SONATA FOR TWO PIANOS in F MINOR, OP. 34b (after the Piano Quintet, Op.

34)
Recording: Martha Argerich & Alexandre Rabinovitch, Pianos [Teldec 4509-92257-2]

Published 1872. Dedicated to Her Royal Highness Princess Anna of Hessen.

When Brahms drafted an F-minor string quintet with two cellos (following Schubert’s
example) in 1862 and submitted it to his friends for criticism, Joseph Joachim
found
that the extraordinarily rich and dramatic content overtaxed the medium of strings
alone. It appears that, while not heeding other criticisms about the content,
Brahms
was convinced that the scoring was not right. Even when he did come back, much
later,
to the string quintet form, he used the less challenging Mozart combination of two
violas instead of two cellos. The first revision was what we now know as the
Sonata
for Two Pianos. It is unclear whether he meant this to be the final form. Brahms
would come to use two pianos as an arrangement medium for larger works (such as the
symphonies) to help familiarize musicians and music lovers with their sound. The
two-piano predecessor to what would become the Piano Quintet is on a different
level
from these arrangements. Not only did it precede the final form, but Brahms
published
it six years later with a separate sub-opus number. He and Carl Tausig, a
brilliant
virtuoso student of Liszt (who sadly died at age 29), performed the two-piano
sonata
publicly in Vienna in 1864, and it was well received. Clara Schumann was not
satisfied
with it, however, and considered it an “arrangement,” spurring Brahms to produce
the final piano quintet version. But it is evident that he still considered the
duo sonata version to have worth, as shown by its later publication. Like the
Quintet,
it was dedicated to Princess Anna of Hessen, who was very fond of the two-piano
version.
In thanks for the dedication, she presented him with Mozart’s manuscript of the
great G-minor Symphony to add to his prized collection. It is important to note
that neither of the two piano parts matches the piano part from the quintet. The
scoring of each version is thus largely independent. Some stretches from one piano
part or the other were directly transferred into the quintet version. Other
passages
were re-scored for strings alone. Brahms usually “reversed” the piano parts when
analogous music returned (such as in the recapitulation of the first movement, the
A’ section of the second, and the reprise of the fourth). In the quintet version,
passages were also re-scored (including a reversal of piano and strings) when they
returned. It could be argued that certain passages actually work better with the
two-piano medium. At the first passionate eruption after the quiet opening of the
first movement, the percussive nature of the punctuating chords is not quite as
pronounced
when played by strings. Particularly in the scherzo movement, in the passages
where
the second theme has its long-short rhythms “filled in,” the power of four hands
pounding on two keyboards is breathtaking. But the slow movement is certainly more
effective with strings, as is the introduction to the finale.

The general practice in these guides has been to include important alternate
versions
of works within the same guide (see, e.g., Opp. 12, 18, 39, 52, 65, 120 Nos. 1 &
2). Given the history of the two-piano and piano quintet versions of this music,
however, as well as the scope of the differences (arising from neither piano part
of the sonata matching that of the quintet) and the size of the piece itself, an
exception is made in this case and a separate guide constructed for each version.
The guide for the quintet provided a template for the following guide, but an
effort
has been made to treat the sonata independently from the quintet, without reference
to the quintet scoring (or to any string instruments) except when to do so would
be of particular interest (such as the “extra” measures in the two-piano version
of the first movement). Care has been taken to clearly differentiate between the
two piano parts.

IMSLP WORK PAGE

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

1st Movement: Allegro non troppo (Sonata-Allegro form). F MINOR, 4/4 time.
EXPOSITION
0:00 [m. 1]--Theme 1. Both pianists, spread over three octaves, play the
distinctive
unison main idea. It is an ominous winding figure that begins with an upbeat and
then a short-long rhythm. Downward-arching arpeggios follow, emphasizing half-step
motion. As Piano II reaches the last such gesture, Piano I holds the chord it
outlines
on the unresolved preparatory “dominant” harmony. Brahms then indicates a fermata,
or hold, creating suspense before the onslaught that follows.
0:15 [m. 5]--Piano I suddenly breaks into a series of passionate arpeggios in
octaves,
with the hands an octave apart, punctuated by chords and bass octaves from Piano
II that again emphasize half-step motion. The arpeggios have the same shape as the
ominous first idea. After two short one-measure interjections, a longer one
follows,
with Piano II almost violently underscoring the forceful motion in Piano I. This
continues for three measures. In the third of these, the left hands of both
pianists
reverse roles so that that of Piano II is playing the lower octave on the
arpeggios.
Piano II then holds a chord while Piano I, again in octaves, rushes upward in a
dramatic, sweeping arpeggio.
0:28 [m. 12]--Piano II now continues with the same passionate intensity on a new
version of the main idea. Both hands are in octaves, the right hand playing the
theme and the left providing low bass support. Piano I, meanwhile, plays heavy,
slower descending arpeggios, still in octaves. The downward arpeggios of Piano II
deviate from the initial statement, and the long-short rhythm is more pervasive.
After four measures, the right hand of Piano I inserts a rapid upward arpeggio as
Piano II continues with its last two downward gestures on a repeated, accented
half-step
descent.
0:39 [m. 17]--The right hand of Piano I repeats its rapid upward arpeggio, and then
both pianos erupt into another passionate outburst. The right hand of Piano II
plays
intense downward half-steps and whole steps in octaves while its left hand plays
rapidly arching arpeggios that cascade downward. As Piano II lands on the
downbeat,
Piano I inserts its own interjections of the dramatic arpeggios in octaves. After
two measures, its hands begin to play the arpeggios in alternation. Piano II,
meanwhile,
begins to play heavy chords on strong beats after descents from upbeats.
0:44 [m. 20]--The left hand of Piano II begins to play descending triplets in
octaves
against its heavy right-hand chords and the arpeggios in Piano I. A huge cadence
gesture in both instruments ends the main theme complex.
0:51 [m. 23]--Transition. The transition has its own melody, but it is derived
from
elements of Theme 1. Piano I leads a yearning, expressive melody with a prominent
dotted (long-short) rhythm as well as half-step motion. The right hand plays both
the melody and a smooth counterpoint, while the left hand and the right hand of
Piano
II, in alternation, add extremely expressive, almost sighing octave leaps with
downward
resolutions. These figures are in triplet rhythm. The left hand of Piano II adds
solid bass notes on the strong beats.
1:00 [m. 27]--The melody briefly passes to Piano II, and both left hands and the
right hand of Piano I take the sighing triplet leaps. After two measures, the
melody
returns to the Piano I, with only its left hand playing the triplet leaps. At this
point, Piano II largely abandons these leaps and turns to urgent repeated chords
on the triplet rhythm in groups of three or six, with a solid bass in its left
hand.
The intensity begins to build. An inflection of the melody is used to propel the
key toward C-sharp minor, where Theme 2 will be set. A huge buildup and increase
of activity leads directly into the marching motion of Theme 2. The Piano II bass
begins the oscillating triplet motion that will underpin this theme, rapidly
diminishing
in a two-bar bridge.
1:15 [m. 35]--Theme 2. The oscillating triplet motion in the bass of Piano II—in
which three-note figures move up a half-step on the middle note—dominates the
second
theme. The first note of each figure is supported by a low “pedal bass” C-sharp.
The melody itself begins with a jerky figure in Piano I and the right hand of
Piano
II. It continues with an upward-reaching, harmonized line that the hands of Piano
I play in octaves. The right hand of Piano II plunges down against it (C-sharp
minor).

1:24 [m. 39]--Piano II presents a new expressive phrase sotto voce. It uses a
triplet
figure and half-steps, and bears a resemblance to the transition melody. The hands
are in contrary motion. Under this, both hands of Piano I move to the oscillation,
playing in octaves. Breaking from the oscillation, Piano I follows the Piano II
phrase with an upward arpeggio in octaves that turns to major as Piano II plays
soft
held chords. This sequence, the Piano II phrase and then the Piano I arpeggio, is
restated a half-step higher, turning briefly to D major.
1:42 [m. 47]--The first part of the theme, with the jerky melody and upward-
reaching
line, is expanded. Shifting instantly back to C-sharp minor, the Piano II bass
oscillation
restarts. The theme itself is initially played by the left hand of Piano I and the
right hand of Piano II in octaves. The Piano I right hand adds descending chords.
The expansion comes after the third measure, where the rising line presses upward
even more. The right hand of Piano II takes it over, still in octaves. The left
hand of Piano I joins the chords of its right hand. The bass’s anchor on C-sharp
drops down to B.
1:50 [m. 51]--Piano I takes over the rising line, stretching it out even more and
briefly touching on A major/minor. The bass of Piano II, meanwhile, moves from the
oscillation to broken octaves without a persistent “pedal” note. Its right hand
plays wide arpeggios in triplets. Piano I rounds off the rising line with a
soaring
melody that slowly descends to a cadence in C-sharp minor. This soaring line and
cadence are echoed by Piano II, while Piano I plays strong harmonies.
2:02 [m. 57]--Piano II returns to the expressive phrase with the triplet figure,
altering it slightly by approaching the triplet from below. The left hand offers
support in longer chords. Under it, Piano I returns to material from Theme 1, a
variant of the “passionate arpeggios,” passed from left to right hand. These are
transformed into a quiet, skittering accompaniment that hints at the major key even
while Piano II uses poignant chromatic notes. After two measures, Piano I turns
back to the soaring cadence line, now in major, with the right hand imitating the
left. Piano II adds pulsating triplets beginning off the beat.
2:10 [m. 61]--The left hand of Piano II repeats the preceding phrase with the long
supporting notes, now harmonized, in the right hand. The Piano I arpeggios follow
the same pattern, but are now on the harmony of A minor/major instead of C-sharp.
Both right hands then take the soaring cadence line, Piano I following Piano II,
but it is changed to incorporate two soaring gestures. The left hand of Piano II
plays the pulsing triplets while that of Piano I adds a solid bass. The key moves
from A back to C-sharp, now more clearly major.
2:19 [m. 65]--A variant of the expressive phrase with the triplet figure in C-sharp
major is passed from the right hand of Piano I to that of Piano II. The rapid
arpeggios,
with accompanying rising lines, take over first in Piano II, then Piano I, each
while
the other has the expressive phrase. While this passage begins dolce e leggiero,
it quickly becomes agitated, rising in volume. Piano II then breaks into an
extremely
heartfelt version of the soaring cadence line while its left hand continues the
variant
of the phrase with the triplet figure. The Piano I arpeggios in the right hand
become
wider and more intense, while the left hand supports them with chords and some
doubling
of the Piano II bass. The soaring line is stated twice, extended the second time
into a beautiful cadence with aching chromatic notes.
2:38 [m. 74]--Closing section. With C-sharp major firmly established, Brahms uses
the cadence to change the notation to the more convenient D-flat major. This also
allows him to return to the four-flat key signature of the home key. The cadence
is followed by a quick downward slide to the “dominant” note in bass octaves.
Piano
II then holds long notes. Piano I follows with arching arpeggios, then a new,
somewhat
martial dotted rhythm. Piano II echoes the marching dotted rhythm in descending
lines, coming to a full cadence.
2:47 [m. 78]--The previous pattern is given again, but now the quick downward slide
leads to the more unstable “leading tone” instead of the “dominant.” The Piano I
arpeggios soar higher in the right hand and lower in the left. The martial dotted
rhythm is expanded. The first Piano I statement emphasizes the preparatory
“dominant”
harmony. The descending Piano II echo comes to a cadence, but a less convincing
one. Piano I adds an extra second echo to make it more conclusive.
2:58 [m. 83]--The descending dotted rhythms of the “echo” are straightened out into
groups of three descending harmonized three-note patterns. These obscure the bar
line, with the third pattern of each group beginning on an eighth-note upbeat. The
first such group is in Piano II, with the right hand harmonized in thirds and the
left playing wide upward arpeggios. Piano I overlaps and follows at a higher
level.
Piano II has a third overlapping group that is lower than the first one. This
third
group is not in the quintet version, which conflates the pitches and harmonies into
two groups. Thus, this passage is a measure longer here. The intensity builds
over
these groups. Finally, in a fourth overlapping group (corresponding to the third
group of the quintet version), the two pianos join together, building over rich,
chromatic harmony.
3:07 [m. 87]--The descending patterns suddenly double the lengths of their notes,
restoring the sense of meter. The first lengthened three-chord pattern immediately
follows the last, richly harmonized faster group. The second pattern is separated
from the first by a rest on the downbeat. The intensity begins to wane with this
second longer pattern, and long-short chords support the three-note descent in the
right hand of Piano I. The two patterns are repeated an octave lower with thinner
harmonies, and the volume continues to diminish. Both patterns begin after a
downbeat
rest. This leads to a full close in D-flat major with two quiet weak-beat pulses.

3:20 [m. 92a]-- First ending. The five-measure first ending continues the off-beat
pulses. The first of these is simply a third repetition of the closing D-flat
harmony
in Piano II, but Piano I adds an ominous rising line in octaves against it. This
already suggests the home key of F minor. Another group of three off-beat pulses
follows in Piano II, still on D-flat. Overlapping the last pulse is another Piano
I line in octaves, a third higher than the first one. A third group of three
pulses
drops its bass by a half-step, creating an F-minor harmony. Again, the ominous
Piano
I line coincides with the third pulse and is a third higher, the hands now two
octaves
apart (as in the opening main idea). Its second note takes the place of the upbeat
leading into the main idea, and the repeat leads into its downbeat.
EXPOSITION REPEATED
3:33 [m. 1]--First unison statement of main idea ending in the fermata.
3:46 [m. 5]--Passionate arpeggios and violent chords, as at 0:15.
3:59 [m. 12]--Main theme with heavy Piano I arpeggios, as at 0:28.
4:10 [m. 17]--Passionate outburst with stepwise descents and alternating arpeggios,
as at 0:39.
4:16 [m. 20]--Descending bass octave triplets, continuing arpeggios, and cadence
gesture, as at 0:44.
4:22 [m. 23]--Transition. Yearning Piano I melody and expressive octave leaps in
triplet rhythm, as at 0:51.
4:31 [m. 27]--Piano II statement of melody, buildup, and motion to C-sharp minor
with bridge, as at 1:00.
4:47 [m. 35]--Theme 2. Oscillating bass triplets under jerky melody and upward-
reaching
line, as at 1:15.
4:56 [m. 39]--Expressive phrase with triplet rhythm moving to major, then
repetition
in D, as at 1:24.
5:15 [m. 47]--Expansion of theme with longer rising line and bass motion down from
pedal, as at 1:42.
5:24 [m. 51]--Continuation of rising line, Piano II arpeggios, and soaring arch to
cadence, as at 1:50.
5:36 [m. 57]--Piano II statement of expressive phrase, Theme 1 material, and
arching
cadence, as at 2:02.
5:45 [m. 61]--Left hand repetition of expressive phrase in A, then expanded cadence
in major, as at 2:10.
5:54 [m. 65]--Variant of expressive phrase over arpeggios, then buildup to cadence,
as at 2:19.
6:13 [m. 74]--Closing section. Downward slides, arching arpeggios, and martial
dotted
rhythms, as at 2:38.
6:22 [m. 78]--Repetition of pattern with expansion of dotted rhythms, as at 2:47.

6:33 [m. 83]--Three-note groups in straight rhythm, obscuring bar lines and
building
in intensity, as at 2:58.
6:42 [m. 87]--Longer three-chord patterns settling down to close in D-flat major,
as at 3:07.
6:55 [m. 92b]--Second ending. The material is similar to the first ending, but the
rising Piano I octave patterns begin a third higher than before, initially
suggesting
A-flat minor instead of F minor. The second and third of these lines begin on the
same notes where the previous ones ended (instead of a third higher). The third
group
of Piano II pulses has a new bass on B-natural, creating a highly dissonant
“diminished”
chord. The third Piano I line is only one octave apart. It leads into the
development
section, which begins in C minor (on that key’s “dominant” harmony).
DEVELOPMENT
7:10 [m. 97]--Piano I, in octaves, begins a hushed, lamenting version of the main
theme in C minor, accompanied by smooth harmonies in the middle range of Piano II,
which also has the low bass notes. After soaring to a high G, Piano I holds G-
major
and E-minor chords as the lower Piano II chords continue. The left hand of Piano
II, in octaves, plays two low three-note descents that create a continuous downward
line and move the key a half-step lower, to B minor.
7:29 [m. 105]--Piano I, again doubled in octaves between the hands, plays the
lamenting
version of the main theme, now in B minor and harmonized in thirds. The Piano II
accompaniment is barer here until Piano I abandons the harmonization in thirds.
Piano II then begins to play a harmonized descent in both hands, the right hand
moving
to the treble range. Instead of soaring to a high F-sharp, as expected, Piano I
leaps down twice, settling on a lower F-sharp. The Piano II bass again plays the
three-note descent in octaves.
7:43 [m. 111]--The expected second three-note descent from the Piano II bass
follows,
but not before Piano I begins to elaborate on its motion in thirds. After the
second
low bass descent, Piano I continues this elaboration (adding sixths and fourths as
well as thirds). Then there are more low bass descents, and they now shift upward
instead of continually moving down. They alternate with the Piano I figures. The
right hand of Piano II, meanwhile, adds soft, punctuating harmonies on the weak
beats.
The key of this atmospheric passage is B-flat minor. After four alternations
between
the harmonies and low bass descents, Piano I expands its harmonies and soars high.
Piano II joins in a long, drawn-out cadence in B-flat minor.
8:14 [m. 123]--Very gently, both pianos begin a pattern of upbeats moving toward
downbeats. The left hand and right hand of each alternate. The motion of these
patterns is mostly either “dominant-to-tonic” or half-steps. It becomes
immediately
clear that the top line of motion in Piano I is the disguised onset of a new,
melancholy
harmonized melody. The upbeat-downbeat motion continues underneath it. The
passage
begins in B-flat minor, touches on B-flat major, and then moves to D-flat major
(“relative”
to B-flat minor). The right hand of Piano I plays three similar phrases of the new
melody. The right hand figures in Piano II echo the melody’s upbeat-downbeat
gestures.

8:27 [m. 129]--As the melody reaches the end of its third phrase, the music builds
in intensity and volume. The melancholy phrases are abandoned. Piano II
introduces
an anguished chromatic half-step on the upbeat-downbeat figure. Piano I begins a
two-voice imitation in its right hand, including more such piercing half-steps.
The right hand of Piano II, meanwhile, moves to intense tremolos in triplet rhythm.
The left hands continue their established patterns, but that of Piano I also
begins
to double the lower voice of the right hand imitations after two measures. Brahms
begins to notate D-flat as C-sharp, and it makes a “dominant” motion to F-sharp as
a climax is approached. At the climax, the upbeat-downbeat figures completely take
over, and the patterns are similar to those at 0:39 and 4:10 [m. 17].
8:36 [m. 134]--The climax erupts into powerful chords and octaves in both pianos
that work their way downward and move the music back to B-flat minor, the
predominant
key of the development section thus far. The octaves suddenly emerge into material
from Theme 2. The left hand, then the right hand of Piano II play that theme’s
jerky
opening gesture as Piano I establishes the characteristic oscillating triplet
motion
in octaves. The music rapidly diminishes, and Piano I’s right hand is left alone
for a one-measure bridge.
8:42 [m. 138]--The left hand of Piano I maintains the oscillating half-step motion,
but stretches it to broken octaves. Piano II and the right hand of Piano I begin
a mysterious variant of Theme 2 in B-flat minor. They alternate and move in
opposite
directions. The soaring line typical of Theme 2 is harmonized in both pianos,
mostly
in thirds, with the pianos still going in opposite directions. There are dissonant
chromatic notes forming “diminished” harmonies. At the end of the phrase, these,
along with descending octaves inserted within Piano II, move the music up a step
to B minor, reversing the tonal pattern from the beginning of the development. The
entire Theme 2 variant is then repeated a half-step higher.
8:58 [m. 146]--With a sudden surge in C minor (another half-step higher), the
opening
figure of Theme 2 takes over and the left hand of Piano I stops its oscillation.
The hands of Piano II, in octaves, lead Piano I. Piano II plays the
characteristic
figures with motion up and back down, and Piano I, in harmony, moves in the
opposite
direction. This continues for two measures, after which Piano I begins to play
breathless,
leaping long-short rhythms that include chords. Piano II, meanwhile, plays wide
octaves, doubled between the hands two octaves apart. There is then a huge
crescendo
and buildup on these patterns.
9:07 [m. 151]--Suddenly, a full statement of the first phrase from Theme 2 as heard
at 1:15 and 4:47 [m. 35] is played in C minor, a half-step below its original
presentation.
Here, the right hands of both pianos join in the main presentation of the “jerky”
melody and upward rising line, with that of Piano II basically an octave lower and
including the lower counterpoint. The left hands join on the oscillating triplets,
also an octave apart, lending them even more weight. This is the climax of the
development
section, and in its last measure, it begins to dissipate and diminish in
preparation
for the re-transition.
9:16 [m. 155]--Re-transition. Now hushed, the Theme 2 material is presented in
imitation
by Piano I in a three-voice texture. The right hand of Piano II tentatively adds
the half-step triplet figures and the left hand begins a pulsing “pedal point” on
C, the “dominant” note of the home key. The first phrase of imitation turns toward
B-flat minor and major, but with the Piano II bass holding to the pulsing C. The
second phrase of imitation shifts up a step and moves back definitively to C minor,
then C major. A third phrase begins, following the sequence, beginning on C major.
Where the key shift would be expected, Piano I suddenly moves to dissonant
(including
“diminished”) harmonies and chromatic motion, sliding into F major/minor for the
disguised and subtle arrival of Theme 1 for the recapitulation.
RECAPITULATION
9:28 [m. 161]--The entry of Theme 1 in F minor is hidden by the continuing
chromatic
harmonies, which gradually move downward. The “pedal point” continues. The theme
itself sneaks into the right hand of Piano II, but only the first gesture of it.
The chromatic, mysterious Piano I harmonies continue their descent. The left hand
of Piano II passes the pulsing C “pedal point” to the right hand. The left hand
then takes the continuation of Theme 1, which stalls, adding chromatic major-key
inflections and syncopation. Abandoning the effort, the left hand joins the right
back on the pulsing C. The Piano I harmonies suddenly lurch upward with half-step
motion at the top. The volume rapidly builds, and these short upward gestures lead
into the passionate arpeggios and the more conventional continuation.
9:41 [m. 167]--The passionate arpeggios and violent chords erupt in an exhilarating
way from their new lead-in material. The parts are reversed from the exposition,
with Piano II taking the arpeggios and Piano I the chords. Except for this
reversal
and the new upbeat, they follow as at 0:15 and 3:46 [m. 5]. The reversal of roles
of the two pianos from the exposition remains in force for most of the
recapitulation.

9:53 [m. 174]--The version of Theme 1 with the heavy arpeggios follows, as at 0:28
and 3:59 [m. 12]. Again, the parts are reversed, with Piano 2 now taking the heavy
arpeggios and Piano I the theme.
10:04 [m. 179]--The passionate outburst with stepwise descents and alternating
arpeggios
follows as at 0:39 and 4:10 [m. 17]. The parts continue to be reversed from the
exposition. Piano I has the stepwise descents in the right hand.
10:10 [m. 182]--The descending bass octave triplets, continuing arpeggios, and
cadence
gesture follow as at 0:44 and 4:16 [m. 20]. The parts continue to be reversed.
The descending triplets are in the bass of Piano I. Brahms does reinforce the
passage
with an extra fortissimo marking.
10:16 [m. 185]--Transition. With no mediation, the yearning melody from 0:51 and
4:22 [m. 23] is transposed from the previous F minor to B-flat minor, and the
abrupt
shift is striking. The key change places it at a lower pitch level, changing its
character. It is in Piano II instead of Piano I, continuing the reversal. The
second
measure of the melody has an altered contour, downward reach, and displacement down
an octave. Piano I is more active than its Piano II counterpart in the exposition,
placing the alternation of the triplet rhythms and sighing figures between its two
hands. The left hand of Piano II, rather than taking these rhythms, adds a more
solid bass support for the lower statement of the melody. The smooth counterpoint
to the melody is replaced by more straightforward harmonization.
10:25 [m. 189]--Transition to new key, analogous to 1:00 and 4:31 [m. 27]. The
first
phrase of the melody is played by Piano I, the continuation by Piano II. The
distribution
of this continuation is otherwise altered. The left hand of Piano II takes the
urgently
repeated triplet-rhythm chords, placing them in the same instrument as the melody.
Piano I has all of the sighing triplet leaps and low bass notes against them. The
buildup of the melody continues in Piano II, leading to the key change (to F-sharp
minor, here already indicated at m. 192). The oscillating triplet rhythms of the
two-bar bridge are in the left hand of Piano I.
10:41 [m. 197]--Theme 2. The choice of F-sharp minor for Theme 2 in the
recapitulation
rather than the home key of F minor is analogous to the exposition, where Theme 2
was not in the expected “dominant” key, but a half-step above it. The pattern from
1:15 and 4:47 [m. 35] is followed, but re-scored, with the pianos again reversing
roles from the exposition. Both parts have thicker chords and added octaves.
10:50 [m. 201]--Analogous to 1:24 and 4:56 [m. 39]. The expressive phrase with
triplets
continues the reversal of parts, as does the restatement. As expected, the
restatement
shifts up a half-step and turns to G major. But after the first arpeggio, the left
hand of Piano II inserts a disturbing repeated octave on F-sharp. The second
arpeggio
moves back down to F-sharp instead of remaining on G. But after this, the
intrusive
octave follows its sequence and moves down another half-step to F. This prepares
the motion back to the home key of F minor.
11:08 [m. 209]--Analogous to 1:42 and 5:15 [m. 47]. The first two measures
establish
F minor, the long-absent home key. The opening part of the theme is replaced by
a new, but similar passage. In contrast to the jerky melody and its long-short
rhythms,
the passage is smooth and almost mysterious. Both hands of Piano I and the right
hand of Piano II play lines that follow the contour of the theme, and the left hand
of Piano II adds a pulsating triplet-rhythm “pedal point,” not on F, but on its
“dominant”
note, C. The expansion from the third measure returns to the original material,
but the re-scoring here goes beyond simple reversal. Piano I takes the soaring
line,
but its left hand drops out. Piano II plays both the original harmonies from Piano
I and the continuing triplet pulsation in the bass, now expanded to broken octaves.
The bass shifts briefly to F before the expected motion to E-flat.
11:17 [m. 213]--The continuation, analogous to 1:50 and 5:24 [m. 51], continues
with
some, but not complete reversal of parts from the exposition. In this case, the
right hand of Piano II takes over the rising line from Piano I. The broken octaves
in triplet rhythm, however, remain in the bass of Piano II. The wide arpeggios
originally
in the right hand of Piano II are now doubled in octaves between the hands of Piano
I, and include new upward arpeggios in the third and fourth measures. The key
touches
this time on D-flat before the soaring line and full cadence in F minor. The
repetition
of this soaring line and cadence is given to Piano I in octaves. The right hand
of Piano II has slightly urgent chords entering off the beat, but the pulsating
broken
octave triplets in its bass remain the propulsive force.
11:29 [m. 219]--Expressive phrase, arpeggios from Theme 1, and arching cadence,
analogous
to 2:02 and 5:36 [m. 57]. The reversal of scoring between the pianos continues.
This passage returns to an essentially direct reversal (albeit in the new key)
after
the variants in the preceding passages.
11:37 [m. 223]--Left hand (now Piano I) repetition of expressive phrase, analogous
to 2:10 and 5:45 [m. 61], with brief motion to D-flat. The scoring continues in
direct reversal from the exposition, but the expanded cadence includes more octaves
and begins the buildup earlier. Brahms changes the key signature to F major here,
earlier than the key change in the exposition.
11:46 [m. 227]--The variant of the expressive phrase, as well as the following
buildup
and cadence, are analogous to 2:19 and 5:54 [m. 65]. For the most part, the direct
reversal of piano parts continues. The rapid arpeggios in the first two measures
are thinner, played only by the left hand of Piano I. Its right hand adds a
tolling
C in the second measure. Much of the rest is thicker than before, with fuller
chords
and added octave doubling. In one measure (m. 232, corresponding to m. 70) where
the two left hands had doubled the bass line before, it is played only by Piano I
in octaves.
12:05 [m. 236]--Closing section. Analogous to 2:38 and 6:13 [m. 74]. In the
closing
section, the role reversal of the piano parts is quite close (here there is an
analogy
to the quintet version, where there was also a direct reversal here between piano
and strings). The arching arpeggios are played by Piano II, as are the martial
dotted
rhythms. Piano I holds long notes. The descending echoes that were played by
Piano
II before are taken by Piano I.
12:14 [m. 240]--Analogous to 2:47 and 6:22 [m. 78]. The role reversal from the
closing
theme in the exposition continues. Piano II plays the outward arching arpeggios
again, reaching higher, along with the marching dotted rhythm. The first echo is
played by Piano I, and the extra second echo, the expansion, is played by Piano II.

12:25 [m. 245]--Analogous to 2:58 and 6:33 [m.83]. The harmonized descending
groups
of three-note patterns in straight rhythm, obscuring the bar line and building in
volume, continue in an exact role reversal from the exposition. Piano I plays the
first group of three patterns, Piano II the second, and Piano I the third. This
third group is again not in the quintet version, so there is another extra measure
here. Thus, the two-piano version of the entire movement is two measures longer
than the quintet version, with one measure added to each of these corresponding
passages
from the exposition and recapitulation. The pianos join on the fourth passage,
though
still with reversed scoring from the exposition.
12:41 [m. 249]-Analogous to 3:07 and 6:42 [m. 87]. The lengthened three-note
descents
are now led by the right hand of Piano II. The repetition an octave lower is
thinned
out by removing some harmonic notes. There is no full F-major cadence here, as the
weak-beat pulses that closed the exposition are omitted. Instead of a cadence, the
coda immediately begins with this material, building on the three-note descents.

CODA
12:45 [m. 253]--Part 1. Piano II, in the tenor range with bass support, echoes its
last descent. From that point, an intricate web of imitation between the pianos
follows on the three-note descents, with the top line of each gradually moving up
by step and with Piano I following an octave above Piano II. There is a steady
buildup.
After three such exchanges, a climax is reached, the top lines stall on F and the
imitative motion becomes more continuous, adding a downbeat before each descent.
The bass of Piano I establishes a “pedal point” with low octaves on F. Three of
these more continuous imitations then follow.
12:58 [m. 259]--The Piano I answer to the third imitation is interrupted, and both
pianos join together on a series of two-beat phrases, with Piano I taking the
leading
voice. Its top line is more active than the harmonies underneath it. The bass of
Piano I rests on a very low F and plays slow, rising broken octaves. The two-beat
phrases steadily move down in the top voice of Piano I, and half-steps are again
emphasized. The tension steadily abates. All voices except the bass reach the
preparatory
“dominant” harmony, slowing and diminishing in volume on a suspended, otherworldly
oscillation.
13:09 [m. 263]--Part 2. Brahms gives the tempo heading “Poco sostenuto.” The
right
hand of Piano I leads a hushed meditation on the main theme, beginning with a
descent
from an upbeat instead of the usual ascent. Piano II begins to imitate Piano I,
but deviates quickly, adding characteristic syncopation. The two right hands
emerge
into a contrary motion, with that of Piano I floating upward. The bass in both
left
hands holds, then slowly moves on an unstable “dominant” harmony and “pedal point”
F under this meditation in the right hands.
13:20 [m. 267]--The right hand of Piano II begins the meditation on the main theme
anew, in B-flat instead of F. The right hand of Piano I plays the syncopated
“imitating”
line previously played by that of Piano II. The left hand of Piano I holds the
harmonies.
The bass, especially in Piano II, remains on the “pedal point” F. The statement
is extended by two measures, lingering on the contrary motion, which changes
direction
and which the left hands join. The left hand of Piano II inserts a descent to the
low F. The right hand of Piano I soars high. Both pianos hold chords over a bar
line, extending the statement by another measure. They reach a delayed, unstable,
incomplete, and chromatically-tinged cadence on B-flat.
13:36 [m. 274]--Both pianos play a series of syncopated chords held over strong
beats
and bar lines, continuing from the weak B-flat cadence. The left hands of both
instruments,
leaving the bass range and playing in unison, emerge into syncopated Theme 1
material,
and the music gradually moves back toward F minor, abandoning the major key. After
three measures, the right hand of Piano I leaps downward, coming to the level of
the Piano II right hand. After another measure, the left hands leap down two
octaves
back into the bass, and the pianos settle toward a “dominant” harmony as the volume
reaches its quietest point. The bass, doubled in both pianos, repeats its last
gesture,
which is clearly recognizable as the opening figure of Theme 1. The right hands
become detached on their off-beat chords.
13:57 [m. 281]--After the second bass arrival, the left hands lead a transition
passage.
 The descending line from Theme 1, beginning with an upbeat, takes over. The left
hand of Piano 1 moves an octave above that of Piano II. After the bass lead-in,
the pianos come together in unison with the hands an octave apart. Brahms
indicates
a steady acceleration here. This is accommodated by speeding up to a triplet
rhythm.
The triplets begin to arch, working steadily upward and increasing in intensity
and speed. This leads directly into the main tempo and the passionate arpeggios,
at which point Brahms finally changes the key signature back to the four flats of
F minor.
14:06 [m. 285]--Part 3. The passionate arpeggios from 0:15, 3:46, and 9:41 [m. 5
and m. 167] emerge in a “tragically triumphant” way from the buildup and
acceleration.
The first two brief gestures are played as usual, with the pianos oriented as in
the recapitulation (Piano II on the arpeggios, Piano I on the decisive chords) but
the third, longer gesture is extended from three measures to four, with new
harmonies
focusing on major keys to the “flat” side of F minor (D-flat, G-flat, and C-flat).
The decisive chords in Piano I still use much half-step motion, although the heavy
emphasis on major harmonies makes the passage more triumphant than tragic. The
fourth
measure works decisively back to F minor.
14:18 [m. 292]--The arrival point is filled with feverish intensity. Piano II
moves
from the fast arpeggios to a version of the slower ones that were heard under the
second statement of the theme (which usually followed the fast arpeggios). Piano
I now takes the fast arpeggios, with both hands leaping down and back up between
higher and lower registers (in the quintet version, these arpeggios were passed
between
string instruments). The slower Piano II arpeggios move steadily downward to
another
big F-minor arrival. The scoring of the three-measure pattern is then reversed,
with outward octave expansion, in a second statement. A third huge arrival on F
minor follows as expected, with added heavy bass octaves in Piano I.
14:29 [m. 298]--Brahms suddenly applies the brakes with a sostenuto marking. Piano
II plays in unison octaves, returning to the slow arpeggios. Piano I emerges from
the last cadence into longer, heavy chords that leap back and forth, low to high.
Its bass emphasizes a low octave F. The Piano II octaves are accented on strong
beats, and the high chords of Piano I on weak ones, creating a sort of cross-
rhythm.
The harmonies create an extended cadence on F minor, but not a typical one. These
last cadences focus on “plagal” or “subdominant” harmonies in an ending that
foreshadows
that of the Fourth Symphony’s first movement. After two measures, Piano I plays
three grand F-minor chords under the continuing slow Piano II arpeggios. Piano II
stops and joins Piano I on the last of these highly dramatic final chords.
14:48--END OF MOVEMENT [301 mm.]

2nd Movement: Andante, un poco Adagio (Ternary form--ABA’). A-FLAT MAJOR, 3/4 time.

A Section
0:00 [m. 1]--Part 1. The right hand of Piano II, playing espressivo and sotto voce
in the tenor register, presents the main theme. Its principal gesture, an upward
skipping short-long rhythm that is followed, after the long note is sustained a
beat,
by a distinctive short-short-long pattern, remains almost constantly present. The
same is true for the harmonization in thirds or sixths. Piano I, in octaves molto
dolce, plays a halting accompaniment whose distinctive gestures include notes on
the second halves of all three beats in the measure and the beginning of the second
beat. The left hand bass of Piano II plays together with Piano I, but reverses the
direction of the gestures. The first two measures are identical. The third moves
down toward the half-close, and the fourth establishes a cadence measure pattern
by changing the short-long rhythm on the downbeat, in this case reversing it to
long-short.
In the last two measures, the left hand of Piano I vacillates between following
its own right hand or the bass of Piano II.
0:17 [m. 5]--The second phrase changes the contour of the short-short-long patterns
after the downbeats, intensifying them. The second measure of the phrase adds
notes
from the minor key. The third and fourth measures blossom into a new arching
approach
to the half-close. In the cadence measure, Piano I and the left hand of Piano II
play only after the beats, without the added “halting” note on the second beat.
The left hand of Piano I mostly doubles that of Piano II an octave higher.