight downbeats, the
first two with the displaced violin/viola notes. The piano bass, still on C, omits
its last upbeat and isolates the final downbeat with the plucked cello. The first
violin and viola do not play the syncopated C with this third downbeat (m. 261),
leaving it to the piano right hand an octave lower. The plucked cello C’s provide
a smooth transition into the scherzo reprise, which begins with more of them.
SCHERZO REPRISE
Part 1
4:14 [m. 1]--Theme 1 in 6/8 time, as at the beginning.
4:26 [m. 13]--Theme 2 in 2/4 time, as at 0:13.
4:35 [m. 22]--Theme 3 in 6/8 time, first phrase of chorale, as at 0:22.
4:43 [m. 30]--Second phrase of chorale with piano following strings, as at 0:29.

4:51 [m. 39]--Re-transition with arpeggios from Theme 1, as at 0:37.

Part 2
4:59 [m. 47]--Theme 1 with motion to G minor, as at 0:45.
5:09 [m. 57]--Forceful presentation of Theme 2 in G minor and B-flat minor, as at
0:55.
5:18 [m. 67]--Fugato in E-flat minor. Theme in viola and first countersubject in
piano bass, as at 1:04.
5:22 [m. 71]--Second statement. Theme in piano right hand, first countersubject
in viola, new syncopated countersubject in piano bass, as at 1:08.
5:27 [m. 76]--Third statement. Theme in first violin, first countersubject in
piano
right hand with new bass harmonization, syncopated countersubject in viola, as at
1:12.
5:30 [m. 80]--Fourth statement. Theme in piano right hand an octave higher, first
countersubject in first violin, syncopated countersubject in piano bass, new line
in viola tied to first countersubject, as at 1:16.
5:34 [m. 84]--Fifth statement. Theme in viola, first countersubject in piano left
hand in treble register, syncopated countersubject high in piano right hand, “new
line” from last statement in second violin, and new punctuations in first violin
and cello, as at 1:20.
5:38 [m. 88]--Sixth statement and beginning of transition starting in D-flat.
Theme
in first violin, countersubjects in alternation between piano hands, “new line” in
viola, punctuations in second violin, as at 1:24.
5:41 [m. 92]--Fragmentation and stretto of fugue elements leading to climax in E-
flat
minor, as at 1:27.
5:48 [m. 100]--Climactic statement of Theme 2 in E-flat minor with “filling” of
gaps,
as at 1:34.
5:57 [m. 109]--Theme 3 in E-flat major, as at 1:43.
6:05 [m. 117]--Second statement of Theme 3 chorale in E-flat, as at 1:51.
6:13 [m. 126]--Re-transition with Theme 1 arpeggios, then motion back toward C
minor,
as at 1:59.
6:21 [m. 134]--Extension of re-transition, including new non-syncopated viola/cello
arpeggios, as at 2:07.
6:30 [m. 144]--Exuberant final statement of Theme 1 without syncopation, as at
2:16.

6:36 [m. 150]--Expansion of Theme 1 melody and C-minor cadence, as at 2:22.

Coda (Part 3)
6:44 [m. 158]--Version of Theme 2 from climax, then chromatic upward motion to A
minor, as at 2:30.
6:49 [m. 164]--Prolongation of A-minor material, as at 2:35.
7:00 [m. 176]--Arrival on C and tonal ambiguity. Entry of arpeggios from Theme 1
in harmony, as at 2:46.
7:07 [m. 184]--Leaping chords and heavy emphasis on motion from D-flat to C, as at
2:53.
7:13 [m. 190]--Violently insistent motion from D-flat to C over final C-major
chords,
as at 2:59.
7:21--END OF MOVEMENT [261 (+193) mm.]

4th Movement: Finale – Poco sostenuto; Allegro non troppo; Presto, non troppo
(Varied
Sonata-Rondo [Binary] form, with introduction and extended coda). F MINOR, Cut time
[2/2], 2/4, and 6/8 time.
INTRODUCTION – Poco sostenuto, Cut time [2/2]
0:00 [m. 1]--The cello alone begins the groping, mysterious introduction. The
opening
is a series of rising octaves each leading to two rising half-steps. The cello
begins
on the home keynote F, leaping up an octave and then sliding up a half-step. It
is followed by other instruments, each a fourth or a third away from the last one.
Each instrument enters as the last one slides the half-step. The cello is
followed
by first violin, piano left hand, and viola. The second half-step comes after the
previous note has been sustained (longer in the cello than the other instruments)
and with the entry of yet another instrument. The first violin is the exception.
It expands its second half-step into a melodic turn figure as the cello begins
another
sequence an octave higher.
0:15 [m. 6]--The first violin again follows the cello, again in the higher octave,
but at a different distance (a third instead of a fourth). It is followed by the
second violin, which is even higher, and the viola at its original pitch level.
The piano is absent for a time. The first violin again expands into a turn figure.
The notes following the rising octaves break the pattern somewhat. The second
violin
rises a half-step, then a whole step. The viola’s second statement here moves down
an half-step, then back up. A third, abbreviated sequence follows as the first
violin
makes its turn. The cello begins a step lower, and the volume builds.
0:26 [m. 10]--The cello is now followed by the second violin, which simply makes
one half-step motion after its rising octave, and it is downward. The cello entry
itself follows the half-step with a whole step, as the second violin had done
before.
The first violin enters again, now dispensing with the rising octave and simply
repeating its turn figure. The cello then imitates the first violin’s turn as the
piano finally enters again. Both hands come in together, not an octave apart, but
a tenth apart in notes that emphasize E minor, a half-step down from the home key.
After their octaves, they indeed break into the E-minor chord, which leaps upward
in the right hand. As the cello completes its turn, the second violin and viola
play a rising octave that also points to E minor. Finally, the first violin
repeats
the first two notes of the turn figure.
0:34 [m. 13]--Suddenly, the piano lands on a loud dissonant chord. The right hand
begins to pulsate in long quarter-note triplets, with the last note of one tied to
the first one of the next, creating strong syncopation. The right hand notes are
a “diminished seventh” chord, but combined with the bass, which holds the chord,
then leaps down to a low octave C, they form a “dominant” chord with a so-called
added ninth, a very unstable sonority. This chord restores F minor. As the piano
chords begin, the first violin and cello play a new melodic line beginning with a
long note, then winding downward. The volume quickly diminishes, then builds
again.
After three measures, the syncopated piano chords contract, then shift the harmony
as the violin/cello line concludes.
0:44 [m. 17]--The violin/cello line in F minor concludes as the piano violently
changes
the chord to the “dominant” chord in D-flat. The pulsing begins again, but now the
piano left hand leaps up and joins the right in the pulsations. The cello sustains
the low C. After a measure, the right hand leaves the pulsations to the left and
plays, in octaves, a descending D-flat-major line similar to that previously played
by first violin and cello. The upper three strings are absent during this
statement,
which again diminishes and builds.
0:53 [m. 21]--As the piano line concludes, a new sequence begins. The pulsations
move to the viola and cello. The first violin plays another descending line, now
in E-flat major (over its “dominant” chord) as the piano bass becomes more active
and rises by steps and thirds. The piano right hand interrupts the first violin,
and the harmony moves a level on the circle of fifths, to the “dominant” chord in
A-flat. The violin line continues. In a role reversal, it then interrupts the
piano
line in the same manner. At first, it seems that the harmony will move up the
circle
of fifths again, but it actually moves back to E-flat, now E-flat minor, as the
piano
bass reverses and descends by half-steps. The violin line and the piano octaves
continue in imitation for two statements. On the second statement, the second
violin
joins the first an octave below. At the very end of the sequence, the harmony
lurches
up a half-step to an E-minor chord.
1:11 [m. 29]--The strings, led by the cello, come back to the opening music. The
cello plays the rising octave on E, but now the other strings enter before it moves
up the half-step. They play the opening fragment of the “turn” figure with
harmony.
They slide the music back home to F minor. The piano bass enters with a rising
octave on D-flat. The right hand comes in against it with slow, syncopated chords.
After the upper strings finish their turn figure fragment, the first violin and
cello play a descending octave against the piano chords.
1:21 [m. 33]--The second violin begins the syncopated pulsations on slow triplets.
These are now a background for brief figures combining the rising octave/half-step
and the turn. The cello leads the viola and first violin. It plays the rising
octave/half-step
while they play the turn fragment. The piano follows with its left hand playing
the octave/half-step and the right hand playing the turn fragment. The whole
sequence
is repeated, with a slightly more active turn fragment in both violin/viola and
piano
right hand. After playing its second rising octave and half-step, the cello joins
on the syncopated pulsations.
1:30 [m. 37]--The turn figure in the piano right hand is expanded into a rising
figure.
The pulsations in cello and second violin are reduced in both thickness and
activity.
They begin to leave off the first note of each triplet rhythm. The viola and
first
violin imitate the piano line. The volume diminishes and everything thins out.
The piano, at a lower level, plays one more rising half-step. It then dissolves
into isolated “dominant” chords, as do the second violin and cello, which cease
their
pulsations and join the piano. The first violin and viola pause. After the last
isolated chord, a half-measure pause (m. 41) precedes the entry of the main theme
at the beginning of the main “Allegro” section.
EXPOSITION – Allegro non troppo, 2/4 time
1:41 [m. 42]--Theme 1. The exposition begins on an upbeat, or the second half of
m. 41 (which is notated in 2/4 time). The first full measure is m. 42. The theme
is broadly spun-out and has a sort of “leisurely intensity.” Brahms even marks it
tranquillo. The lead role is given to the cello, which begins on the upbeat and
marches forth over a percussive piano accompaniment. The right hand, in the tenor
range, provides the driving, active impetus while the foundation in the bass
consists
of isolated, detached off-beat notes. The first cello phrase establishes F minor
and includes a brief trill in the second statement of the main gesture.
1:47 [m. 46]--The next phrase moves toward C minor with the entrance of the viola,
which plays a harmony below the cello. Both instruments have distinctive upward-
sliding
grace notes. In a third phrase, the viola drops out and the piano right hand stops
its driving propulsion. The cello and piano, in arching lines (the piano bass in
contrary motion), reach a full C-minor cadence with yet another brief cello trill.

1:58 [m. 54]--As the cello reaches the C-minor cadence, the viola and first violin
come in with a transitional phrase that moves back to F minor. It uses the rhythm
of the opening and is played in thirds. The driving force now moves to the piano
bass, which establishes a steady oscillation on a low C octave, supported by long
cello notes. The piano right hand, still in the tenor range, answers the first
violin
and viola with a similar gesture (also in thirds) that moves in the opposite
direction.
 The exchange is played twice.
2:04 [m. 58]--The theme begins again, now taken by the piano right hand in octaves.
The active accompaniment previously played by the right hand is now presented by
first violin and viola, also in octaves. The piano bass is slightly more active.
The first phrase essentially follows the previous pattern with the exception that
the piano adds a new upper note (an appoggiatura) in place of the cello trill
during
the second statement of the opening gesture.
2:09 [m. 62]--The second phrase begins as it had before, with the motion toward C
minor. There is, however, no harmony provided as the viola had done before.
Already
in the second measure, Brahms introduces a surprise with a slide up a half-step,
to D-flat, and a brief turn to major. The piano does play the brief trill here.
The third phrase with the arching lines continues in D-flat major with chromatic
inflections. This time the arching lines alternate between strings (the second
violin
and cello enter here) and piano. When the strings enter alone a second time, they
divert the cadence gesture back home to F minor (with the trill in the first
violin).
This cadence is reiterated by the piano, thus extending the phrase.
2:23 [m. 72]--The transitional phrase is completely transformed into an epilogue.
It enters with the cadence again, but it surprisingly and sweetly changes from F
minor to F major, and does not shift the key center. The rhythm and contour are
the same, and it is played in thirds and sixths. As before, a pair of strings
(here
the two violins) are answered by the piano. The piano bass oscillation is on both
C and F, giving the F-major key a strong confirmation. The long notes are in both
viola and cello. The piano extends its answer on the second exchange, slowing and
diminishing. In a further extension, the piano bass slows down its oscillation to
triplets while the strings join the harmony of the gradually dissolving right hand
of the piano. For a moment, all is suspended on a half-close.
2:34 [m. 80]--Transition. With sudden impetuousness, the transitional material
begins
with three unison upward steps in all instruments. On the second, the piano adds
an octave, and on the third, the first violin and piano shoot up an octave while
the cello and piano bass move down, all creating a sense of increasing force. The
step is clearly derived from the opening upbeat of the main theme. Led by the
first
violin and piano right hand, the instruments burst into an intense series of upward
gestures and scale runs, also derived from the main theme. At first, the cello and
piano bass move in contrary motion with the violin and right hand, then they follow
in imitation. The viola and second violin add harmonies. There are three waves
moving toward C minor, the third intensifying and extending the second.
2:46 [m. 89]--The two violins and the piano put the brakes on the motion with four
cadence gestures. Meanwhile, the viola and cello continue the propulsive material
derived from the main theme. The arrival on C minor seems to be confirmed (and
this
would be an expected key for the second theme), but after the fourth gesture, the
strings drop out and the piano, suddenly quiet, has three rising fourths, each an
octave higher than the last, that appear to move a level beyond C and strongly
emphasize
its “dominant,” G. In fact, the piano holds and sustains each G after the rising
fourth lands on it. Brahms places the marking “un pochettino più animato” (“a
little
more animated”) at this point.
2:52 [m. 94]--Theme 2: Part 1. While the piano holds its octave G’s, the strings
alone begin the lyrical, yearning theme. It is highly chromatic and syncopated,
with almost tortured lines. The first violin presents the main argument, a
descending
melody punctuated by small upward leaps in a clipped short-long rhythm. The cello
plays a rising line against it. The second violin and viola add harmonies, with
the second violin gradually becoming more active. The key that was prepared in the
transition, C minor, is undermined in favor of G, and the violin melody cadences
there twice in a repeated pattern. The descent is extended, and the strings come
to a half-close in G minor. Then the piano enters, repeating the pattern of rising
fourths.
3:05 [m. 108]--A second statement of the theme appears to begin, with the cello
taking
the lead and the second violin providing the rising counterpoint. This is aborted
after four measures. The first violin then starts the theme again a third higher.
The rising counterpoint is in the piano bass instead of the cello, the first time
the piano has been active in the theme other than the introductory rising fourths.
The cello does take over the line from the piano bass after another four measures.
At that point, the piano bass plays slow cadence figures that had previously been
presented by the viola. There are two cadences in B major. The extension moves
yet again, now suggesting another major key, D. In the extension all strings
except
first violin drop out, and the piano right hand provides the harmonies leading to
an incomplete close, now in D.
3:21 [m. 125]--Part 2. With a great outburst of passion, the string instruments
develop the cadence gestures from the end of the lyrical theme. They pass these
gestures among themselves, the first violin taking the lead. Sometimes the
gestures
are faster, particularly in the second violin at the beginning. Meanwhile the
piano
begins a series of scale passages in both hands, sometimes with doubled thirds and
always in triplets. These are also passed between the hands, with changes of
direction.
The triplet scales are passed to the first violin as well when it is not playing
the cadence gestures. The key finally moves decisively toward C minor. After
eight
measures and two rising sequences, the shorter version of the cadence gesture takes
over completely and is passed between all strings (second violin and cello in
octaves)
with great intensification.
3:32 [m. 137]--In an enormous climax, the triplet scales completely take over in
both strings and piano. The piano, first in the right hand and then in the bass,
plays cascading chromatic descents in octaves with syncopated rhythms that
incorporate
the triplet division. The scales are passed among the instruments, including both
hands of the piano. When the strings become static, the piano adds doubled notes
and contrary motion between the hands, taking a brief detour to D-flat major. C
minor returns promptly, the strings become active again in dialogue with the piano,
and two emphatic cadences in C minor, the first one incomplete, punctuate the
motion.

3:43 [m. 149]--Both the piano right hand and the first violin expand the cadence
with harmonized descending arpeggios in the syncopated triplet rhythm. The cello
and piano bass play rising scale fragments in triplets while the other two strings
add isolated chords. As the piano and first violin twice approach another cadence,
they briefly shift to the more decisive straight rhythm against continued triplets
in the piano bass. The second cadence is again extended and intensified before a
rapid diminishing of volume and slowing of speed. The piano bass, now in straight
rhythm, takes the lead in this approach to the closing material.
3:57 [m. 161]--Closing section. Brahms instructs a return to the slower first
“Allegro”
tempo. The piano and strings play a dolce transformation of Theme 1, infusing it
with a “Hungarian Dance” or “gypsy” flavor. It includes distinctive sliding grace
notes. The piano bass plays a solid foundation on the downbeats, leaving the
upbeats
to the thematic fragments. After a couple of measures, the second violin and cello
drop out, only to rejoin in another four bars as the theme takes a smooth,
expressive
turn. The entirety of this first statement remains in C minor.
4:09 [m. 169]--A second statement of the closing material begins. It first six
measures
are a repetition, but then the first violin and viola make a slight alteration that
brings it from C minor back to the home key of F minor. Instead of the smooth,
expressive
turn, the two instruments plus the piano continue the patterns with sliding grace
notes. The connection to the opening upbeat of Theme 1 becomes more explicit. The
upbeat figures then move to the original pitches from Theme 1. After two
statements
there, the first violin and viola pass the figure on to the cello, who plays it
twice
in rhythm, fading away. Then a remarkable transition occurs. The cello slows the
upbeat figure down to two full measures, with pauses between the notes and their
piano harmonization. This slowed down version becomes the actual upbeat to the
reprise.

REPRISE/DEVELOPMENT
4:31 [m. 184]--Theme 1. The first phrase is presented by the cello with active
piano
accompaniment, largely as at 1:41 [m. 42] but without the upbeat, which occurred
as a slowed-down version in the previous transitional passage. The piano bass uses
the same foundational notes, but it is shifted from off the beat to on the beat,
and the upbeats have two notes.
4:36 [m. 188]--The viola enters below the cello, as at 1:47 [m. 46], but with the
directional pattern of its upbeats reversed (the second note approached from above
instead of below). This practical change results from harmonic considerations of
the new two-note upbeats in the piano bass. The third phrase has the same harmony
and substance, but significantly different instrumentation. The piano alone
(without
the cello) takes one arching figure, then all strings a second , and finally the
piano alone the final figure with the C-minor cadence. All these figures had been
played by piano and cello before, with the cello on the top line.
4:47 [m. 196]--Development. Here the music diverges from the exposition, beginning
the long digression that takes the place of the development section. The strings
overlap and echo the cadence, subtly altering the notes so that it arrives on a
half-close
in A-flat major (the “relative” key to the home key, F minor). There then begins
a series of exchanges between piano and strings based on the third, cadence phrase
of Theme 1, all overlapping and at a quiet level. The piano begins, following the
string motion toward A-flat. The strings echo the piano again, and again make a
subtle shift, this time to a minor key, B-flat minor. The piano follows again,
remaining
in B-flat minor. Finally, the last string echo moves to D-flat major, which is the
“relative” key of B-flat minor.
5:02 [m. 206]--Again overlapping with the strings, the piano confirms the motion
to D-flat, a key where the music will linger. The upper strings, beginning with
the second violin, imitate this piano motion. The viola (joining with the second
violin) and then the first violin follow. The piano continues to meander in D-flat
major, and as the upper strings enter, the volume builds. With the instruments
essentially
joining, the overlapping exchanges now cease. The cello pauses for this passage.

5:10 [m. 212]--Beginning on the upbeat, and suddenly subdued again, the piano and
viola begin to meditate on a prominent figure from Theme 1, its swaying motion now
transformed into an almost lullaby-like version. They are imitated and followed
by the two violins. They piano and viola make two exchanges with the two violins,
still in D-flat major. After the second exchange, the piano slides down a half-
step
in harmony, to C major. The two exchanges are repeated in that key at an even
quieter,
more mysterious level. This time, the piano is on its own. At the shift to C, the
cello subtly enters with bass drones. The viola joins it, then merges with the
violins
on the imitations of the piano. The lullaby character prevails.
5:22 [m. 220]--Beginning a third series of paired exchanges, the piano changes the
direction of the upbeat, introducing a more subtle harmonic shift to F major (the
major version of the home key), which the strings, moving in the original
direction,
confirm in their first imitation. The second string imitation (the viola is still
with the violins as the cello plays a drone bass) reaches a full, albeit brief,
close
in F major.
5:27 [m. 224]--Re-transition. The music gradually becomes animated, awakening from
its lullaby-like trance. The two lower strings now lead the two violins in another
pair of harmonically unstable exchanges. The piano harmonies follow both the
leading
lower strings and the following violins. The two exchanges build in intensity and
rise in pitch. After the exchanges, the violins continue to rise two more levels,
and the lower strings revert to an accompanying role. The piano doubles all their
harmonies.
5:36 [m. 230]--A climax of pitch and volume is reached with the violins on a
dissonant
high E-flat. The violins play a series of short rising figures that gradually
descend.
The piano harmonizes and overlaps with them on falling figures harmonized in
thirds,
the hands an octave apart. The viola and cello establish a “dominant” pedal point
on C. This prepares another presumed arrival on F major or minor. Over the course
of eight measures, the pitch and volume levels of both violins and the piano become
lower as the lower strings hold and reiterate their C. At the end, the lower piano
octave drops out and its bass joins the “pedal point.” Everything is suspended on
a half-close, with great expectation for a resolution to F.
5:47 [m. 238]--Reprise Resumed. Transition, analogous to 2:34 [m. 80]. The
arrival
on F is thwarted, but only temporarily. In a very elegant construction, Brahms
resumes
the reprise with the forceful original transition from the exposition. The
preceding
development has taken the place of all the material from 1:58 [m. 54] through to
the transition. That material was primarily the restatement of the theme and a
lullaby-like
epilogue that ended on a suspended half-close similar to the one here, a very neat
parallel. There, the transition began with the resolution on F, moving to C for
Theme 2. Here, Theme 2 must appear in the home key, so the original transition is
played in B-flat minor (a key prepared in the “development”), which will lead to
F in a delayed arrival. Other than the transposition and some insignificant
thicker
scoring in the second violin and viola, this transition follows the pattern from
the exposition quite closely.
5:59 [m. 247]--Cadence gestures, with propulsive motion from the main theme in the
low strings, analogous to 2:46 [m. 89]. The bass does add low octaves. The
arrival
on F minor seems confirmed, then the rising fourths in the piano follow.
Continuing
the pattern of transposition, these rising fourths land on a sustained octave C,
now the “dominant” note of the home key. Brahms again marks this point “un
pochettino
più animato.”
6:05 [m. 252]--Theme 2: Part 1. Analogous to 2:52 [m. 94]. The theme’s outlines
are the same. It is presented in the new key (ostensibly the home key of F minor,
but heavily emphasizing C minor, ironically the expected key in the exposition) at
a higher pitch level. Again, the first violin presents the main argument and again
the cello plays the rising line against it. But the other two strings are now
absent.
In their place, the piano, after holding the sustained C’s, plays their lines,
including
the second violin’s active harmony. In the last three measures, it even takes over
for the cello. The pattern of rising fourths follows as expected, but the piano
has been active the entire time approaching it.
6:18 [m. 266]--Analogous to 3:05 [m. 108]. Again, the previous pattern of the
theme
is followed except for changes in scoring. The leading lines are in the same
instruments.
In the first four measures, the cello plays the melody. The rising counterpoint
is in the first violin instead of the second. When the theme restarts a third
higher
(with the major-key cadences now in E), the first violin takes over, as expected.
The second violin and viola continue to pause, resulting in a long break for them.
The piano takes over their lines from the exposition. The cello and the piano
bass
essentially reverse roles from the “restart” point, with the cello starting the
rising
line and the piano taking over for it after four more measures. The key suggested
in the extension is now G instead of D.
6:34 [m. 283]--Part 2. Analogous to 3:21 [m. 125]. The second violin and viola
finally re-enter for the presentation of the passionate material, now established
in the home key of F minor. For the most part, the pattern follows as expected.
The piano right hand is transposed lower while the first violin is moved higher,
creating a larger sonic space than in the exposition. The newly-entering second
violin and viola have some changes in scoring. The second violin often takes the
viola’s lines while the viola assists the now lower-lying piano, including some
harmonies
and triplet rhythms. The viola also takes over some of the second violin’s octave
doubling of the cello. At the end of the passage, some of the piano’s thirds are
converted into sixths.
6:45 [m. 295]--Analogous to 3:32 [m. 137]. Enormous climax, as in the exposition.
The differences in scoring include generally thicker string texture throughout.
Most notable is the doubling of the initial syncopated chromatic descent in the
piano right hand by the first violin. The initial triplet scale that was in the
first violin is transferred to the cello. Also, after the brief harmonic diversion
(this time to G-flat), in the approach to the two huge cadences (now in F minor),
the piano replaces the violin and viola in two brief scale figures where it had
briefly
paused before, resulting in an even more intense and active part.
6:56 [m. 307]--Analogous to 3:43 [m. 149]. Again, there are interesting changes
in scoring. The first violin does not double the piano’s top line. The piano
right
hand plays simple octaves without harmonies (as it had in fact done before in the
second, extended approach to the cadence). These harmonies are provided by the
three
upper strings, which are more active throughout. The cello does not double the
piano
bass at first, only entering after two measures in each “wave.” The piano does
have
its original harmonies in the straight-rhythm approaches to the cadence, to which
the first violin adds new descending broken octaves. These had been played by the
second violin in the approach to the extended second cadence, but they are more
prominent
now. The second cadence itself (now with plucked cello) is extended even more by
an additional two bars beyond the F-minor arrival. These prolong the retreat in
volume and speed. The piano bass action stops in the second of these, leaving an
isolated, detached upbeat “dominant” chord.
7:12 [m. 321]--Closing section. It is analogous to 3:57 [m. 161], and follows the
same harmonic pattern, but is radically different in character. The dolce
“Hungarian
Dance” with its sliding grace notes is replaced by a tranquil, mysterious
interlude.
The piano bass is low and ominous, and the right hand plays dark chords in the
tenor
register (their top line doubled by the cello after two measures). The first
violin
and viola lead with upbeat figures that seem like the ghosts of the formerly
playful
sliding grace notes. The second violin, which already dropped out at the preceding
extended cadence, remains silent throughout the passage. The skeletal “melody” is
audibly similar to the contours of the “Hungarian Dance,” retaining its prominent
notes transposed to F minor.
7:23 [m. 329]--Analogous to 4:09 [m. 169]. As in the model, the first six measures
of this second statement are a repetition. After that, there is a harmonic
divergence,
as there was before. But because the music is already in F minor, the motion away
from there is a surprise. It was already prepared in the sixth measure, where the
cello and piano were inflected downward. It is not the same motion as was heard
in the corresponding passage, which would result in a move to B-flat minor.
Instead,
in a concise, highly chromatic, and very mysterious seven-bar transition, the
violin/viola
upbeats and the piano harmonies move decisively toward the key of C-sharp minor
(notated
in the transition as D-flat minor). This key has already played a prominent role
in the Quintet (having served for the second theme of the first movement). The
cello
drops out after one more measure. The preparation is masterful, with a suspended,
hushed approach.
CODA – Presto, non troppo, 6/8 time
7:44 [m. 342]--Section 1. The change in tempo and meter is not as surprising as
the change of key. Brahms must now work his way back to F minor from C-sharp
minor.
The “theme” of the coda is a 6/8 transformation of the movement’s main theme
(Theme
1). At first, it is presented in a hushed manner by strings alone without the
viola.
The breathless pauses give it a distinctive character. After four measures, the
harmony briefly moves toward G-sharp minor. After two more, the piano enters with
slower chords, the first violin is isolated on an oscillation, and the harmony
shifts
yet again, this time making a complete motion to B minor (through unusual “plagal”
cadences), a whole step lower than the coda’s opening key.
7:52 [m. 350]--The previous pattern is repeated in B minor. This time, the piano
bass doubles the cello for three bars. It drops out after that, but the viola
enters
and takes over the cello doubling. The harmonic motion is the same. It first
hints
at F-sharp minor, then fully moves to A minor. The piano chords enter in their
expected
place. At the end, the second violin joins the first on the isolated oscillation,
and the volume begins to build.
8:00 [m. 358]--The pattern appears to begin again in A minor, but the piano chords
are now present from the outset and the cello is not. The violins are in unison.
There is a powerful and steady crescendo. After three measures, the violins break
away from the pattern, reaching higher. The continuing “plagal” cadences in the
piano first suggest E minor, then C major. The viola, then the cello join the
violins
in unison. The C-major harmony begins to function as the preparatory “dominant”
to F, the ultimate goal. The crucial note B-flat is introduced as the unison
strings
begin an extended buildup on the familiar oscillation. The piano chords hover on
C major and G minor, harmonies that suggest F major. At the top of the buildup,
though, the note D-flat signals an arrival on F minor, and the C harmony becomes
an explicit “dominant.”
8:08 [m. 368]--The tension is released by a suddenly cascading unison scale in the
strings, stretched over three octaves. It finally confirms F minor. The piano,
hands two octaves apart, joins the scale after a measure. The scale leads directly
into a powerful version of the coda “theme” in the home key. The strings play in
rich harmony (mostly thirds) while the piano adds a thundering foundation that
almost
seems to imitate the timpani playing the home and “dominant” keynotes. The
original
pattern is followed at first, including the expected hint at C minor.
8:16 [m. 378]--There is an unexpected bump a half-step to D-flat on the violin
oscillation.
The oscillation itself gradually climbs upward, with harmonic support in the two
lower strings and the continuing timpani-like piano bass. The two violins play in
thirds, doubled an octave lower by the piano right hand. When this steady upward
climb reaches its high point, the piano bass has established a “pedal point” on the
“dominant” note C, nearly making a full motion there.
8:21 [m. 384]--Another forceful arrival is marked by a cascading scale, this one
adding chromatic notes to F minor. The piano right hand and violins play it in
unison
octaves over harmonic support in the two other strings and the piano bass. The
scale
breaks in these instruments after three measures, and the second violin becomes
independent.
Now the piano bass and the cello continue the downward motion of the scale, still
with the added chromatic notes. The upper strings make strong gestures that seem
to point toward an arrival. The violins again move up against the scale in the
cello
and piano bass. All instruments then come to an extremely emphatic cadence in F
minor with two punctuating chords on weak beats. In fact, by adding one last
downbeat
chord, Brahms could easily have ended the movement right at this point.
8:30 [m. 394]--Section 2. What might be called the coda’s huge “extension” begins
here. Instead of a downbeat chord to end things, Brahms remains on the weak beat
and makes a motion toward the “dominant” on a slur to the downbeat. On the next
weak beat, he seems to begin this again, but the first violin, doubled in lower
octaves
by second violin and cello, begins a totally unexpected and forceful statement of
the opening material from Theme 2, the lyrical, yearning chromatic melody. The
cadences
are on F, not C, and F is presumably still in force as the home key. This
clarifies
the key ambiguities in the earlier statements of the melody. The piano provides
both harmonic support and, in its bass, the familiar rising line against the Theme
2 melody. The viola is also somewhat independent.
8:38 [m. 404]--The Theme 2 material leads into an exciting sequence of chords. The
two violins and the piano right hand play all of these chords, while the lower
strings
propel the 6/8 motion with continuous neighbor-note figures in unison. The piano
bass holds long notes. The sequence moves upward in waves. The first two, over
bass pedal points on the “dominant” notes (C and D-flat) of F minor and F-sharp/G-
flat
major, have a longer downward motion. The third “wave” consists of two almost
identical
units emphasizing B major and minor. The fourth is similar to the third, but
emphasizes
C major and minor. This leads back home to F minor with a fifth “wave.” This is
similar to the first two, but is more emphatic. The piano bass and the low strings
(abandoning the running motion) join the hammered, detached chords.
8:54 [m. 424]--In a tour de force, the “coda” theme and the Theme 2 melody are
combined.
The piano bass and viola play a variant of the former in unison. The violins,
cello,
and piano right hand play the latter, also in unison. This is presented in four
“waves.” The second is a fourth higher than the first, with new harmony (thirds
and sixths) added to the piano right hand and cello. The third is at the same
basic
pitch level as the first, but the first violin is an octave higher. Full chords
are introduced in piano and strings, and the cello replaces the viola doubling the
piano bass on the Theme 1 variant. There is a great buildup in volume and
agitation.
The fourth “wave” is a half-step lower than the second, but in a higher octave.
It moves back to unison violins with both low strings doubling the piano bass, but
the piano right hand plays full chords. It arrives at the remote key of B major.

9:07 [m. 440]--Suddenly, all becomes quiet. The B-major arrival is brief, and the
violins effortlessly slide up to C. The low strings play an isolated plucked G.
The piano plays a harmonized version of the Theme 2 melody. The violins play
fragments
of the “coda” theme marked dolce. They quickly shift from C major up to G major,
where they briefly linger. There are two more plucked G’s in the viola and cello.

9:13 [m. 446]--The Theme 2 melody moves back to the strings (first violin and viola
in unison). The second violin subtly drops out for an extended break. The piano
right hand moves to the tenor range and plays the “coda” theme harmonized in
thirds.
The piano bass and plucked cello begin to establish a very extended “pedal point”
low C. The harmonization of the “coda” theme in the piano expands to sixths and
is split between the hands. The Theme 2 material in the strings also settles on
C as the “dominant” not of F minor, but of F major. After eight measures, it
expands
upward, then fragments and isolates its distinctive downward leaps. The music
begins
to die away, turning toward minor at the end of another eight measures.
9:26 [m. 462]--The hands of the piano subtly separate, and the left hand moves away
from the long C “pedal point.” It plays widely arching arpeggios against the
continuing
“coda” theme figures in the right hand. The strings continue to play the downward
leaps. There is a mixture of F minor and F major here. The piano bass settles on
a highly anticipatory “dominant” preparation, with the “leading tone” at the bottom
(doubled by plucked cello). The right hand figures are reduced to three rising
notes
harmonized in thirds. The first violin and viola split from their unison and pause
on notes from the “dominant” chord. In addition to fading away, the music also
slows
as it fragments, pausing on a tension-filled fermata.
9:35 [m. 467]--The run-up to the close is an extended pattern of syncopation that
steadily builds in volume and intensity. After the fermata, the piano quietly
enters
first. The right hand plays a chromatic descent off and in anticipation of the
beat.
The left hand keeps the actual beat with detached notes, mostly two-note harmonies
or octave leaps. The first violin follows a measure later and a fifth higher in
quasi-imitation of the syncopated pattern in the piano right hand. The piano
begins
the pattern an octave higher as the cello and viola enter on the beat with plucked
notes, supporting the piano left hand. The first violin also repeats its pattern
an octave higher. In the third round, the piano leaps another octave, adding a
lower
octaves and other harmonies, mostly thirds. The first violin follows, but only a
fifth higher. The second violin, making its first entry after the extended break,
adds harmonic support to the first. The patterns now include downward leaps. The
piano has two more, the first violin only one, each beginning a third higher than
the last and starting with an octave leap. The piano chords become thicker and
louder
as the strings drop out.
9:43 [m. 478]--Now loud and very agitated, the piano continues its syncopated
chords.
All four strings, now bowed, join octaves in the piano bass on the beats,
following
the syncopated chords. The pattern is less regular. The piano still has chromatic
descents, but these become shorter, often only two chords, and they reach higher.
The leaps between the patterns become wider until, at the end, there are two huge
leaps of an octave and more. The strings and piano bass continue to play
forcefully
on the beats. Finally, the chords stop. All strings except the second violin, in
unison, play the final, highly distinctive gesture, beginning on a two-note upbeat.
This rises up three notes, then turns to a plunging descent, ending with the
bottom
three notes of the F-minor scale. These three notes mirror the opening of the coda
in C-sharp minor, which started with the bottom three notes of that scale, albeit
harmonized. The piano and second violin punctuate this final gesture with chords
and low octaves on the two downbeats.
10:05--END OF MOVEMENT [492 mm.]
END OF QUINTET

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