13:14 [m.

551]--A statement of Theme 1 begins, with the two violins and first viola
in harmony over the oscillating second viola. The signature E-flat in the theme
is re-notated as D-sharp, underscoring a new harmonic turn, which is now toward B
major instead of E-flat (the same distance in the opposite direction). The first
cello inverts the opening leap, as would be expected, but it is also changed to
reflect
the turn to B major. The second viola oscillation steadily widens to an octave.
After the initial leaps, the theme takes a new direction, with a surging, but
still
quiet syncopated line in harmony. After quickly moving back to G, it descends,
then
surges forward again with heavy syncopation, leading to a weak cadence. The second
viola again narrows, but only to a whole step, not a half-step.
13:27 [m. 563]--Another statement of the altered theme begins, corresponding to the
higher-reaching second statement in the exposition. The first viola begins it, but
it is passed to the first violin. The second cello finally enters with the
inverted
leap, and the first cello drops out. There is another harmonic motion, this time
to E major, and the second viola again widens its oscillation, but not to a full
octave. The surging syncopated line follows again with a quick shift back to G,
this time with a higher, longer, more urgent ascent and descent. The second cello
now provides a chromatically rising bass line. Brahms indicates a steady increase
in volume and speed. This time, the arrival is on the “dominant” harmony.
13:40 [m. 575]--The surging syncopated line gathers strength and again moves
forward,
with a forceful swell in volume. The second cello now establishes a powerful
“pedal
point” on the “dominant” note, D. The first cello rejoins after its absence,
doubling
the first violin on the ever more excited syncopated line. After two upward
surges,
the second cello finally moves to the keynote, G, and the first violin shoots even
higher. At this point, the first cello joins the second viola, strengthening the
oscillating motion, which again widens.
13:50 [m. 587]--At the climax, there is a sudden harmonic detour back toward the
“dominant” key of D. This is marked by rapidly repeated triplet double stops in
second violin and second viola as the oscillations stop. The two cellos also
reiterate
their bass notes, but in straight rhythm. The lower instruments cut off, and the
first violin descends with a scale in the “dominant” key as the volume diminishes.
At the end of this, there is another unexpected, accented, syncopated dissonance
(significantly on E-flat), over a strong “dominant” arrival with more repeated
triplet
double-stops and straight-rhythm bass notes in the same instruments. The first
violin
descent follows an octave lower, but this time it incorporates chromatic notes and
skips, leading to an arrival on G major, with the volume now diminishing all the
way to piano.
13:57 [m. 595]--The first violin drops out after its second descent. The second
viola returns to the familiar half-step murmur on its original pitches. The second
violin and first viola, in harmony, have longer lines above the oscillation, also
including half-step motion over small swells of volume, including the crucial note
E-flat. The cellos provide bass support, the second plucked. After two such
“swells,”
the first violin enters on an upbeat with a rising octave, then a huge upward
arpeggio
with repeated notes, building rapidly to forte again. This arpeggio once again
emphasizes
E-flat major. As this last flourish reaches the top, the second viola murmuring
breaks, and three full chords in all instruments mark the final G-major cadence.

14:15--END OF MOVEMENT [605 mm.]

2nd Movement: Scherzo – Allegro non troppo; Presto giocoso; Tempo primo (Scherzo
with Trio). G MINOR, 2/4 and 3/4 time.
SCHERZO (Allegro non troppo, G minor, 2/4 time)
Part 1
0:00 [m. 1]--The first violin, harmonized by the second violin and first viola,
presents
the stately gavotte theme of the Scherzo. Its quasi-baroque nature is emphasized
by the ornaments (short trills) in the melodic line. The second viola and the two
cellos, meanwhile, provide a constant plucked background. At first, they pass a
figure of a leap up (a fourth or fifth) then down an octave, beginning off the
beat.
After two such patterns, the second viola drops out for a time, leaving the
plucked
figures to the cellos.
0:11 [m. 9]--The theme is extended with a metrically unusual closing phrase. It
begins with a falling third that is held across a bar line. The third is
reiterated,
followed by an arching figure in triplet rhythm. The short trills in the first
violin
are still heard, with the second violin and first viola continuing to harmonize.
Under the triplets, the plucked background is changed to briefly incorporate the
downbeats. On the triplet figure, the second violin harmonizes in thirds. The
entire
gesture is then repeated under a held first violin A, with the viola harmonizing
the second violin. This statement is a fourth lower and moves to the “dominant”
key, D major. The second viola re-enters the plucked background, the first cello
dropping out.
0:21 [m. 17]--A delayed cadence on D in the second violin merges with the second
major idea, derived from the triplets of the cadence phrase. It is in D minor, not
major. The first violin and first viola, in octaves, play three arching figures
and a fourth, more cadence-like one, all in triplets as the other four instruments
rest. The first arching figure is stepwise; the other two are arpeggios. After
four measures, the first cello plays the same pattern, shifting it to A minor. The
first violin and first viola continue in octaves with a syncopated accompaniment.

0:32 [m. 25]--The original D-minor version of the triplet theme is now played by
the entering second violin and second viola. The syncopated accompaniment
continues
in first violin and first viola, while the first cello adds a bass line clearly
derived from the opening gavotte theme. The A-minor version does not follow, but
the cadence gesture is repeated in the first viola as the second cello finally
joins
in, taking up a short-long figure from the gavotte theme and passing it back to the
first cello. The first violin and second viola drop out, followed by the second
violin. The first cello then provides a full cadence in D minor in the sixth
measure,
which is haltingly reiterated, with plucked second cello, in the seventh.
0:41 [m. 32]--The transition back to the repeat is two measures, the expected
eighth
bar of the aborted phrase and an added, asymmetrical ninth measure, which also
serves
as the first ending (m. 33a). The first viola drops out, and the first cello, with
plucked support from the second, plays a rising line that reiterates the D-minor
cadence, then changes D to a “dominant,” leading back to G minor with a falling
octave.
Part 1 Repeated
0:44 [m. 1]--Opening gavotte melody, as at the beginning.
0:54 [m. 9]--Metrically unusual closing phrase and motion to D, as at 0:11.
1:04 [m. 17]--Second, D-minor idea in triplets, as at 0:21.
1:15 [m. 25]--Statement of triplet idea with fuller texture, cut off early by cello
cadence, as at 0:32.
1:24 [m. 32]--Transition to Part 2. The second measure, also the second ending (m.
33b) is only changed by replacing the falling octave with a rising half-step,
propelling
the key toward E-flat.
Part 2
1:26 [m. 34]--The violins and violas take over for the first cello, launching into
the contrasting or “b” section. The second viola pulsates in triplets underneath
the other three, who play in harmony. The phrase is a continuation of the rising
cello line, in a mixture of major and minor, on E-flat. As they conclude it, the
cellos enter again (the second still plucked), with the same rising line heard at
the second ending, this time moving up another half-step, to E, where the upper
instruments
repeat the same pattern.
1:35 [m. 41]--The cellos again enter against the conclusion of the phrase, but now
in octaves, with the second bowed. The sequence continues, but it is shortened
greatly.
The violins and violas quickly take over from the cellos, propelling the music
further
upward. Then the same two-measure pattern follows, moving up another half-step.
At the same time, the volume builds, and there is a great sense of tension. Then
the sequence is shortened even more, to two-note figures alternating in the cellos
and violins and steadily rising. The violas melt into a pulsing background, now
in “straight” rhythm. The cellos begin three such exchanges, and the violins
follow
as expected on the first two.
1:42 [m. 47]--The violins, in octaves above the pulsing violas, move up more than
expected, to a high G. But this does not signal a return to the home key just yet,
as G seems to be working as a “dominant” in C minor. The rising half-step from
high
F-sharp to G is reiterated twice, with the cellos interjecting a rising figure that
reaches a half-step above an octave. The mood is tense, and the volume is full.

1:46 [m. 50]--As the violins land on the high G a third time, the second cello
suddenly
states the head of the main gavotte theme, clearly in C minor. It is immediately
imitated by the first cello, then the first viola. These close imitations are in
stretto, coming before the previous statement has concluded. The order is then
reversed,
with the theme passed back to the first cello, then the second cello. The second
viola does come in with the first, but it only joins in harmonic support with the
second cello during its “gap.” The first cello actually makes its two statements
in direct succession. As the gavotte figure is passed up and down these lower
instruments
in C minor, the volume quickly diminishes.
1:53 [m. 56]--Suddenly, the violins and violas gently intone the theme on G, but
it is sweetly inflected to G major. The tentative first measure, still in minor,
with second violin and first viola in harmony above after-beat pulses from the
second
viola, is reiterated with the first violin entering an octave higher, the second
violin taking over from the first viola, and the violas joining on the after-beats.
The theme then continues through its first four measures.
2:00 [m. 61]--Interrupting the theme, the first cello enters with a rising G-major
triplet arpeggio that is then taken up by the second violin. The first viola
echoes
the end of the thematic fragment, unexpectedly and plaintively turning to B minor.
In that key, the triplet arpeggio again follows, this time with the first violin
following the cello. Now the second viola plays the thematic echo, turning to D
major. The arpeggio in that key follows in first viola and second violin. The
third
statement of the thematic echo is played by the first cello, who turns, following
the pattern, to F-sharp minor. The first violin takes the arpeggio in that key by
itself, delaying it a measure. The second cello enters in support with a plucked
descent, and the pattern breaks.
2:10 [m. 69]--With a slide up to G, the reprise, or “a’ ” section begins. The
first
eight measures of the main scherzo/gavotte theme are stated as at the beginning and
at 0:44.
2:20 [m. 77]--The closing phrase is replaced by a similar six-measure passage that
begins with the violins a third higher. The two falling thirds held across bar
lines
are now followed by a sudden upward motion that uses the falling thirds and speeds
up. Then a falling arpeggio settles things down. This “replacement” passage
(still
without the second viola) keeps the music in G, avoiding the motion to D from Part
1. This is confirmed by a strong G-minor cadence over anticipatory arching
triplets.

2:28 [m. 83]--The “second theme” from 0:21 and 1:04 [m. 17] is transposed to the
home key of G minor. This time, the octaves are in the two violins, and the first
viola takes the previous first cello continuation, now in D minor instead of A
minor.

2:39 [m. 91]--The continuation from 0:32 and 1:15 [m. 25] is played in G minor,
with
altered scoring. The triplets are only played by the second viola, which enters
here, the syncopated line is played by the violins, still in octaves, and the “bass
line” from the gavotte melody is played by first viola. The first cello adds a new
plucked bass support. The cadence gesture is repeated by the second violin. The
second cello enters as expected, now exchanging its figure with the first viola.
The first cello then abandons its plucked bass to provide the full cadence in the
sixth measure. But this time the halting reiteration does not follow.
2:46 [m. 97]--The ending is expanded. The first violin responds to the cello
cadence
in a questioning way, using the same figure on the “dominant” level, and the first
cello then repeats its cadence. Meanwhile, the two violas and the second cello all
pluck supporting notes, and the second violin continues with a gentle counterpoint.
This entire sequence is then repeated. The first violin appears to begin it a
third
time, but, in alternation with the second violin, it works upward, building greatly
in volume. The first cello, the “cadence” instrument, briefly drops out. The
violins
briefly pause at the high point.
2:55 [m. 104]--The second violin leads a slower descent as the first cello re-
enters.
The descent is taken up by the first viola (taking its bow) as the violins drop
out. A seemingly final arrival on G is reiterated in the lower instruments.
3:02 [m. 109]--Coda. This addition is somewhat unexpected. As the first cello
settles
into a triplet-rhythm oscillation in broken octaves on G, the first violin leads
a brief passage of imitation. Its yearning line gently arches and descends. It
is imitated closely by the second violin, then even closer by the second viola.
The imitation is broken as the first violin uses a dotted rhythm to fall to a
cadence,
supported by motion in the oscillating first cello and plucked notes in the second
cello.
3:07 [m. 113]--Another passage of imitation follows, led by the first viola, which
enters here. It is followed by the second violin, then, at the same distance, by
the first violin and second viola in octaves. This time, these last instruments
provide the cadence, with the first violin reaching very high. That top instrument
reiterates its cadence twice, as the first viola takes over the oscillations from
the first cello and the second violin adds a plaintive counterpoint alternating
with
the cadences. The lower three instruments are all plucked. Finally, all six
instruments
come together in a decisive, but quiet close, with the first violin leaping down
from its height. The top three are bowed, the bottom three plucked.
TRIO (Presto giocoso, G major, 3/4 time)
Part 1
3:17 [m. 121]--The trio section has a “Slavonic” character that almost sounds like
something Dvořák might have written. Bursting out in bright major, it is presented
by all six instruments in full, almost swaggering sonority. An upbeat from violins
and first viola leads into the heavily syncopated theme in triple time. These
three
instruments play together in harmony. The cellos and second viola provide the
rhythmic
accompaniment. The first cello plucks the downbeats, the second cello bows
consistently
with wide leaps from the downbeats, and the second viola plays double-stop
harmonies
on the two “upbeats” of each measure.
3:22 [m. 129]--The second half of the theme reaches to higher octaves in the
violins
and moves toward D major. Toward the end, all six instruments come together in a
brief break from the syncopation and accompaniment patterns. The lead-in to the
repetition of the theme easily moves back to G.
3:27 [m. 137]--Repetition of the theme. The first half is unchanged other than the
new two-note upbeat and continuous accompaniment from the first statement.
3:31 [m. 145]--The second half is also a near-exact repetition, but a subtle
alteration
in the portion where all six instruments come together causes the key to veer to
B minor rather than D major.
Part 2
3:36 [m. 153]--The upbeats lead directly into a new phrase, whose principal
interest
lies in the downward-scurrying figures (emerging from longer notes) presented in
unison by second violin and first cello. The other instruments heavily emphasize
downbeats of notes held for almost two measures (five beats) and the upbeats
leading
into them, also mostly in unison. Again beginning on G major, the music moves in
waves that gradually work upward. After three iterations, the downbeat-upbeat
patterns
speed up, reduced to one measure. Finally, these patterns come to a stop, and the
volume rapidly diminishes as the second violin and first cello, still rushed,
plunge
downward under a preparatory “dominant” harmony.
3:43 [m. 165]--The first violin, with the first cello undulating beneath it,
presents
a hushed, straightened-out version of the theme without overt syncopation. The
second
violin sustains long notes. The first viola and second cello only briefly join at
the halfway point between the two phrases. The second viola is completely absent.
Although the strong, overt syncopation is not present, Brahms does play with the
meter on the back half of each phrase, making it sound like the notes are grouped
in two rather than three. At the end of the second phrase, the first cello changes
from undulation to heavily syncopated bass notes, the first viola enters to take
over the undulating accompaniment, and the key again turns to B minor.
3:53 [m. 181]--A transitional phrase based on the “scurrying” figures from 3:36 [m.
153] immediately turns back to G major via its “dominant” chord. The rushing
figures
are now only played by the first violin, which now shoots upward after long notes.
The other instruments, except first cello, play the longer upbeat-downbeat
patterns,
again speeding up after three iterations. Finally, the first violin, joined an
octave
below by the second violin, rushes upward and the volume rapidly builds. The first
cello also enters here, joining the others on sustained chords. This upward surge
merges into the return of the main dance theme.
Part 3
4:00 [m. 193]--The upbeat approaches from on high, and the main theme is again
presented.

4:05 [m. 201]--The second, higher half moves to D major, as in the original
presentation.

4:10 [m. 209]--The music quickly moves back home to G. At this point, there is an
exchange between the “scurrying” figures and the syncopated main theme. Under the
former, the violas have a surging pulsation. Fragments of both elements are twice
exchanged. After the second exchange, the main theme takes over and expands
upward,
reaching high in the first violin. At the top, a note from the minor key, E-flat,
becomes prominent, signaling the beginning of the transition to minor and the
scherzo
section reprise.
4:21 [m. 227]--Transition to scherzo reprise. All of a sudden, the violins and
cellos
drop out, leaving the violas with a hushed, skeletal phrase derived from the main
theme, played in octaves and in minor. After this, the violins and cellos take
over,
shifting back to major and playing a fragment of the “hushed” version of the theme
from 3:43 [m. 165]. But this is quickly cut off by the violas, who play their
ominous
minor-key fragment again.
4:27 [m. 239]--The violins and cellos again attempt the “hushed” version, but they
are now infected with the minor key, even going beyond it with the pathos-laden
flattened
second degree (A-flat). They are interrupted by the ominous octaves again. This
time, they are played by second viola and second cello, and are plucked. They also
begin a fourth lower. As they conclude, the violins and first viola suddenly come
in with the first three harmonized notes of the scherzo theme, one to each bar.
One measure of the fast triple time trio is equated to one half-measure of the
slower
duple-meter scherzo. A plucked D (the preparatory “dominant”) in the cellos sets
up the return of the actual scherzo section.
SCHERZO REPRISE
Part 1
4:36 [m. 251]--The entire scherzo reprise is written out in the score, although the
only variation is in the coda. Opening gavotte melody, as at the beginning and at
0:44.
4:46 [m. 259]--Metrically unusual closing phrase and motion to D, as at 0:11 and
0:54 [m. 9].
4:56 [m. 267]--Second, D minor idea in triplets, as at 0:21 and 1:04 [m. 17].
5:06 [m. 275]--Statement of triplet idea with fuller texture, cut off early by
cello
cadence, as at 0:32 and 1:15 [m. 25].
5:15 [m. 282]--Transition to Part 2, as at the second ending from 1:24 [m. 32].
Part 2
5:18 [m. 284]--Contrasting section mixing major and minor on E-flat and E, as at
1:26 [m. 34].
5:26 [m. 291]--Shortened sequences, upward motion, and building volume, as at 1:35
[m. 41].
5:33 [m. 297]--Motion to high G in violins with reiterations, as at 1:42 [m. 47].

5:37 [m. 300]--C-minor imitation of main gavotte theme in violas and cellos, as at
1:46 [m. 50].
5:45 [m. 306]--Gentle major-key inflection of gavotte theme, as at 1:53 [m. 56].

5:51 [m. 311]--Rising triplet arpeggios with thematic echoes and motion through B
minor, D major, and F-sharp minor, as at 2:00 [m. 61].
6:01 [m. 319]--Reprise of main theme’s first eight measures, as at 2:10 [m. 69].

6:11 [m. 327]--New transition with strong G-minor cadence, as at 2:20 [m. 77].
6:19 [m. 333]--Second theme in G minor, as at 2:28 [m. 83].
6:29 [m. 341]--Continuation with new scoring, as at 2:39 [m. 91].
6:36 [m. 347]--Expansion of ending with upward motion and buildup, as at 2:46 [m.
97].
6:45 [m. 354]--Descent and arrival on low G, as at 2:55 [m. 104]. In preparation
for the new coda, the first viola does not play the last reiteration of the G.
6:52 [m. 359]--New coda. The original coda is replaced by a variation with
completely
altered character. It is marked “Animato,” and the quiet, almost resigned mood is
replaced by one of angry defiance. All instruments are bowed. The previous
straight
rhythms are changed to agitated triplets. The outlines of the original are still
present. The imitations are now in the three “first” instruments, moving down and
each separated by a measure. The second violin doubles and harmonizes the
imitations,
while the second viola and second cello provide pulsating motion replacing the
previous
oscillations.
6:56 [m. 363]--The outlines of the original closing passage are present in this
one.
The imitations rise up from first viola through second violin and finally first
violin, reaching very high. A fourth imitation is added in the second viola. The
triplet rhythm is still in force, and the cellos provide the pulsating background.
The reiterations of the cadence are in the violins and cellos, the violas
continuing
the feverish triplet motion in octaves. The ending, with the decisive downward
leaps,
incorporates long-short rhythms and is extended by a measure for a longer descent
and a forceful finish.
7:08--END OF MOVEMENT [371 mm.]

3rd Movement: Poco adagio (Theme and Variations). E MINOR (last variation in E
MAJOR),
4/4 time.
0:00 [m. 1]--Theme, Part 1. For most of the theme, the cellos and second viola are
absent. In this first part, the first violin presents the expressive melody. It
rises upward in two leaps of a fourth (a similar contour to the first movement’s
main theme), then slowly descends stepwise with a short decorative trill before
another
wide leap of a sixth. The second violin adds descending three-note figures
beginning
after the strong beats, and the first viola contributes winding five-note figures
in triplet rhythm, also beginning off the strong beats. The whole two-measure
gesture
is then stated a step lower. It slows at the end, and the wide closing leap is
replaced
by a third, with the two lower instruments briefly holding up.
0:17 [m. 5]--Theme, Part 2. The two violins begin the phrase harmonizing in
thirds.
The first viola still adds its winding triplets. After the first yearning notes,
which turn to B minor, the violins vary them by adding triplet rhythms. These
build
in volume, and then the first violin erupts into a passionate outburst of shorter
sixteenth notes as the second violin descends chromatically and the first viola
abandons
its triplets in favor of isolated falling octaves. The three instruments settle
down on the “dominant” harmony in B minor.
0:33 [m. 9]--The second part of the theme is “rounded,” returning to patterns from
Part 1. The first violin rises with the leaping fourths, then falls, also with
leaping
fourths. The second violin figures add downward leaps, as do the first viola’s
triplets.
The second viola enters here for the first time as a mildly syncopated bass
support.
The cellos are still silent. The key moves back to E minor, but then colorfully
veers to F (major/minor mixture) on the descent. In the last two measures, the
first
violin plays a cadence phrase in E minor, derived from the main rising line, and
the lower instruments add notes on strong beats. The first viola still plays in
triplets, but adds wide downward-arching leaps. The second violin and first viola
trail chromatically, in thirds, slowing after the cadence.
0:49 [m. 13]--Variation 1, Part 1. The cellos now make their entrance. In fact,
an upbeat in long-short triplet rhythm from the second cello begins the variation.
In the first part, the first violin and first viola, in octaves, play two long,
somewhat foreboding chromatic descents separated by the leap of the sixth from the
middle of the phrase. The second violin rests. The first cello and second viola
play an accompaniment in rising plucked arpeggios, passing them back and forth.
The second cello provides bass support, emphasizing the long-short rhythms on the
upbeats.
1:06 [m. 17]--Variation 1, Part 2. The turn to B minor follows as expected. The
same patterns from Part 1 continue, with chromatic descents in the first violin and
first viola, plucked arpeggios in second viola and first cello (the latter adding
descents in the last two measures), and a bass with long-short upbeats in the
second
cello. There is a buildup to the midpoint, then a receding, as expected. Halfway
through, the first viola breaks from its octaves with the first violin, then
reverses
direction, harmonizing the first violin line.
1:21 [m. 21]--The second violin enters for the “rounding,”alternating with the
second
cello on the long-short upbeat figures. It is doubled by the second viola, who
leaves
the plucked arpeggios to the first cello alone. One long chromatic descent in the
first violin and first viola, turning to E minor and moving through F, as in the
theme, is followed by a soaring cadence gesture in E minor. The accompanying
instruments
trail after the cadence, slowing as in the theme.
1:37 [m. 25]--Variation 2, Part 1. This variation is based on close neighbor-note
motion. The second cello leads in again with the long upbeat, and all the other
instruments except second violin enter together in harmony right before the
downbeat.
All except the first cello play the close, largely chromatic neighbor-note
figures.
The first cello has more leaping motion. The first violin holds some notes while
the others move. They all continue to alternate with the second cello. The
initial
three-note figures expand halfway through the phrase, and the second violin enters
there. The second cello continues to play its three-note figures, but adds a mild
syncopation under the other instruments.
1:57 [m. 29]--Variation 2, Part 2. The first cello drops out. At the turn to B
minor, the violins and violas (with the second viola pausing for half a measure)
play the close neighbor motion in triplet rhythm. The second cello plays wide
octaves,
but also adds upbeats in the triplet rhythm. The instruments wind up and down, the
second violin dropping out halfway through. Everything remains quiet, and Brahms
adds a dolce marking, but there is some agitation. At the end, a first violin
descent
slows to straight rhythm.
2:12 [m. 33]--At the “rounding,” the first violin and the two violas lead. The
second
violin remains absent through the phrase. The second cello follows in alternation,
and the first cello, which was absent for the first half of Part 2, joins the first
violin and violas after their initial lead-in. The highly chromatic first violin,
which again includes some held notes (including across bar lines), moves steadily
downward. The violas and especially the first cello have some wider motion. The
return to E minor and the pass through F follow as expected, and as usual, the
instruments
slow for the last cadence in E minor.
2:35 [m. 37]--Variation 3, Part 1. Più animato. This forceful variation is fugal
in nature, with dense imitations. The second cello begins, as in the previous
variations,
now with a repeated-note upbeat in dotted (long-short) rhythm. It leaps up an
octave,
then breaks into stepwise triplet figures that wind down and up. The second viola
imitates it a half-bar later and an octave higher, and the first cello, a fourth
higher, a half-bar after that. It is followed an octave higher by the first viola.
All the entries begin with the repeated notes and octave leap. Meanwhile, the
second
cello introduces arpeggios as it closes its phrase.
2:39 [m. 39]--The second violin follows as expected, a fourth higher, but now the
second viola, then the second cello, begin again with even closer imitation (called
stretto), one beat later in succession, each an octave lower than the last. The
first cello adds leaps and reaches a closing point. Finally, a full measure after
the second violin, the first violin enters a fourth above it. The phrase comes to
a conclusion on the “dominant” with a combination of the triplets and the long-
short
rhythm (the latter in first viola and first cello).
2:43 [m. 37]--Variation 3, Part 1 repeated. For the first time, Brahms indicates
that each part of the variation is to be repeated. A “first ending” on the second
half of the last measure (m. 40) places the short note of the second cello upbeat
in anticipation of the repeat.
2:46 [m. 39]--Second violin entry with close imitations, then first violin entry
and arrival on the “dominant.” The “second ending” places the short note of the
upbeat in the first cello, a fifth higher to lead into B minor.
2:50 [m. 41]--Variation 3, Part 2. The imitations are less prominent in the second
part. In the quieter contrasting B-minor bars, they are reduced to the two cellos,
with the second following the first, then the first beginning another statement a
step higher and the second quickly breaking the imitation. Above them, the violins
present an arching line in thirds. This is immediately repeated, with a wider
opening
reach and with the two violas doubling the violins. A similar pattern follows,
with
the second violin adding mild syncopation. The repetition with viola doubling is
a step higher, and the volume builds.
2:58 [m. 45]--In the “rounding,” the imitation is also less complex. The two
violas
and the first cello begin a statement in harmony at the return to E minor. The
second
cello adds bass support using the repeated-note dotted-rhythm upbeat figure. The
violins follow the lower instruments, also in harmony. The imitation quickly
breaks
at the passage through F (now clearly minor), and the top five instruments, still
in their previous groups, play arching lines, largely with the groups in contrary
motion. The second cello continues to provide a dotted-rhythm bass line to all of
this. The first ending quickly moves away from the cadence to lead back to B minor
and the repetition.
3:06 [m. 41]--Variation 3, Part 2 repeated. First four bars in B minor.
3:14 [m. 45]--The “rounding” bars are stated again. The second ending has a more
solid cadence, but it is immediately followed by the upbeat leading into Variation
4.
3:22 [m. 49]--Variation 4, Part 1. This vigorous variation also uses imitation,
but this time two separate ideas are presented at the same time. The violas lead
with the dotted-rhythm upbeat, but they each present a different idea. The first
viola leaps down to a rapid arching figure in sixteenth-notes. The second viola
plays a detached line in broken thirds. The first viola is imitated a fourth
above
by the second violin, and the second viola a fifth below by the first cello. The
imitation is consistent through two bars, as the leading violas briefly pause. The
“outer” instruments, the first violin and second cello, enter as if they were going
to imitate, but they instead play leaping lines in the same character as the
“upper”
and “lower” idea.
3:26 [m. 51]--The entire pattern begins again a step lower, but after a measure,
it is shifted up, leading to the half-close that ends the first part.
3:30 [m. 49]--Variation 4, Part 1 repeated. The first ending has the violas
returning
to their initial upbeat.
3:34 [m. 51]--Restatement of pattern leading to half-close.
3:38 [m. 53]--Variation 4, Part 2. The second ending has a new upbeat in the first
viola leading to the contrasting passage in B minor. For maximum contrast, it is
marked pianissimo and dolce. The imitation is reduced to leaping octaves (an
octave
apart) passed between the violas on the dotted-rhythm upbeat. The violins and the
cellos play descending lines in harmony, the cellos taking over for the violins.
After two sequences of this pattern, the violins and cellos come together,
building
in volume in preparation for the “rounding” passage.
3:45 [m. 57]--In the “rounding,” the imitation is reduced to the rapid figures
beginning
with the dotted-rhythm upbeat that leap down, and they are in the violins. The
second
leads, and the first follows, initially a third lower. The violas, in harmony,
play
a variant of the detached figure that was previously used in imitation. The first
cello reiterates the dotted-rhythm upbeat and downward-leaping octave, and the
second
cello, plucked, provides a bass line, also with leaping octaves. The turn to F
minor
occurs while the violins are playing in imitation. This breaks, with the first
violin
reaching high and emphasizing the dotted-rhythm figure. The second cello takes the
bow at the approach to the cadence.