7:55 [m.

113]--With another leap up against octave motion in the piano bass, along
with steadily building volume, the cello makes the shift to F major. At this
point,
the rocking motion in the piano right hand becomes wider and changes to full
chords,
some with colorful chromatic notes. The piano bass quickly establishes another
“pedal
point,” now on F, and the cello utilizes a yearning figure from the main theme to
further establish F as the new key center. The intensity builds to a climax.
8:06 [m. 118]--At the climax, the piano, in full harmony with leaping bass, takes
over the yearning figures just played by the cello. The harmony freely shifts
between
major and minor. The cello now begins a new and powerful motion in wide downward
leaps from a high F down two octaves to a low F. These leaps are decorated with
grace notes, creating arpeggios. These maintain the harmony on F, but also shift
between major and minor, following the piano. The climax is sustained until both
instruments reach an arrival point.
8:25 [m. 126]--The arrival point is a huge statement of Theme 2 in F minor, which
wins out over major. The piano, fully harmonized, leads the initial canon in both
hands, and the cello follows in its low register. The piano continues with the
passionate
melody and moves to the expected cadence on the “dominant” (C major), with the
cello
adding wide upbeat figures, including an emphatic triple stop at the end of the
phrase.

8:42 [m. 134]--Suddenly quiet, a harmonically adventurous version of Theme 2

begins,
again with the piano leading. The piano seems to return to F, major this time,
while
the cello line appears to outline C minor. The canon is now merely rhythmic, as
the notes and intervals are different in piano and cello. The piano reaches a
descent
in double thirds in both hands while the cello has an isolated plucked note. This
appears to move to G minor. The “non-canon” version of Theme 2 begins again, with
both instruments appearing to linger on the “dominant” harmony in C major (the
expectant
“seventh” chord, now on G).
8:57 [m. 141]--Re-transition. A cadence is averted, and the piano right hand
begins
a series of descending arpeggios in triplet rhythm on colorful and mysterious
“diminished
seventh” harmonies. The right hand plays bass notes leaping up to “diminished”
chords,
but the combination of these chords with the bass notes results in more stable
“dominant
seventh” chords. These move down the circle of fifths, from E to A to D.
Meanwhile,
the cello plays descending lines. The fourth bar is a repetition of the third one,
except that the piano left hand joins the cello line instead of playing the bass
note leaping to the chord.
9:06 [m. 145]--The piano bass establishes a low “pedal point” on B, the “dominant”
note that prepares for the return of E minor, the home key. It holds a low B then
leaps up an octave on the upbeat. The right hand plays a wide arpeggio, still in
triplet rhythm and still on a “diminished seventh,” and stays on this harmony. The
cello fills in between the piano bass motion by playing its own plucked descending
octave on the second and third beats of the bar. After three bars, the right hand
arpeggio begins an arching motion in the treble and the cello drops its plucked
octaves.
9:14 [m. 149]--The cello plays a mysterious minor-key version of the closing
lullaby
theme. The piano continues its pattern with the pedal point and the arpeggios, but
the arpeggios change harmony with the melody. The lullaby tune appears to begin
in B minor before changing to E minor, but it avoids a cadence. After the first
phrase, the piano right hand takes over the melody in octaves. The triplet rhythm
moves to the left hand, but the arpeggios now tumble down the keyboard. The low
“dominant” pedal is maintained on the downbeats. The cello adds slower lines
beginning
off the beat. The melody still avoids a cadence.
9:33 [m. 157]--The melody stalls on the fourth bar. The left hand arpeggios slow
down to a straight rhythm, and the right hand is reduced to descents in thirds.
The slower piano arpeggio turns around and ascends up the keyboard. The cello line
descends against it, leading into the return of Theme 1 in E minor.
RECAPITULATION
9:48 [m. 162]--Theme 1, Part 1. The cello melody is as it was at the beginning and
at 3:32, but the piano right hand adds melancholy descending arpeggios beginning
after the downbeat. The left hand retains a vestige of the former block chords.

10:09 [m. 170]--Theme 1, Part 2. The cello melody continues as at 0:25 and 3:55
[m. 9]. The intensity builds as before. The piano right hand continues with the
decorative descending arpeggios. These become shorter when the cello reaches its
highest note. In the winding cello descent that follows, the piano adds a longer
descending arpeggio, extending into the first measure where the cello had
previously
been exposed. The left hand plays the dissonant “diminished seventh” chord that
had been rolled here before.
10:36 [m. 182]--Theme 1, Part 3. Here neither instrument has changes from 0:53 and
4:22 [m. 21].
11:00 [m. 194]--Transition. A very subtle change brings the transition where it
needs to go in order for the recapitulation to end in the home key instead of in
B. Against the held cadence chord in the piano, the cello moves down to C instead
of up to G. The piano motion following this is higher than the cadence chord
rather
than lower, but it otherwise follows the pattern. These changes cause the key to
pivot to F major (and minor) instead of C. From that point, the transition follows
corresponding to 1:18 and 4:47 [m. 33]. Because it is higher, the right hand takes
some of the harmonic notes along with its rippling triplets. The cello octaves,
however, are actually able to be set lower because the low notes are in the
instrument’s
range.
11:21 [m. 203]--Pedal point on F and buildup with stepwise arching pattern in
cello,
analogous to 1:38 and 5:08 [m. 42].
11:37 [m. 211]--Analogous to 1:54 and 5:25 [m. 50]. The pedal point is now on B
(the “dominant” note in E minor or major), and the arpeggios lead to the second
theme,
now in the home key of E minor. The first rising cello arpeggio on B is set an
octave
lower than in the exposition, but then moves back up.
11:53 [m. 219]--Theme 2. Now in E minor, analogous to 2:09 and 5:39 [m. 58].
Canon
and passionate melody, with the cello noticeably higher than in the exposition.
12:10 [m. 227]--Analogous to 2:26 and 5:56 [m. 66]. The piano right hand and the
cello essentially reverse roles through this passage with the murmuring bass
motion.
At the outset, the cello includes double stops to approximate the piano harmonies.
At the point where the piano began to play in octaves in the corresponding
exposition
passage, the instrument is also set in octaves here on the material that had been
played by the cello. At the cadence motion and brief canon, the cello and piano
right hand return to their original material.
12:45 [m. 240]--Closing material in E major. The key signature changes to the four
sharps of E major, and the major key remains in effect until the end of the
movement.
Lullaby-like melody in piano right hand with bass fifth canon in piano bass and
cello, analogous to 3:00 and 6:29 [m. 79]. The bass in both instruments is set
lower,
and the piano bass adds resonant octaves.
12:55 [m. 244]--Cello statement of lullaby melody in E major, analogous to 3:10 and
6:39 [m. 83]. The cello makes an octave shift upward halfway through the
statement,
and the piano bass abandons the low E octave. It settles on broken octaves on B,
the “dominant” note.
13:09 [m. 249]--The transition from 3:24 and 6:53 [m. 88] is transformed into a
closing
phrase for the melody that reaches a full cadence on E. This corresponds to the
beginning of the coda. In this closing phrase, the cello continues, moving back
to its middle register and settling down with great warmth into the cadence and the
following coda.
CODA
13:19 [m. 253]--At the cadence, the cello takes over the low rocking motion on a
fifth. The piano, in full harmony, plays the opening of the main theme in a
major-key
version colored by chromatic notes, including some from the original minor-key
version.
It is played first in the high register, then an octave lower, dolce. Following
this, the rocking motion, now on octaves, moves to the piano bass. These broken
octaves work upward chromatically, supported by chromatic harmonies played by the
right hand in the tenor range. The cello, meanwhile, echoes the thematic fragment
in long notes that expand to a larger descent over the piano motion. This is
rounded
off by a yearning upward leap and a faster descent to a cadence.
13:43 [m. 262]--In a parallel passage, the rocking motion now moves to the piano
right hand, harmonized in thirds. It is very chromatic, and it leaps by octave or
sixth. The left hand, in octaves, plays the same opening gesture from Theme 1,
with
the second statement an octave higher rather than lower. The cello, having paused
for this, now enters. The piano bass takes over the descent in long notes that the
cello had played. The rocking thirds in the piano right hand begin to descend with
the bass, and the cello line consists of slurred half-steps. The original scoring
returns at the end, with the yearning leap in the cello.
14:06 [m. 271]--The yearning leap with descent leads into an extension based on
that
gesture. A wide leap up a tenth in the cello turns around to make a very long
descent,
all over rocking octaves in the bass and a steady descent, also in octaves, in the
right hand. The right hand harmonizes the cello in thirds. Finally, after a small
swell, Brahms settles back into the last two bars of the warm cadence that preceded
the coda.
14:29 [m. 279]--The final cadence arrives on a very subdued pianissimo. The cello
plays the third of the chord, G-sharp. The piano right hand, in the tenor range,
completes the chord with the open fifth E—G. The left hand continues the rocking
octaves, which now move down to the low E. The measure is repeated twice for a
total
of three statements. On the third and last of these, the piano bass holds the
octave.
14:50--END OF MOVEMENT [281 mm.]

2nd Movement: Allegretto quasi Menuetto (Minuet [Scherzo] and Trio). A MINOR, 3/4
time.
MINUET [SCHERZO]
0:00 [m. 1]--Part 1. The piano leads into the minuet with a rhetorical
introduction
in triple octaves beginning on an upbeat descent. The cello enters on the next
upbeat
to play the actual minuet melody. It is characterized by a long-short-short-short
rhythm, lilting upward leaps, an arching shape, and a melancholy mood. It becomes
harmonically unstable as it works up and back down. The piano accompaniment, which
is largely doubled in octaves between the hands, with both in the high treble, uses
the rhythm of its introductory figure for its characteristic falling short notes
and repeated (or descending) longer notes.
0:13 [m. 9]--The cello melody suddenly arrives on a shape like the brief piano
introduction
figure. The piano itself changes to block chords arriving on preparatory
“dominant”
harmony. The cello repeats the introduction figure, then leaps down an octave to
twice emphasize the “dominant” arrival. The harmonic motion here has a “Phrygian”
modal character, with half-steps moving down to the dominant note E. The length
of the whole melody is irregular unless the introductory measure is counted,
resulting
in 14 bars.
0:22 [m. 15]--Part 1, varied repeat. The instruments reverse roles. The cello,
reasserting the A-minor key, plays the rhetorical introduction. The piano now
plays
the minuet melody, adding bass support in octaves or fifths on the downbeats and
upbeats, as well as harmonies from the previous accompaniment. The cello,
meanwhile,
plays the falling lines, now extended to four short notes landing on a longer
upbeat.
After five measures, the familiar pattern of two short notes followed by two
longer
notes briefly returns for two. At the same time, the piano bass octaves stop
resting
on the middle beat.
0:35 [m. 23]--The return of the introduction figure with Phrygian motion to the
“dominant”
remains in the piano. The cello here simply contributes to the supporting
harmonies
along with the piano bass, which is now in active single notes. The piano right
hand does not leap down an octave while reiterating the arrival.
0:44 [m. 29]--Part 2. The piano begins the introduction figure again in triple
octaves,
but changes the note C to C-sharp, creating a brief turn to A major. When the
cello
enters, it repeatedly plays the opening of the minuet melody over the expected
falling
short notes and repeated long ones in the piano, which is again mostly doubled in
octaves. The figure moves harmonically and melodically in a sequence before an
arrival
on C minor. There, the cello reaches up in a short arpeggio, then a longer one
while
the piano continues its falling patterns.
0:58 [m. 38]--With the establishment of C minor as a temporary key center, the
piano
begins a graceful (grazioso) decorative melody with close harmonies over wide
arpeggios.
The cello adds a descending chromatic line leading to its own imitation of the
decorative
piano melody. At that point, the piano reverses roles and imitates the cello’s
descending
chromatic line. With each instrument imitating the other, the counterpoint becomes
complex and C minor begins to mix with C major.
1:10 [m. 46]--The piano begins to build with the melody, now beginning in C major,
and the cello abandons the imitation, turning instead to the introduction figure.
The left hand continues to anchor the harmony with wide arpeggios. The harmony
becomes active, turning away from C. Two harmonies, G minor and a “dominant” chord
on E (preparatory to the return of the home key center, A) begin to fight for
predominance.
The cello, meanwhile, plays rising octaves. The piano melody now becomes more
urgent,
with the “dominant” harmony struggling to overcome G minor and the cello, in its
low range, helping with that effort. It finally breaks through on a trill-like
motion
in piano octaves.
1:28 [m. 59]--The “rounding” typical of the minuet or scherzo form arrives with the
return of Part 1 in A minor. The trill-like motion melts into the downbeat of the
introductory gesture, and the cello begins the original minuet melody. The falling
figures in the piano are more embellished, with the left hand continuing the right
hand descent and the notes adding harmonies in thirds and fourths. At the melody’s
sixth and seventh bars (seventh and eighth counting the introduction), the cello
line is changed to allow it to arrive at home on A instead of on the “dominant.”
A mild surge in volume underscores the alteration.
1:39 [m. 67]--The cello, as expected, turns to the introductory gesture and states
it twice, landing on A. The piano accompaniment is changed, as the right hand
plays
chords after the beats and is led by the left hand. Then, in a cross rhythm, the
cello further fragments the introductory melody, extracting a two-beat unit and
using
it in a downward sequence. Three statements create three implied 2/4 measures
against
two notated 3/4 measures. The off-beat right hand piano chords are highly
chromatic
and descend by half-step against a rising, detached line in the bass on the beats.
The following downbeat restores order.
1:49 [m. 74]--The piano has a last statement of the original introductory figure,
now played with rolled chords in the left hand and with plucked chords in the
cello.
To close the minuet portion, a final cadence is added two octaves lower in the
piano
with a faster repetition of the plucked cello chords.
TRIO (F-sharp minor)
1:55 [m. 77]--The trio section is set in F-sharp minor, the “relative” minor key
of A major, an oblique relation to the minuet’s A minor. Starting on the upbeat,
the last beat of m. 76, the piano has a very brief prelude introducing its
figuration
that will prevail throughout the trio section. The smooth melodic line will be
decorated
with a lower note after the first half of each beat. The melodic notes on the
second
half of the beat do not have the decoration. This lower note usually stays static
for at least a full measure. Here in the prelude, there are only two halting
figures.
They are very clearly identifiable with the first four notes of the minuet’s
introductory
gesture.
1:59 [m. 79]--Part 1. The introductory figure is used to begin the flowing melodic
line. The cello doubles the piano’s top line, and the lower-note decorations
continue
as introduced in the “prelude.” The left hand has wide rising arpeggios following
the rhythm of the melody. After two melodic “waves,” each of two measures, there
is a cross-rhythm with three groups of four melodic notes played over two measures,
creating three implied 2/4 measures. The left hand arpeggios confirm this. The
music also builds at this point, and it turns to the major key. After this, the
rhythmic order is restored over three measures that settle down. These lead
smoothly
back into minor and to a restatement of the halting “prelude,” with the left hand
completing its arpeggio on the first gesture and the cello continuing to double the
top right hand line.
2:19 [m. 79]--Part 1 repeated.
2:39 [m. 90]--Part 2. The first section of Part 2 has a similar structure to Part
1, except that it shifts at the outset to A major, the “relative” key to F-sharp
minor, instead of to the home major key. The cross-rhythm is present in the
expected
place. The passage remains in A major until the final “settling” measures, where
it moves back to F-sharp minor. The “prelude” figures at the end are changed. The
first one has a higher upbeat approach, and the second one leaps to a lower
downbeat
after the higher upbeat, creating a larger arc. On this second prelude figure, the
cello stops doubling and begins a wide rising arpeggio.
2:58 [m. 101]--The right hand piano figures now no longer double the cello. At
this
point, after the upbeat, there is another cross-rhythm with groups of four melodic
notes (confirmed by the left hand piano arpeggios). The right hand figures become
fragmented, placing a rest on the weak “beat” of the cross-rhythm. As before,
there
are three implied 2/4 measures. The tension builds across this passage, and then
the cello restores order with a triplet figure and a cadence. The piano figures
now create a counterpoint in contrary motion to the cello melody. After the
cadence,
the cello moves back up, leading into a repetition.
3:06 [m. 105]--The passage with the cross-rhythm, triplet figure and cadence is
repeated.
The cello and piano left hand are the same, but the piano right hand has major
changes.
Its motion is continuous, without the cross-rhythm rests, and for the only time,
it leaps up rather than down to its off-beat decorations. Throughout the trio
section,
it had previously jumped down to these. This heightens the tension.
3:13 [m. 90 (last beat of m. 108a)]--Part 2 repeated. First section largely in A
major, as at 2:39.
3:32 [m. 101]--Cross-rhythm, triplet figure and cadence, as at 2:58.
3:40 [m. 105]--Repetition with changed piano right hand, as at 3:06.
3:46 [m. 108b]--Transition to minuet reprise. In the second ending, the piano
continues
after the cadence, introducing a rippling triplet rhythm that replaces the off-beat
decorations with a smoother undulation. The left hand continues its wide arpeggios
in straight rhythm. The cello repeats the triplet rhythm, stretching out the
cadence.
After the second sequence of the triplet rhythm, a mild syncopation leads to a
full
cadence on a low F-sharp. After being held for some time, this note descends by
half-step to E, the preparatory “dominant” for the minuet’s A-minor key. A rising
piano arpeggio leads into two slower anticipations of the first two notes from the
minuet’s distinctive introductory figure. These seamlessly lead into the reprise.

MINUET [SCHERZO] REPRISE

4:04 [m. 1 (last beat of m. 115)]--Part 1. Opening melody with piano introduction
beginning on the upbeat, as at the beginning.
4:17 [m. 9]--Motion to “dominant” with introductory figure and “Phrygian”
character,
as at 0:13.
4:26 [m. 15]--Part 1, varied repeat. Piano statement of opening melody, as at
0:22.

4:39 [m. 23]--Return of introduction figure and motion to “dominant,” still in the
piano, as at 0:35.
4:48 [m. 29]--Part 2. Motion to A major and C minor, as at 0:44.
5:02 [m. 38]--Grazioso melody in C minor, as at 0:58.
5:14 [m. 46]--Buildup, then competition between G minor and “dominant” of A minor,
as at 1:10.
5:32 [m. 59]--Return of Part 1 with more active piano remaining in the home key,
as at 1:28.
5:43 [m. 67]--Return of introductory figure in A minor, then cross-rhythm, as at
1:39.
5:54 [m. 74]--Last statement of introductory figure with rolled and plucked chords,
then final cadence, as at 1:49.
6:02--END OF MOVEMENT [115 (+76) mm.]

3rd Movement: Allegro (Combination of Fugue with Sonata form). E MINOR, 4/4 time.

EXPOSITION
Fugue Exposition (Theme 1, Part 1)
0:00 [m. 1]--The first of the three “voices” to present the fugue “subject” is the
piano left hand. The “subject” begins with a call to attention in the form of a
descending octave. The right hand supports this, and this descending octave is
actually
spread over four octaves of the piano since both hands play it in octaves. After
this, the left hand takes over with the subject, which is mostly in triplet rhythm,
to the extent that the meter of much of the movement seems to be 12/8 rather than
4/4. The theme contains upward runs, downward leaps, and syncopated notes. It is
four bars long and ends with an arching run.
0:08 [m. 5]--The cello is the next “voice” to play the subject, which it does in
the expected “dominant” key of B major (the typical placement of the second entry).
At the same time, the piano left hand continues by introducing the first
“countersubject,”
a jagged figure in “straight” 4/4 rhythm. It has a descending shape, is played
with
detached notes, and begins on an off-beat. The jagged figure is played twice, then
used to introduce a more continuous jagged motion, now moving upward. The conflict
between straight and triplet rhythms helps to differentiate the subject from the
countersubject.
0:16 [m. 9]--Shifting back to the home key, the final fugue “voice” enters, the
right
hand of the piano. It plays the subject, playing the opening downward leap with
octave doubling, then continues as had the left hand. The cello now plays the
first
countersubject with the jagged figures, with some minor alterations, and the piano
left hand introduces a second countersubject. It has distinctive rising leaps up
to trills, then more octave jumps.
Continuation of Fugue (Theme 1, Part 2)
0:24 [m. 13]--In a brief “episode,” elements of the subject and countersubject are
passed between the voices. The running triplets from the subject begin in the left
hand, then move to the right hand and the cello in harmony, and finally are left
to the right hand alone. The leaping octaves from the countersubject material are
heard first in the right hand and cello, then in the left hand alone, and finally
in both the left hand and cello. The key touches on the “dominant” B major again
before moving back home.
0:29 [m. 16]--In another full statement of the subject and both countersubjects,
the piano left hand has the subject again, in the home key as before. But it is
played an octave lower than the first statement. The first countersubject, with
the jagged lines, is in the right hand and played in octaves, and the second
countersubject,
with the leaps up to trills, is played by the cello.
0:37 [m. 20]--In another transitional “episode,” the subject is absent, but both
countersubjects are present. The right hand plays the second one, with the leaps
and trills, in octaves. The left hand plays a line in rhythm with this, but in
contrary
motion. The cello has the first countersubject, with the jagged lines. It begins
in the “dominant” key, B major, then shifts up to C-sharp major. Then it stalls
with syncopated trills in the piano against continuous jagged figures in the cello,
eventually reaching “dominant” harmony again. But the cello plays a huge
descending
octave on the note C-natural, disrupting the fortissimo arrival point.
0:48 [m. 26]--Both instruments are held over as the measure begins. The piano
plays
doubled thirds in both hands, an octave apart. These thirds are in triplet rhythm
and based on the fugue subject. The cello plays descending octaves on C and B-
flat.
The key is a sort of mixture of E minor and the “dominant” harmony of F major,
implied
by the cello notes and B-flats in the piano runs. The piano, still in octaves
between
the hands, breaks away from the thirds and becomes more excited, finally
introducing
F-natural and a brief suggestion of the F-major key. The active cello octaves
narrow
to fifths, and these, along with the ever more excited and syncopated piano, now
moving in contrary motion again, quickly move back to E minor.
0:58 [m. 31]--The cello uses a huge arrival on E minor to begin the subject again,
but it is varied after two bars, introducing large downward leaps and remaining in
the home key. The piano, again playing in octaves between the hands, introduces
the inversion of the subject, with downward moving triplets. To this, harmonies
are added, and both instruments arrive at one last large, emphatic E-minor cadence.

Transition from Fugue to Second Subject Group

1:06 [m. 35]--At this point, the fugue and the counterpoint begin to dissipate.
The cello and piano appear to reverse roles from the previous passage, with the
cello
playing the downward inversion and the piano playing the varied subject with the
hands two octaves apart. After two bars, however, both instruments seem to stall
in their motion and the volume abruptly drops to piano for the first time in the
movement. The cello plays longer descending notes against the continuing upward
triplets
in the piano. The volume quickly increases again over this measure.
1:14 [m. 39]--The cello now plays very wide leaps down and up in long half notes.
The piano triplets continue, introducing chromatic notes and then arpeggios that
alternate with the prevalent stepwise motion. The piano bass arrives on the note
C, changing to broken octaves in a straight rhythm while the right hand continues
in triplets under a broad descending cello line. The right hand triplets, along
with the bass C (the important “seventh” of the chord), form the “dominant” harmony
in G major, where the second subject material will be set. G major is the
“relative”
major key to the home key of E minor. The volume again rapidly diminishes here.

1:24 [m. 44]--As the piano bass continues in broken octaves on C, the right hand
and the cello elaborate on the descending inversion of the fugue subject, with the
cello leading the right hand in a very close imitation. It is actually a canon at
the distance of a ninth (expanded second). In the context of a fugue, this close
imitation is called stretto. After a couple of bars, the piano right hand and the
cello exchange roles, and the cello follows, but the distance of imitation remains
a ninth. The piano bass octaves in straight rhythm continue, moving narrowly away
from C with the implied harmony of the canon. The volume builds again before the
imitation breaks and the right hand emerges into a trill. Both the cello and right
hand then slow down and become quiet, leading into the second subject group. The
piano bass octaves have reached D, the “dominant” note in G major.
Second Subject Group--G major
1:43 [m. 53]--Both instruments are marked tranquillo. The cello starts with wide,
undulating triplet arpeggios. The piano left hand plays fragments derived from the
first countersubject, indicating that the fugue elements are not entirely absent.
When the right hand enters, it is also with triplet arpeggios, the highest notes
forming a hidden melodic line. After two bars, the cello breaks into a passionate
descending melody in straight rhythm, the piano right hand works downward, still
in triplets, and the left hand moves down to low broken octaves in straight rhythm.
The cello melody twice stalls on the second beat of a repeated measure that makes
a brief turn to B minor. When it resumes its descent, the right hand harmonizes
it with another line embedded within the triplets.
1:57 [m. 59]--The cello resumes a more static oscillating motion in triplets. The
countersubject fragments are played by the piano in B minor, first in the right
hand
in octaves, with the left hand following in an inversion of the fragments. Jerking
back to G major, the cello then plays a jaunty version of the formerly passionate
descending melody, using a clipped long-short rhythm. Under this, the piano has
left hand octaves followed by off-beat right hand chords. The jaunty long-short
rhythm then passes to the piano right hand, which includes rolled chords, and the
cello plays the original longer lines.
2:10 [m. 65]--The melody, now carried by the piano with cello harmonies, again
stalls
on the second beat of the measure and appears to move to B minor. But the material
is now greatly extended, and the B-minor motion is averted by notes re-establishing
G major. After the fourth measure, a stronger syncopation crossing the bar line
is added. Then the melody obtains a new closing phrase. The piano carries the
first
statement as the cello continues to harmonize, then the cello takes the lead. The
phrase is extended and broken up, and the piano adds close chromatic harmonies in
its motion. Another passage of light syncopation leads into the final cadence on
G major, which coincides with the arrival of the development.
DEVELOPMENT
2:37 [m. 76]--Starting in G, where the exposition ended, the movement returns to
material from the fugue. The mood is quiet but agitated. The cello and piano
right
hand play the ascending triplets from the subject, with the cello leading and the
right hand following. In the piano bass are reiterations of the descending octave
that opened the subject. The harmony is unstable, and as the cello moves to longer
notes, it moves down a step, to F-sharp major. There, the two hands of the piano
play in imitation on the ascending triplets with the left hand leading. The cello
now has the descending octave. The harmony remains unstable.
2:50 [m. 83]--The hands of the piano come together, playing two octaves plus a
third
apart, continuing with the ascending triplet patterns. The cello continues to play
octave leaps, but now they ascend. The volume, which has been steadily building,
reaches a forte level as the harmony and the key make a strong motion to C minor.
The right hand leaps down so that the hands are an octave apart. The cello plays
strong, detached rising thirds in straight rhythm, always playing the first and
third
notes of the piano triplets heard against it. Both instruments work up, then back
down, moving to a powerful arrival point.
3:04 [m. 91]--The cello briefly drops out, and the two hands of the piano play
another
canon at the ninth (or stretto), inverting the direction of the triplets from the
fugue subject. It begins in C minor. The left hand leads the right, and the
octave
leaps, now ascending, are reinforced with doubling in both hands. In the third
measure,
the right hand compresses the imitation so that it comes at a closer distance. As
the canon breaks, there is another arrival in another key, this time D major.
3:11 [m. 95]--In the new key of D major, the volume suddenly becomes muted. New
material is now used, and it comes from the second countersubject, with the rising
leaps. The cello leads the piano, the hands of which are doubled an octave apart,
both playing in harmonies of thirds and sixths. The cello attempts to continue
with
this new material, but the piano, still in octave doubling, reintroduces the
triplet
rhythm, passing arching figures between the two voices of each hand. The key makes
another shift, this time to B minor/major, the “dominant” of the home key, E minor.

3:20 [m. 99]--The two hands of the piano begin another stretto canon at the ninth
similar to the one at 3:04 [m. 91], but it quickly breaks after two measures. The
cello then enters with the inverted triplets from the fugue subject. The hands of
the piano come together, two octaves plus a third apart, following the cello, which
leads in yet another stretto. At this point, the key has briefly moved back home
to E minor, but after four more measures, it is diverted away again. The mood is
now very agitated.
3:30 [m. 105]--Beginning in C-sharp/D-flat major (it is notated differently in the
cello and piano), the cello again leads the piano in the material from the second
countersubject, similar to the passage at 3:11 [m. 95]. The music is again
subdued.
The hands of the piano are again doubled an octave apart, and again play in thirds
and sixths. The harmony is very unstable, moving down from C-sharp to C and then
to B, which is again tentatively established as a preparatory “dominant.” The
cello
continues to lead the piano until both instruments stall and reach an intense
climax
with repeated leaps and syncopation, still over unstable harmony. The piano right
hand, richly harmonized, moves together with the cello ahead of the left, which
plays
octave leaps.
3:53 [m. 115]--Re-transition. The piano bass reaches B, which now clearly seems
to function as a preparatory “dominant.” It plays repeated broken octaves on that
note. The right hand and the cello, with the former leading, continue to play the
inverted downward triplets from the fugue subject in stretto. The key has actually
reached E minor, with the bass B preparing for a cadence there. After four
measures,
the broken octaves on B unexpectedly move to the right hand in a very high
register,
and the left hand plays the descending triplets in the tenor range, leading the
cello,
while continuing to reiterate a pedal point B in the bass. After two measures, and
quite unexpectedly, notes from the key of B major are introduced, and the harmony
actually shifts there. The preparatory “dominant” has artfully become the home
key.

RECAPITULATION
Second Subject Group--B major
4:08 [m. 123]--Things are “inverted” at the beginning of the recapitulation.
Instead
of beginning in the home key, it begins in the “dominant” key. It also begins with
the second subject, appearing in the dominant instead of the “relative” major key.
The second subject group is greatly abbreviated. The opening figures from the
first
countersubject are omitted, and the cello begins with the passionate descending
melody,
now more subdued. The piano accompanies with a pattern of off-beat chords in the
right hand following a rising line in the left, marked dolce. After two measures,
the right hand takes over the melody, but contrasts with the cello by using the
“jaunty”
long-short rhythm and lightly rolled chords. The cello plays a soaring line in
harmony
with the piano melody, continuing in smooth long notes.
4:16 [m. 127]--The melody “stalls” as expected and follows the pattern heard at
2:10
[m. 65], but it is cut off after five measures, and the closing phrase is omitted.
The cello line is slightly embellished from the former passage.
Reprise of Fugue Exposition (Theme 1, Part 1)
4:28 [m. 132]--Brahms’s art in using the second subject in B major to lead into the
reprise of the fugue is now made apparent. The first statement of the subject is
omitted, and the reprise begins with the second entry, which was in fact on B
major.
This makes the transition out of the second subject smooth. The pattern from 0:08
[m. 5] is followed, but the instruments are reversed. The piano left hand plays
the subject while the cello plays the first countersubject. Brahms indicates a
slightly
softer volume than the beginning.
4:36 [m. 136]--With this entry, the instruments are returned to their original
orientation,
and it is an exact reprise of 0:16 [m. 9], with the subject in the piano right
hand,
the first countersubject in the cello, and the second countersubject in the piano
left hand.
Continuation of Fugue (Theme 1, Part 2)
4:44 [m. 140]--Exact restatement of episode from 0:24 [m. 13].