3:54 [m. 53]--Variation 4, Part 2 repeated.

The opening first viola upbeat is

omitted.

4:01 [m. 57]--The “rounding” bars are restated. The second ending has a very short
upbeat leading into the transition passage.
4:10 [m. 61]--Transition to Variation 5. This quiet, intense transition, still in
the faster tempo, helps to set up the final variation. It is five measures long.
The second violin and the violas have the short upbeat, which leads into a
harmonized
downward slide that uses the dotted rhythm and is highly syncopated. At the same
time, the first cello plays a rising line that is none other than the initial
gesture
of the original theme. It plays this gesture twice in succession, with a
continuous
rise. Neither of these is at the original pitch level (the first suggests A minor,
the second B minor). Finally, the first violin enters with a longer, slowed down
version of the gesture on the original pitches, harmonized by the other
instruments,
including isolated plucked notes from the second cello. All except first violin
pause on a suspended half-close.
4:23 [m. 66]--Variation 5, Part 1. Adagio. The slow tempo returns. The rising
upbeat in the violas is notated in eighth notes (still in the last measure of the
fast tempo), but the continuation is in sixteenth notes, indicating that this
variation
is twice as slow. That viola upbeat is heard as the first violin holds its
suspended
note. The key signature changes to E major. The violas lead into the gentle final
variation, supported by plucked notes in second violin and the cellos. They play
arching harmonized lines, in the soothing major key. The first violin and second
cello (bowed) enter with brief imitation, then continue, the first violin taking
over the lead role. The second violin provides a plucked background throughout,
as does the first cello, although the latter twice takes the bow to continue and
harmonize the second cello line.
4:48 [m. 66]--Variation 5, Part 1 repeated. The viola upbeat is now notated as
sixteenth
notes in the first ending.
5:13 [m. 70]--Variation 5, Part 2. The contrasting passage is now in B major,
still
using the gentle arching lines. The violas again lead in harmony, with the first
violin following and taking over. The second violin drops out for two measures.
The plucked background is taken by the cellos, who alternate on the “dominant”
note
in B major, F-sharp, an octave apart. The passage is more chromatic than Part 1.
The second violin enters in the last two measures, adding an additional line of
counterpoint that harmonizes the first violin. At the end of the phrase, the
cellos
take the bow, still on the F-sharp, but the second cello holds it and plays, as a
double-stop, a dissonant leaning motion into the fifth above it. The violas lead
into the “rounding.”
5:40 [m. 74]--The “rounding” is similar to Part 1 in most ways, except that both
cellos now play plucked notes, taking the bow together at two points, including at
the end of the phrase. The passage through F is now major and is prolonged. The
second violin is again plucked, but now adds double-stop and triple-stop chords.
The violas sustain the arching lines, and the first violin again takes over the
lead. The variation reaches a full close in E major with chromatic tinges and a
brief first violin trill.
6:07 [m. 70]--Variation 5, Part 2 repeated. The viola upbeat is different,
continuing
as a descent at the end of the variation. The second violin upbeat is now a two-
note
harmony, still plucked.
6:33 [m. 74]--The “rounding” follows. After the cadence, the violas continue with
a new upward-moving upbeat (instead of arching downward) leading into the coda,
which
is in the character, major mode, and slow tempo of Variation 5.
7:01 [m. 78]--Coda. The second cello lands on a low E, which it sustains as a
“pedal
point” through most of the coda. The violas, at first, continue with the arching
arpeggios, although the second adds syncopation. The first violin takes the lead
with its own slower, expressive line, which is also syncopated. The first cello
plays two-note, then four-note upward arpeggios before slowly descending. Finally,
the second violin enters, harmonizing with the first on descents. The first viola
breaks from the arpeggios, moving to halting downward octave leaps. The second
viola
harmonizes the first cello, then drops out. The volume builds toward a climax.
Now the second violin and first viola join on the arpeggios. They work upward
under
the soaring first violin. The second viola re-enters with the halting downward
octave
leaps.
7:29 [m. 82]--At the climax, the first violin has reached a high point and lingers
there with slow syncopated notes. The instruments change roles again. Now the
first
viola supports the first violin with straight notes about an octave below. The
second
violin joins the second viola on an oscillating motion. The first cello continues
to slowly descend. Finally, the first violin works downward, and the volume begins
to recede. The first viola and first cello are in contrary motion with each other
as the latter turns upward again. The second violin abandons the oscillations,
leaving
them to second viola, and now doubles the first cello.
7:53 [m. 85]--The first violin finally reaches a cadence, which Brahms marks with
a molto ritardando slowing. The other instruments come together under this
cadence.
The second cello finally abandons its long-held low E pedal point. Trailing after
the cadence, the violas play a tender reminiscence of the harmonized arching motion
typical of Variation 5. At the same time, the first cello plays the rising fourth
from the opening gesture of the theme. The arpeggios are then played by the two
cellos under the rising fourth from the first violin. The violas and cellos,
moving
down and up an octave respectively, exchange the arpeggios again, with the rising
fourth in the second violin, then both violins in octaves. The cellos extend their
arpeggio down to the final cadence. The violins have reached the high E from their
rising fourth, and the violas enter to complete the harmony on the serene,
sustained
final chord.
8:33--END OF MOVEMENT [87 mm.]

4th Movement: Poco Allegro (Sonata-Allegro form with abbreviated recapitulation).

G MAJOR, 9/8 time.
EXPOSITION
0:00 [m. 1]--Theme 1, Part 1. With quiet intensity, the violins and first viola
begin the harmonized measured tremolo-like figures that dominate the first part of
the theme. The rapid repeated notes reach up to outline a melody. The key is
ambiguous,
suggesting A minor or E minor rather than G major. The violins break from the
tremolo
for a descent, and the other three instruments enter. The cellos, in succession,
come in with the tremolo figures, including the upward leaps, in a sort of
imitation.
Finally, all six instruments build up and essentially join together on the tremolo
figures with their melodic leaps, and G major is established. Scales are heard in
the lower instruments. The volume recedes and quickly builds again.
0:09 [m. 5]--In a two-measure transition, the violins, in thirds, plunge downward
in scale motion as the two violas and second cello begin a pulsing long-short
motion
on repeated notes. This continues for a measure after the violins drop out. The
volume rapidly diminishes.
0:14 [m. 7]--Theme 1, Part 2. This is really the principal melody, and the tremolo
motion could be seen as introductory except for its huge role in the development
section. The warm, noble melody is presented by first violin and first cello in
harmony. The pulsing motion continues in first viola and second cello. Beginning
with repeated notes, these pulsations gradually move, including leaping octaves in
the first viola. After two measures, the first cello joins the pulsations, leaving
the melody to the first violin, which adds a trill-like ornament. The end of the
first phrase overlaps with the beginning of the second.
0:24 [m. 11]--In the second phrase, the first viola begins a counterpoint to the
first violin, leaving the pulsations to the cellos. The trill decoration is heard
again. Longer notes are introduced in the swaying motion, gradually rising. At
the end of the phrase, the second viola finally enters, joining the pulsations, and
the first viola slips away from the first violin to join them as well. The second
violin is absent for this entire initial presentation.
0:34 [m. 15]--The cadence overlaps again. The theme is interrupted by a return to
the “melody” of the first part, but now it is stripped of the tremolo motion,
laying
bare the actual leaping gestures, which emphasize short-long rhythms. It also
turns
to the minor key. The violins (the second entering) and first viola pass the
gestures
to the second viola and cellos. The entry of the lower instruments overlaps with
a new closing gesture (in second violin and first viola) decorated by a brief
trill.
The overlapping exchanges continue through a second statement at a higher level
that briefly suggests A minor. The lower instruments do not have the decorated
closing
gesture a second time, as the overlapping entries are cut off at this point.
0:45 [m. 19]--The violas drop out. The violins and cellos return to the character
of the gently swaying melody from the main (second) part of the theme. In pleasing
harmony and in alternation, they undulate down and back up. The violins then reach
up in long-short rhythms as the cellos play a harmonized ascending scale with mild
syncopation. The roles are then reversed as the violins descend in harmony. The
cellos convert the long-short rhythm to a syncopation.
0:55 [m. 23]--The first viola enters, providing the main melody in an contrapuntal
epilogue to the theme. The second viola is still absent. The second cello settles
on a low repeated pulsation on a “pedal point” G. The epilogue begins very gently.
After two measures, the first violin reaches up another octave, as does the second
cello pedal point. Suddenly, the intensity builds and the epilogue is extended by
two measures. The violins reach high with mild syncopation. The second cello
abandons
the pedal point, joining the motion of the first. The harmony lurches toward the
“dominant” chord in the unexpected key of B major.
1:10 [m. 29]--Transition. It begins in B major and is based on the tremolo first
part of Theme 1. The tremolo gestures themselves return in the second violin and
two violas, complete with the accented melodic leaps from the beginning. The first
violin joins above with the melody. Scale descents are passed from second violin
and first viola to the two cellos, then back to the previous instruments, who
ascend.
 This last exchange with the cellos is repeated, with the second violin moving up
an octave. The second viola joins the first cello on a descent, then the second
violin and first viola join the first violin. They key moves toward D major, the
expected secondary key, and the volume builds. Finally, the violas and first cello
descend, and all instruments land on the “dominant” chord in D major.
1:19 [m. 33]--Theme 2. The violins establish a high, decorative leaping motion for
one measure. Then the first cello enters with the new melody itself, a swinging,
boisterous tune in its upper register. The first violin continues with the high
decorative leaping motion. The violas play plucked two-note descents, and the
second
cello adds a solid bass (D major).
1:31 [m. 38]--The second violin enters, taking up the cello melody at a softer
level.
It begins like a repetition. The first violin abandons the high leaping figures
for scale descents, and the first viola and second cello play the now-ascending
two-note
plucked figures. Suddenly, the second violin melody falters as the second viola
joins with a plucked descending arpeggio. The first violin plunges further
downward.
The second violin attempts to re-establish itself a third lower, but it falters
in the same way and the first violin falls even more as the volume once again
builds.
Finally, the first violin takes the lead with its plunging descent and is joined
by the first viola. The second violin joins the plucked arpeggio in second viola
and first cello.
1:42 [m. 43]--The violins drop out, and the lower instruments suddenly make a
mysterious
drop to the note C-natural, seemingly moving away from D major. The effect, with
its sudden quietness, is like the bottom dropping out. Over held notes in first
viola and second cello, the first cello, then the first violin play downward
arching
figures in the character of Theme 2. These suggest a motion back to G major.
These
continue through another measure as second violin and second viola join in slow
harmonies.
The colorful chromatic note E-flat is introduced.
1:50 [m. 46]--The two measures with the faltering melody and plunging scale are
revisited.
This time, the melody is transferred from second violin to first violin, and the
scales are in the first viola. All three “second” instruments play more isolated
plucked notes against the faltering melody. The first cello briefly pauses. After
the two statements, wherein D major is again asserted, the volume builds, and the
huge descent is heard again, even more fully scored, with all instruments bowed.

1:58 [m. 49]--As before, the bottom drops out with the note C-natural, now in all
instruments. This time, it does in fact herald a full motion back to G for the
exposition
repeat. The second violin and second viola hold the C-natural. A mysterious open
fifth on A and E is heard in the first viola, then the first violin. The second
viola drops out, while the second violin continues to hold the C. This creates an
A-minor chord. In the first ending (m. 51a), the chord is heard again, even more
quietly. The A-minor chord confirms the suggestion of A minor at the very
beginning
of the movement, and smoothly leads into the repeat.
EXPOSITION REPEATED
2:06 [m. 1]--Theme 1, Part 1, as at the beginning, with tremolo figures.
2:15 [m. 5]--Two-measure transition, as at 0:09.
2:20 [m. 7]--Theme 1, Part 2. Warm, noble melody, as at 0:14.
2:30 [m. 11]--Second phrase, as at 0:24.
2:41 [m. 15]--Version of Part 1 without tremolo and with overlapping entries, as
at 0:34.
2:51 [m. 19]--Undulating version of melody, as at 0:45.
3:01 [m. 23]--Epilogue and extension, as at 0:55.
3:16 [m. 29]--Transition beginning in B major based on tremolo first part of theme,
as at 1:10.
3:25 [m. 33]--Theme 2 in D major presented by first cello after introductory
measure,
as at 1:19.
3:37 [m. 38]--Second violin statement of Theme 2, then faltering with plunging
descents,
as at 1:31.
3:49 [m. 43]--Mysterious drop and arching figures suggesting return to G major, as
at 1:42.
3:57 [m. 46]--Restatement of faltering melody and plunging scale, as at 1:50.
4:04 [m. 49]--Mysterious drop and transition, as at 1:59. The second ending (m.
51b) still has the A-minor chord, but it is more full scored, including the second
viola, and the first violin fifth is an octave higher.
DEVELOPMENT
4:12 [m. 52]--The development section begins with a short fugal passage based on
the opening tremolo figures. The second violin emerges from the chord, playing the
opening melodic line on its own. It quickly diverges into arching figures derived
from the scale descents. The first violin then enters above it. It adds a wider
leap (a fifth instead of a fourth) to the initial melodic gesture, then continues
as had the second violin, a fifth higher. Under this, the second violin continues
its figuration, then moves to slower leaping gestures. The key of E minor
(“relative”
to G major) is established.
4:20 [m. 56]--The first viola enters with the original theme, doubled below by the
first cello, who plucks it in a bare version without the tremolo. The violins
continue
above with figuration. The slower leaping gestures pass to the first violin. The
harmony moves quickly, though A minor and B minor and toward D major. The violins
and first viola come together, and the second viola enters, taking over briefly
from
the first cello. These two instruments also come together, the first cello taking
the bow. There is a buildup, and the expected arrival on D major is highly
unstable
as the music keeps pressing forward.
4:31 [m. 61]--At the climax, the first violin leads the thematic material in its
original tremolo form, and is immediately joined by the first cello, who also plays
in tremolo. The other instruments play the bare short-long rhythms, contributing
to the harmony (the second cello doubling the tremolo bass of the first an octave
below). This is very unstable, moving through a string of minor keys, each of
which
heavily emphasizes its own “dominant.” These keys move down stepwise in each
measure,
from B minor through A minor, and finally to G minor, the minor-key version of the
home key. The G-minor arrival is prolonged, with much emphasis on the “dominant”
harmony of D and the “subdominant” on C. The first violin reaches high, and other
instruments, the second violin and second viola, join the tremolo motion.:
4:42 [m. 66]--Suddenly, the climax abates and the tremolo is breathlessly isolated
in pairs of instruments. A series of alternations in these pairs follows in two
descending waves of three alternations each. The two violins typically alternate
with another pair. In the first “wave,” the first alternation is with the two
violas,
and the two following ones, which leap downward, are with the first viola and first
cello. The pairs play in thirds in this “wave.” In the second “wave,” the pairs
play in octaves. The alternations are similar, but in the second and third, the
first cello is replaced by the second, and in the third, the second violin by the
first cello. The second “wave” diminishes in volume and moves toward D minor.
4:51 [m. 70]--The second part of Theme 1, the actual “main melody,” takes over.
This is really an extended “re-transition,” since the recapitulation begins with
this melody. It is harmonized in second violin and first viola. It appears to be
played in a mixture of D minor and D major, but G minor asserts itself in the
second
measure. The melody is decorated by octave tremolo interjections in first violin
and second viola. After two measures, while the second violin holds a note, the
first viola is joined by the second in a brief arching, modulating bridge. The
second
cello adds a brief tremolo on a fifth, and the first violin tremolo shadows the
viola
bridge. The entire three-measure pattern is then stated in B-flat major (relative
to G minor).
5:05 [m. 76]--The “re-transition” character of the mysteriously transformed theme
becomes more pronounced. The previous viola bridge at first leads to F-sharp, but
the second violin again joins the first viola, and the “bridge” figure is used to
re-assert G minor. It winds its way downward. The first violin has two octave
tremolo
interjections, then drops out. The second cello has four such interjections on a
fifth, then fourths. The second viola adds brief answers to the downward-winding
lines in the second violin and first viola. The first cello, which has been
relatively
inactive through this re-transition, only plucking at key points, continues that
role. The fourth measure of this passage is a repetition of the third.
RECAPITULATION
5:14 [m. 80]--Theme 1, Part 2, as at 0:14 and 2:20 [m. 7]. It emerges so naturally
from the preceding re-transition that it is almost unnoticeable. The change from
G minor to G major is also subtle. The first part of the theme, with the tremolo
figures, was prominent in the development, and it is omitted here.
5:24 [m. 84]--Second phrase, as at 0:24 and 2:30 [m. 11].
5:35 [m. 88]--Version of Theme 1, Part 1 without the tremolo and with overlapping
entries, as at 0:34 and 2:41 [m. 15].
5:45 [m. 92]--Undulating version of melody, as at 0:45 and 2:51 [m. 19].
5:56 [m. 96]--Epilogue and extension, as at 0:55 and 3:01 [m. 23]. The first four
measures and most of the fifth measure follow the exposition without change. At
the end of the fifth measure, the first violin leaps down to the lower octave.
Other
than this, the sixth measure is also largely the same, but at the very end, the
lurch
toward B major is diverted, and the buildup lands on the “dominant” harmony in the
home key.
6:11 [m. 102]--Theme 2. The entire transition passage based on Part 1 is omitted.
Theme 2 is stated in the home key of G major. It is now given to the first viola
instead of the first cello. The other instruments largely maintain their previous
roles from 1:19 and 3:25 [m. 33]. The first violin has the leaping decoration, the
second cello the solid bass. The plucked two-note descents are now in the second
violin and second viola. The first cello plays in the rhythm of these, doubling
the second cello bass an octave above.
6:22 [m. 107]--Analogous to 1:31 and 3:37 [m. 38]. The scoring is changed. While
the second violin still has the thematic material, it is skeletal in nature.
Downward
arpeggios are plucked. The two-note plucked figures, now repeated notes, are in
the two violas and second cello. The first violin still has the scale descents.
The “faltering melody,” however, is passed to the first viola, which bows it. The
second violin continues with plucked arpeggios. The climactic plunging descent is
scored largely as in the exposition.
6:35 [m. 112]--Analogous to 1:42 and 3:49 [m. 43]. The bottom now “drops out” to
the note F-natural. The scoring is similar to the exposition, except that the
arching
figures that were in the first cello are now in the first viola. The suggested key
is C major, and the “colorful” chromatic note is A-flat.
6:42 [m. 115]--Analogous to 1:50 and 3:57 [m. 46]. The faltering melody is in the
first violin, as in the exposition, but the scales are in the second violin instead
of the first viola. The first cello now participates in the plucked notes. The
climactic plunging descent is again very similar, but the second violin and first
viola again reverse roles and the second cello does not participate. The second
viola and first cello are plucked, making it less assertive than before. G major
is reasserted.
6:49 [m. 118]--Now something unexpected happens. The previous transition, either
to the exposition repeat or to the development, is replaced by an extension of the
plunging descents. Two more are played, over a bass in the second cello that
descends
by half-steps, building on the drop from F-sharp to F-natural heard before. In
these
descents, the first violin is the only instrument playing the scales. All the
other
instruments are bowed except the second viola, who plays plucked chords. The first
viola also plays chords instead of arpeggios, but they are bowed. In the first
descent
of the extension, the first violin begins a third lower, and the suggested key is
D minor. In the second, the first violin reaches high, above where it was before,
and the suggested key is C minor.
6:54 [m. 120]--Transition to Coda. The home key of G is again asserted, but it is
the minor-key version. The violins meander narrowly, supported by the second cello
bass. The second viola continues its plucked chords, supported by the first cello.
The first viola meditates on the downward-arching figures. After two measures,
there is another harmonic shift, toward the “Neapolitan” chord, A-flat major.
Finally,
the violins introduce more new material, an expressive harmonized phrase that, for
the first time, introduces “straight” rhythm (in the form of “duplets”)
superimposed
on the triple-division based 9/8 meter. Against this, the first viola continues
its arching triple-division figures. G major is once again established.
7:07 [m. 125]--The meditation is interrupted by the sudden return of the last
plunging
descent from the extension. It now begins on the downbeat, and is extended by a
full third of a measure, resulting in a more precipitous plunge. The second viola
and first cello take the bow here. The meditations follow, with the narrow
meanderings
and arching figures, but the roles are reversed. The violas and cellos take over
on the former, and the violins, second followed by the first, play the arching
figures.

7:18 [m. 129]--The expressive “straight” phrase follows in the second violin, with
both violas now playing the undulating arpeggios. It is now greatly extended,
forming
the basis of a buildup toward the coda. The first violin soars above it, and the
cellos play a smooth, steady bass under the undulating violas. The second violin
melody, still remaining in straight “duplet” rhythm, breaks into a trill, gradually
increasing in speed. The buildup merges into the large coda in faster tempo.
CODA – Animato
7:32 [m. 135]--The coda begins with a fugue-like passage similar to the beginning
of the development section, but the key is centered on G major and its “dominant,”
D major, from the beginning. The second violin begins first with the tremolo,
doubled
below by the plucked second viola. After two measures, the first violin, doubled
by the plucked first viola, comes in above while the seconds continue with
figuration,
then slower leaping gestures.
7:40 [m. 139]--The cellos enter, the first in tremolo, the second plucked an octave
below. The upper instruments continue their figuration and leaps, the violas still
plucked. After one measure, the cellos drop out, and the upper instruments
suddenly
drop in volume. They attempt to restart the theme again. This two-measure
sequence
is then given again, this time veering toward A minor. The cellos again enter with
a surge of volume, then drop out as the upper instruments become suddenly hushed.

7:48 [m. 143]--The first violin leads out of the sequence with an extension of its
figuration, focusing on downward-arching patterns. The second viola and first
cello
briefly drop out. The second violin, first viola, and second cello provide leaping
support, the latter two still plucked. The key moves through E major and D major.
The second viola and first cello re-enter as the volume builds. Both violas and
the second cello take their bows. The key touches on C major, then strongly moves
back home to G major. At the top of the buildup, all instruments except the second
cello join in the tremolo motion.
7:56 [m. 147]--All six instruments, including the second cello, now play the
tremolo
in a grand sequence based on the opening theme. They move steadily upward, one
step
each in the first three measures. In the fourth measure, they shoot up even
faster.
The cellos abandon the tremolo and propel the other instruments forward with
powerful
three-note descents using a fast long-short (dotted) rhythm. The continuous upward
motion has shifted the key to the distant F major, a whole step below the main key,
and a most unexpected arrival point. This arrival on F is delayed, causing great
anticipation, which is only heightened when the cellos expand their rapid dotted
rhythms to a slower descent in the regular 9/8 flow.
8:08 [m. 153]--The music is suddenly quiet, and a series of exchanges in pairs of
instruments using the repeated-note tremolo follows, similar to the passage at 4:42
[m. 66]. Again, there are two waves of three descending alternations, and the
first
is played in thirds. This time, the first violin is paired with the first viola.
On the first alternation, they are joined by the second violin. The first two
alternations
are with the second viola and first cello. The third is with the two cellos. This
“wave” moves from F major to C major.
8:12 [m. 155]--The second “wave” is in octaves, again with the first violin and
first
viola leading. The first violin plays broken octaves instead of repeated notes on
the first two alternations. The “following” instruments are second violin and
second
viola, then second violin and first cello, and finally the two cellos (with the
second
plucking its last note instead of playing the tremolo). This even quieter wave
remains
centered on C, but shifts to the minor.
8:16 [m. 157]--The first viola, with downward-arching figures supported by plucked
notes in the second cello, leads into a return of the second part of Theme 1, the
“main melody.” This lead-in measure remains in C major, but when the violins enter
in octaves with the melody, the key quickly moves back home to G. The violins are
followed and harmonized by the second viola and first cello, also playing in
octaves.
 The theme blossoms upward, building in volume. The first viola continues its
faster
figuration, then expands to wide arpeggios, and the second cello continues its
plucked
bass foundation.
8:24 [m. 161]--The previous passage is presented again with new scoring, beginning
quietly. The first viola is joined by the second violin in the lead-in measure,
and the second viola, bowed, plays the bass support, doubled above by the first
violin.
When the melody enters, it is in unison from the cellos, and they are followed by
the violins in octaves, a sort of role reversal from the previous statement. The
second violin leaves the faster figuration to the first viola, and the second viola
quickly takes over for the second cello, passing the pulsing bass to the latter
instrument.
Again, there is a joyous buildup.
8:33 [m. 165]--The first cello takes the lead in an exultant continuation,
harmonized
by second violin and second viola. The first viola continues its faster
figuration,
then quickly moves to an oscillation, where it is joined by the second viola. The
first violin joins the first cello melody an octave above.
8:37 [m. 167]--At the climax, the opening tremolo figures return in second violin
and first viola, and they are quickly joined by the first violin and second viola.
The cellos, in octaves, begin a leaping bass accompaniment. After two measures,
the two violins alternate on the familiar downward-arching figures, supported by
isolated chords. After two alternations, the violas support them with tremolo
chords.

8:45 [m. 171]--In the final peroration, all instruments, at first using the
familiar
mildly syncopated rhythm from the opening tremolo melody, zigzag downward in
unison.
The second violin and the violas use the tremolo, but the first violin and the
cellos
do not, making their leaps move forceful. All six instruments then stall on a G-D
alternation before landing on a unison downbeat G. This is followed on the upbeat
and the last downbeat by two punctuating G-major chords with rich double and triple
stops.
8:57--END OF MOVEMENT [174 mm.]
END OF SEXTET

BRAHMS LISTENING GUIDES HOME

THREE SACRED CHORUSES (GEISTLICHE CHÖRE) FOR FOUR-VOICE WOMEN’S CHORUS, OP. 37
Recording: Women of the North German Radio Chorus, conducted by Günter Jena; Edith
Mathis, Ann Murray, soloists (No. 3) [DG 449 646-2]
Published 1866.

Many of Brahms’s early choral works stem from his directorship in the 1850s of the
women’s choir in Hamburg and the choral society of Detmold. For the former, he
composed
the Ave Maria, Op. 12, the four songs with horns and harp, Op. 17, the setting of
the 13th Psalm, Op. 27, the twelve short secular choruses of Op. 44, several
folksong
arrangements, and two of these three curious choruses for four-voice unaccompanied
women’s choir. They were performed by the Hamburg choir in 1859. The last one,
which he composed later, was only performed after Brahms was established in Vienna.
Along with the Ave Maria, these are his only published settings of Latin texts.
 At least for the first two choruses, the opus number is very deceptive, as they
may have been written as early as 1856. They were composed as part of an
intellectual
exchange between Brahms and his friend Joseph Joachim of contrapuntal exercises,
specifically the writing of canons. Canon is a form of direct imitation between
voices that is similar to the simpler “round.” All three choruses are based on
canons
of some complexity. These first two choruses sound like the exercises they were,
but Brahms was happy to use them to provide something with sacred texts for his
beloved
women’s choir to sing. They clearly show his immersion in the choral and
contrapuntal
writing of the Renaissance, particularly that of Palestrina. They evoke this style
while delving, as Renaissance composers also did from time to time, into dissonant
harmonies dictated by the canons. When Brahms published them with the later and
more substantial Regina coeli, he even initially included Latin descriptions of the
canonic techniques used in order to further the idea of archaism in the
compositions.
In the first, the inscription was “Canone per arsin et thesin, et per motum
contrarium.”
This describes a close canon where one voice enters on a strong beat and the other
follows on the next weak one, moving in the opposite direction. The fact that
there
are two of these canons at the same time makes it even more difficult to hear,
since
all four voices tend to move at the same time. The second chorus was accurately
described
as “Canone Resoluzione in 4ta, in 5ta, in 8va,” or a canon at the fourth, fifth,
and octave. Indeed, this piece follows the formula closely, with the three voices
continually following at a fourth, fifth, and octave below the top voice. The
minor
key contrasts with the F major of the outer choruses. The final portion, which
seems
to evoke the further Renaissance practice of block choral singing, seems somewhat
“tacked on.” The final Regina coeli, which may have been composed as late as the
early 1860s, sounds much more like a performance piece than do the other two. It
employs two soloists who sing in a very audible canon in contrary motion
throughout.
The chorus initially simply employs “Alleluia” interjections outside the canon,
but then it has its own very clear section of canon, and finally somewhat joins the
main canon in the final “Alleluia.” A joyous and pleasing piece, the Regina coeli
is of the same compositional caliber as the contemporary and masterful Op. 29
motets.
Here, as elsewhere in Brahms’s writing for women’s chorus, particularly at
cadences,
the second alto parts tend to be very low, outside the range of many altos. This
has something to do with the implications of the canonic writing, but more to do
with Brahms’s confessed difficulty conceiving harmonies without the solid
foundation
provided by the low notes. Interestingly, each chorus is nearly double the length
of the previous one (18, 36, and 76 measures respectively).

Note: Links to English translations of the texts are from Emily Ezust’s site at
http://www.recmusic.org/lieder.
For the most part, the translations are line-by-line, except where the difference
between Latin and English syntax requires slight alterations to the contents of
certain
lines. Note the textual differences in the link for Chorus #2. The Latin texts
(included here) are also visible in the translation links.
IMSLP WORK PAGE
ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck--Note that the
alto clef is used for the alto parts. The treble clef notes have been written into
No. 1.)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke)
ONLINE SCORES FROM THE CHORAL PUBLIC DOMAIN LIBRARY (Choral Wiki):
Complete
No. 1: O bone Jesu
No. 2: Adoramus te, Christe
No. 3: Regina coeli

1. O bone Jesu (O gracious Jesus). Liturgical antiphon. Moderato espressivo.

Metric
double canon in contrary motion. F MAJOR, Cut time (4/2).