1st Movement: Allegro (Sonata-Allegro form).

C MINOR, 3/2 time, with coda in cut

time [2/2].
EXPOSITION
0:00 [m. 1]--Theme 1. Ominous and agitated, but hushed, the theme shoots upward
in the first violin using a forceful long-short (dotted) rhythm, clearly outlining
the C-minor scale and arpeggio. The viola and cello begin an unsettled pulsation,
harmonized in thirds and also establishing C minor. The powerful ascent is almost
immediately interrupted by an equally striking downward leap. The theme continues
with two shorter ascents, also followed by downward leaps. The second violin
gradually
joins the first in a lower octave doubling. Already in the third measure, there
is a powerful crescendo. The short fragments are followed by four continuous
ascents,
each reaching higher as the cello and viola gradually slide down.
0:14 [m. 7]--The instruments, having attained forte, achieve a huge arrival in two
hammering chords, landing on the “dominant” chord of G major. After the second
chord
is released, the viola holds an octave G for another full measure, having quickly
receded in volume. Because of the broad triple meter, the measures are long, so
the held octave is full of tension. After this, there is another pair of short
chords,
much lower and much quieter, sliding chromatically through the chord of G-flat
major
and down to F major. Again, the viola holds an octave through the last beat of the
measure and then another full measure.
0:22 [m. 11]--The following passage could be seen as the beginning of a long
transition
or as the second part of Theme 1. It is a new idea in a new key. The F major of
the last chord is inflected to F minor, where the new idea is played. The first
violin has two similar expressive phrases, consisting of a gentle downward motion
followed by an expansive and upward reaching continuation in triplet rhythm. Under
it, the second violin and viola play distinct fragments of the Theme 1 material.
The cello holds slow-moving long notes. The second phrase moves toward C, but it
is C major and at first seems like a “dominant” in F minor.
0:30 [m. 15]--There is in fact a full motion back to C minor here, analogous to the
previous shift from F major to F minor. The preceding idea with two expressive
phrases
is now played in C by the second violin. The long notes are now played above, in
the first violin, and the Theme 1 fragments are in viola and cello. The end of the
second phrase goes toward G, as would be expected, but the note F-sharp is then
used
as the central note of a diversion in a three-bar extension. The cello plays the
rising line from Theme 1 while the second violin trails down with the new idea,
then
drops out and passes it to the viola. The viola and cello quietly break off. They
then play an isolated, tense, F-sharp, a seeming “dominant” in B minor.
0:43 [m. 22]--Transition. The viola and cello make a three-note descent that
definitively
moves back to C minor. Overlapping with this, the violins in unison (quickly
spreading
to octaves) charge upward in a scale motion. Under this, the viola and cello
immediately
begin an almost full statement of Theme 1, stating the first four measures without
alteration. In the second of these measures, the violins, having ended their
scale,
move to a feverish, hammering accompaniment. The first plays downward-arching
octaves
while the second pulsates on repeated chords.
0:52 [m. 27]--At this point, the viola and cello invert the direction of the fifth
and sixth measures of the theme, and the sixth is altered harmonically to introduce
the note C-flat and the chord of A-flat minor. The violins continue their
hammering
motion. After these two measures, the same material is passed to the violins in
unison, now played in its original direction. The viola takes over the pulsations
and the cello plays long, leaping bass notes. The A-flat-minor harmony gives way
to the related E-flat minor, and there the familiar hammering chords are played.
They are immediately repeated with the first violin a third higher, strongly
confirming
E-flat minor. The viola quickly emerges in angry upward-arching octaves.
1:02 [m. 33]--Theme 2 (E-flat minor). It is very agitated, but hushed. The
viola’s
arching figures contract from octaves and then expand, but the shape remains
consistent.
It is derived from the first violin figuration from the transition. Against it,
the second violin plays a descending arpeggio on the offbeats, resting between the
notes. It is then joined by the first violin, and they play another arpeggio in
harmony. The cello enters with a sustained bass line, and the violins move to
heavily
syncopated figures, still beginning on offbeats and using repeated notes. These
build to a widely arching harmonized line. This reaches high, builds in volume,
then recedes as it moves to an arrival on the “dominant.”
1:17 [m. 41]--The first violin takes over the arching motion, which now becomes
prominent
and moves upward. The arching intervals are narrow. The cello, meanwhile, takes
the offbeat descending arpeggios, which confirm E-flat minor over two measures,
supported
by harmonies in the two middle instruments. The pattern is then reversed, with the
cello playing the arching lines and the first violin the arpeggios. The harmony
shifts up a fourth, to A-flat minor. The viola takes over the arching line from
the cello in the second measure.
1:24 [m. 45]--The viola is the only instrument to play on the downbeat, sliding up
from its figuration. The other instruments enter immediately thereafter, in full
harmony on the syncopated figures in repeated notes, as the key abruptly shifts
down
a step to F-sharp minor. The second violin maintains the active arching motion.
The viola continues to slowly slide up against the agitated harmonies. After two
measures, the level is wrenched up again, now brightly emerging in A major
(“relative”
to F-sharp minor). There is a huge crescendo, and the first violin stalls on the
half-step G-sharp—A. This is hammered repeatedly as the other instruments play
sweeping
and overlapping upward arpeggios, forming rich harmony.
1:38 [m. 53]--The harmony suddenly and forcefully lurches to the “dominant” of E-
flat,
the key center of Theme 2. But now it is E-flat major, with only a few hints at
the former minor key. The arpeggios continue, shooting up in second violin and
viola,
then taken by first violin, while the cello provides a solid bass. The first
violin
then emerges into sighing, almost heaving figures in long-short rhythm while the
second violin continues to churn on the arpeggios and the viola has its own more
even “sighing” gestures.
1:44 [m. 57]--On an upbeat, the violins and viola suddenly come together in the
forceful
upward arpeggios. The cello, leaping up and down, introduces the long-short rhythm
again in the next measure, but the other instruments quickly take it up. This
happens
in a very close succession of second violin, then viola, then first violin. The
result is that the rhythm overlaps between the viola and cello playing long notes
on the main beats and the violins playing in syncopation halfway off the main beat.
All play the “heaving” figures, the violins in octaves. The key is now
unabashedly
major. Suddenly, the volume dies down, the first violin drops out, and the viola
pulsates in double stops off the beat, leaving the cello and second violin stalled,
the former leaping (with a brief minor inflection), the latter murmuring on the
overlapping
rhythms.
1:55 [m. 63]--Closing material (E-flat major). The first violin enters on the
upbeat
with a gentle line marked dolce and utilizing the chromatic note A-natural. The
other instruments all continue the figuration they have just established, and they
are all quite static, with slow harmonic motion. After two broad downward-arching
phrases, the first violin winds its way upward in faster notes. Strong syncopation
is introduced, with notes held over beats, and there are more chromatic
inflections.

2:04 [m. 67]--The accompanying instruments finally break their continuous motion
with two detached chords as the first violin plunges down in an arpeggio from its
high point. The other instruments briefly break, and the first violin is left
alone
as it works its way back up. It then again arches down and back up, but from a
lower
high point and incorporating minor-key inflections. The other instruments play the
gently punctuating chords (the second violin entering earlier), then drop out.
Having
reached a third (lower) high point, the first violin breaks into widely arching
figures
before arriving on a conclusive scale descent to E-flat. The other instruments
provide
a backdrop of sustained, slow-moving harmonies.
2:23 [m. 75]--The first violin drops out after its arrival, but at that point, the
cello suddenly plays the unmistakable opening gesture of Theme 1, including its
distinctive
downward leap. This entry attempts to assert E-flat minor, but it cuts off under
the harmony in second violin and viola. The cello then plucks out two thumps on
the “dominant” note of B-flat as the first violin, attempting to resist, again
plays
its conclusive descent in major. The pattern is repeated, with the cello again
making
the entry on Theme 1.
2:34 [m. 80, first ending]--The three-measure first ending (mm. 80a-82a) is
extremely
elegant in its motion back to the home key of C minor for the exposition repeat.
The downward leap of the cello’s Theme 1 entry is subtly expanded to a full
octave,
and G-flat is re-spelled as F-sharp. This, along with a new and flexible
“diminished
seventh” harmony, allows the cello to slide up to G for its plucked notes. G is
the “dominant” of C minor. The first violin plays its conclusive descent, but it
is changed from major to minor and moved down a third to arrive on C, an arrival
that coincides exactly with the return of the opening.
EXPOSITION REPEATED
2:42 [m. 1]--Theme 1 opening with rising scales, downward leaps, and powerful
crescendo.

2:52 [m. 7]--Hammering chords, held viola octave, and quieter chords, as at 0:14.
3:01 [m. 11]--Expressive new idea in F minor, as at 0:22.
3:08 [m. 15]--Continuation in C minor, then gradual trailing off to isolated F-
sharp,
as at 0:30.
3:22 [m. 22]--Transition. Theme 1 in low instruments with feverish, hammering
violins,
as at 0:43.
3:31 [m. 27]--Inversion of Theme 1 and motion to E-flat minor, as at 0:52.
3:41 [m. 33]--Theme 2 in E-flat minor. Agitated violin lines above arching viola
figures, as at 1:02.
3:56 [m. 41]--Figures passed between instruments in motion toward A-flat minor, as
at 1:17.
4:03 [m. 45]--Agitated harmonies moving to A major as first violin stalls on half-
step,
as at 1:24.
4:16 [m. 53]--Lurching shift to E-flat major, then sighing, heaving figures, as at
1:38.
4:23 [m. 57]--Forceful arpeggios, overlapping “heaving” figures, and diminishing
volume, as at 1:44.
4:33 [m. 63]--Closing material in E-flat major. Gentle first violin line that
winds
upward, as at 1:55.
4:42 [m. 67]--Widely arching, lightly accompanied first violin line and descent to
E-flat, as at 2:04.
5:01 [m. 75]--Twofold Theme 1 entry in cello, alternating with first violin descent
to E-flat, as at 2:23.
DEVELOPMENT
5:13 [m. 80, second ending]--Although the cello’s downward octave leap on F-sharp
is retained, the second ending diverges immediately after that. The cello slides
down to F rather than up to G, and does not pluck notes, rather repeats its octave
gesture. Meanwhile, the first violin, instead of playing a descent starting on G,
now ascends up a scale and beyond, beginning on A. The notes of this scale are
long,
some held over bar lines, and the underlying harmonies, especially the cello
playing
an slow descending arpeggio that obscures the 3/2 meter, confirm a motion to A
minor,
the first key of the development section.
5:22 [m. 84]--Hushed and mysterious, the two violins begin a tremolo while the
cello
provides a solid bass. Against this, the viola plays the main rising Theme 1
gesture
in A minor. With the dissonant leap as a harmonic bridge, the viola repeats the
gesture a half-step higher, on B-flat major. After this, the pattern is repeated,
but now taken by the first violin (the viola taking over the tremolo with the
second
violin). This time, a statement from the cello (on F) bridges the two violin
statements
on A minor and B-flat. At the same time, the volume begins to build. The cello
again overlaps at the end of the pattern, this time leading over the continuing
crescendo
to an emphatic, full cadence in A minor.
5:37 [m. 92]--At the cadence, a forceful three-note figure derived from the theme
is passed between the viola and the two violins. Rising gestures alternate with
falling ones, the latter played in harmony by two instruments. The cello leaves
its bass foundation to add its own falling gestures before the instruments come
together
in a suggestion of C major.
5:44 [m. 96]--In a sudden juxtaposition, Theme 2 unexpectedly enters at a hushed
level. It begins in F minor, and is then quickly inflected to F major. The
material
is all familiar, but the plucked cello is new. The syncopated figures with
repeated
notes serve to shift the music harmonically again, moving toward E minor.
5:51 [m. 100]--Both patterns from 5:37 [m. 92] and 5:44 [m. 96] are repeated in a
sequence. The forceful three-note figures are played beginning in E minor and,
after
having been passed around, come together in a suggestion of G major. Then the
Theme
2 segment begins in C minor/major (following the analogous pattern), moving toward
B minor at the syncopated figures with repeated notes.
6:06 [m. 108]--With the arrival on B minor, a new pattern begins. The viola
continues
with the arching, largely broken octave accompaniment to Theme 2. The cello plays
a variant of the main Theme 1 line against it. The rhythm is the same, but it
ranges
much more widely, outlining the B-minor chord in first inversion. As it concludes
with the downward leap, the violins enter with the syncopated, repeated-note
figures
from Theme 2, harmonized in thirds. This entire sequence is repeated a step
higher,
in C minor.
6:13 [m. 112]--The key signature changes to four sharps, and the music arrives in
C-sharp minor. The cello again plays a version of Theme 1, this time closer to the
original, the viola continuing its angry arching lines. Now the violins imitate
the Theme 1 gesture in a harmonized version. They then continue with the
syncopated,
repeated-note figures as the cello plays yet another statement of the rising Theme
1 gesture. The harmony vacillates from C-sharp minor to A major, then back again
as the second violin alone now imitates the cello line. Above it, the first violin
continues the syncopated, repeated-note figures. This last pattern, with the
second
violin imitating the cello, is repeated with the first violin an octave lower.
6:24 [m. 118]--The viola finally abandons its constant, insistent arching
accompaniment.
It joins the cello, initially in octaves, on fragments of the Theme 1 line.
Meanwhile,
the violins, in harmony, play a fragmented version of the now ubiquitous and
hammering
repeated-note figures from Theme 2. The cello and viola break into harmony,
leading
to an apparent cadence in C-sharp minor. This, however, is interrupted by a
repetition
of the pattern with the parts reversed, violins on the Theme 1 fragments with cello
and viola on the repeated-note figures. But the violins do not break into harmony,
instead continuing upward in unison octaves, ratcheting up the tension as the first
violin reaches very high.
6:36 [m. 125]--At this climax, the repeated-note figures take over in all
instruments,
and their syncopated character returns. The violins alternate with the viola and
cello. The latter play in very dissonant, clashing harmonies while the violins
lean
heavily toward an arrival on A. The second violin adds a persistent B below its
figures as a double-stop, almost a “pedal point.” After two measures, the figures
are reduced to simple long-short dotted rhythms, with the viola and cello plunging
downward.
6:44 [m. 129]--The arrival point is almost joyous, and while the harmony is the
anticipated
A major, it is never fully confirmed in the bass. All four instruments almost
frantically
pass the cascading gestures to each other, from high to low. For three measures,
A major is maintained (without a complete arrival), but the fourth veers back to
C-sharp minor.
6:51 [m. 133]--Re-transition. It is both abrupt and brief. The music suddenly
becomes
quiet after the huge climax. In the cello and viola, C-sharp slides down to C,
which
(as B-sharp) had functioned as a leading note in C-sharp minor. Now, with the key
signature changed back to the three flats of C minor, it suddenly becomes the
keynote.
The viola begins to hammer on that C while the cello plays an arpeggio in the
rhythm
of Theme 1. The violins, harmonized in thirds, play the first three notes of Theme
1 itself. The measure is repeated once, then again, with the note values doubled
and stretched to two measures. The last third is held into the next measure, which
contains the disguised and subtle arrival of the recapitulation.
RECAPITULATION
6:58 [m. 137]--Theme 1. Out of the note held over the measure, the theme emerges
in its original rhythmic form. While lacking its assertive onset, it proceeds with
steadily increasing strength, and with more doubling in the second violin than
before.
A new element is a more active bass in the cello, which is lower and moves
downward
with more purpose, still played in tremolo. By the third measure, this cello
descent
is quite chromatic. The viola in double stops ends up taking the previous
harmonies.
As the theme reaches the series of powerful, continuous ascents, the cello,
abandoning
the tremolo, adds a new, assertive descending arpeggio.
7:09 [m. 143]--At the point analogous to 0:14 and 2:52 [m. 7], the first pair of
hammering chords and the following held viola octave essentially matches its model.
Its quiet sequel, however, is subtly shifted so that the chords at first remain
on G and only descend to F-sharp instead of F. There the second viola octave is
held. Then, a surprising third pair of chords is added, this time a near shadow,
with all instruments plucked except the viola. These plucked chords descend such
that the top violin note moves down through E to D, but the harmony ends up on B
minor. The viola now holds a single held D through the following measure.
7:21 [m. 149]--Two more measures are appended to the already extended chord/octave
passage. The viola is still the only instrument bowed, and it makes a smooth
descent,
at first chromatic, as the other instruments play plucked notes around it. The
cello
plays an ascending pattern on the beats while the violins, in harmony, follow with
an arch on the off-beats. The harmony suggests D major throughout.
7:25 [m. 151]--The passage from 0:22 and 3:01 [m. 11] follows, taking on more of
a “transition” character by being set in a different key than in the exposition.
The first expressive phrase is set a step higher, in G, but it is a curious
mixture
of G major and minor. The second violin and viola play their Theme 1 fragments
together,
rather than in succession, and the more active cello arches up and back down. The
second phrase begins the same way, but by its second measure, it effortlessly
arrives
at the same motion to C major as heard in the exposition. Approached from G
instead
of F, however, the arrival is more decisive.
7:33 [m. 155]--The passage beginning with a shift to C minor is analogous to 0:30
and 3:08 [m. 15], and even virtually identical to it for three measures, the only
difference being a more florid viola line in the second measure. But in the fourth
measure, where there had previously been a motion to G at the end of the second
phrase,
Brahms instead diverts to F. Thus, the approach to C and the departure from it are
an exact reversal from the exposition. The scoring is also changed, with the cello
dropping to a low C and holding it, the first violin and viola taking over the
Theme
1 fragments. The three-bar diversion follows as expected, but with the cello
holding
the low C, it is less active. The cello does rise from the low note before the
pause
and isolated note, which is now a low E, a step lower than the previous F-sharp.

7:47 [m. 162]--Transition. Analogous to 0:43 and 3:22 [m. 22]. The quiet three-
note
descent is stated twice, extending the passage by a measure. The first one, in
first
violin and viola, is surprisingly at the same pitch level as the one in the
exposition,
but the middle note is altered to avoid a strong arrival. The second statement,
in second violin and cello, rearranges the intervals and arrives on F, so there is
no tonal motion. Against the second statement, the first violin emerges strongly
from a held note into the upbeat to the following upward charge, which is in F
minor.
The cello and viola follow the pattern from the exposition, but the “hammering”
first violin octaves add a new, dynamic downward motion.
7:57 [m. 168]--The passage from 0:52 and 3:31 [m. 27] follows its exposition
presentation,
transposed to F minor. The viola and cello octaves continue as expected. The
violin
octaves and harmonies are adjusted, with the first violin now static on an octave
D-flat. An extremely subtle change has great consequence when the violins take
over
the dotted-rhythm octaves. Corresponding to the exposition, the harmony would be
A-flat minor, but it is changed to A-flat major. The cello, instead of holding
long
notes, joins the viola on the pulsations. The hammering chords are also subtly
altered.
The A-flat-major harmony, coupled with re-positioning of the cello leaps,
facilitates
a motion back home to C minor. The viola octaves begin, heralding the arrival of
Theme 2 in the home key.
8:08 [m. 174]--Theme 2 in C minor. It corresponds closely to 1:02 and 3:41 [m.
33],
but adds a plaintive cello line in the first two measures, its smooth motion
somewhat
offsetting the off-beat violin interjections. From the third measure, where the
cello previously entered, the transposition is quite literal.
8:22 [m. 182]--Closely analogous to 1:17 and 3:56 [m. 41]. Motion to F minor
recalls
the transition.
8:29 [m. 186]--Corresponds to 1:24 and 4:03 [m. 45]. The agitated harmonies, now
in E-flat minor, create a neat connection to the exposition, where the theme began
in that key. The major key that follows is notated as G-flat/F-sharp major
(presented
as both in succession). After the huge crescendo, the first violin stalls on a
half-step,
as expected, now F (notated as E-sharp) and F-sharp.
8:43 [m. 194]--Analogous to 1:38 and 4:16 [m. 53]. The “lurching” shift is to the
“dominant” of C major. The sighing, heaving figures follow as before.
8:49 [m. 198]--Continuation with forceful arpeggios and overlapping “heaving”
figures,
analogous to 1:44 and 4:23 [m. 57]. The second violin and viola reverse roles from
the exposition in this whole passage. There is also some shifting and displacing
of the original register, but the overall correspondence is still very close.
9:00 [m. 204]--Closing material in C major, corresponding to 1:55 and 4:33 [m. 63].
The first violin line is directly transposed. The second violin and viola
continue
to reverse roles from the exposition. The cello leaps up midway through the
passage
because a direct transposition would reach below its range.
9:09 [m. 208]--Widely arching first violin line, corresponding to 2:04 and 4:47 [m.
67]. Here, again because of a direct transposition reaching lower than the
violin’s
range, there is an alteration and an octave shift in the middle, with the first
violin
beginning lower than the exposition, but finishing higher. The result is that the
third high point is higher, not lower, than the second, and on the same level as
the first. The lower three instruments again provide sustained, slow-moving
harmonies.
The conclusive descent is to a C, but because of the previous register shift, it
is higher than the exposition’s E-flat.
9:28 [m. 216]--Two Theme 1 entries in the cello, interrupted by repetition of first
violin descent to C, almost exactly analogous to the end of the exposition at 2:23
and 5:01 [m. 75].
9:40 [m. 221]--Here, Brahms’s extremely careful planning is masterful, but almost
concealed. These three measures correspond to the first ending at 2:34 [m. 80].
But now Brahms is already at home in C. So he does not expand the cello leap to
an octave, instead retaining its first leap to the note F-sharp, the goal of the
altered leap in the first ending! The plucked cello notes have already been on G.
After this, the music can proceed as in the first ending, with the change from
major
to minor in the first violin descent. This passage shows that the exposition
repeat
in this movement should not be omitted under any circumstance, as the first
ending’s
absence would lessen the impact of this moment at the end of the recapitulation.

CODA
9:47 [m. 224]--At the arrival point, Brahms changes the time signature from 3/2 to
cut time or 2/2. The effect of this is to create a rushed feeling without really
speeding up, although he does indicate agitato along with crescendo. The first
material
is a compressed version of Theme 2, with off-beat entries and then agitated rising
figures. A four-measure unit is heard twice, the second time with the lead first
violin an octave higher. In the first statement, the cello plays broken octaves
on C. These are passed to the viola for the second statement.
9:56 [m. 232]--The first violin marks an arrival with a downward octave leap. At
the same time, the second violin begins a double-stop tremolo while the cello and
viola shoot upward in a clear derivation of Theme 1, now in major. The rocketing
upward motion is then passed to the violins,also in major, the viola taking the
tremolo,
and the cello moving downward. The pattern repeats at a higher level, with the
forceful
upward motion passed back to viola and cello, then again to the violins, with
similar
exchange of parts and the cello culminating in a descending octave. Things are now
extremely agitated and intense.
10:01 [m. 236]--At this point, the first violin is extremely high, and, back in
minor,
it plays a wailing line reaching to a D-flat on the fifth ledger line above the
staff.
This is a climactic moment. Against it, both the second violin and viola now have
the tremolo, and the cello plays the forceful upward lines from Theme 1. After
this,
the first violin plays the distinctive downward leaps from Theme 1 while the cello
takes the wailing line, leaping up to do so. The pattern is repeated, this time
with the first violin an octave lower. In the repetition, the cello is at the same
bass level for the forceful lines, but an octave lower for the wailing line. The
repetition an octave lower begins a rapid settling down.
10:09 [m. 244]--The second violin and viola emerge into the agitated repeated notes
derived from Theme 2, alternating with the tremolo. The cello again plays the
forceful
upward gestures from Theme 1, again in major, and using its lowest C. The first
violin now plays feverish accented chords, also in major, on the weak beats,
assisted
by second violin and viola, who accent the beginnings of their repeated-note
figures.
The third of these chords is on a striking “Neapolitan” D-flat chord, from which
it takes over the ascending Theme 1 figure from the cello. The entire sequence is
then repeated.
10:18 [m. 252]--Now things settle completely down in an extended diminuendo. The
major key is firmly established. The cello plays one more upward gesture in the
main rhythm, then slows to a gentle triplet rhythm for the next one. The first
violin
chords settle on C major, while the second violin and viola slow their tremolo down
to the same triplet rhythm. The cello retains this, with rocking figures
emphasizing
the low C. The first violin chords thin to an octave and a sixth, moving down,
while
the inner instruments and cello slow down even more to a straight rhythm. The
cello
and first violin now both play on weak beats, holding notes over bar lines. The
intense, dramatic movement closes on a transfigured C-major chord.
10:44--END OF MOVEMENT [260 mm.]

2nd Movement: Romanze – Poco Adagio (Ternary form--ABA’ with coda). A-FLAT MAJOR,
3/4 time.
A Section
0:00 [m. 1]--The second violin, viola, and cello introduce the gentle, richly
harmonized
upward gesture in long-short (dotted) rhythm that permeates the movement. The
first
violin enters at the end of the first measure, responding with an expressive
melody,
also in the long-short rhythm. The other instruments change the harmony on two
successive
statements of the upward gesture under the first violin melody. Things stall on
the fourth measure, with the introduction of chromatic notes. The second violin
becomes independent here, and introduces the dissonant note C-flat. A strongly
reiterated
D-natural in the first violin helps move the key to E-flat major, where the six-
measure
phrase ends with a syncopated cadence.
0:26 [m. 7]--A D-flat in the second violin moves the key back to A-flat, where the
phrase is repeated in a new scoring. The first violin joins the harmonized upward
gesture, which is consequently moved higher as a whole, and the cello takes the
melody.
The closing measures with the E-flat cadence are a bit less active. The second
violin again becomes independent, but its line is an octave higher. It again
brings
back D-flat to lead into the next phrase.
0:51 [m. 13]--The next phrase introduces a change, with a direct shift to C major
and the marking dolce. The second violin and viola play the upward gesture, and
the first violin soars above in long notes. The cello is absent for two measures.
When it re-enters, the key immediately shifts back home to A-flat and the volume
reaches its quietest level. The first violin twice descends in a syncopated
rhythm.
At the end of the phrase, again six measures, the dotted rhythm and upward gesture
break. The first violin, with colorful chromatic inflections, leads the other
instruments
smoothly into the last phrase of the main A section.
1:17 [m. 19]--The instruments now come together in full, warm harmony. Throughout
the A section, the dynamic level has swelled and receded, but now there is a real
buildup. The first violin appropriates the upward gesture in a yearning melodic
line. After two upward swings, the melodic line, in syncopation, sinks down to an
apparent cadence, but this is abruptly cut off right at the arrival point.
1:30 [m. 22]--The second half of the phrase is a varied repetition of the first
three
bars. The cello initially takes the yearning melodic line (with the viola covering
its previous chromatically-tinged harmony), but on the second upward swing, it is
joined an octave above by the first violin. The same sinking, interrupted cadence
follows, with the first violin an octave higher and the lower harmonies slightly
altered. Brahms indicates that the previous buildup should quickly recede.
1:42 [m. 25]--In a very brief two-bar transition, the viola, then the second
violin,
and finally the cello begin pulsing quietly on the triplet rhythm that dominates
the B section. They harmonize closely. In the second measure, they move downward,
and the first violin enters in “straight” rhythm with an echo of the two
interrupted
cadences.
B Section--A-flat minor
1:51 [m. 27]--In block harmonies, the instruments play sighing, dolce halting
figures
in triplet rhythm beginning off the beat. After the first gesture, they become
shorter.
Following the first set, the second begins on an unexpected harmony, B major, but
it is such a subtle shift that the first violin is able to stay on the same pitches
(notated differently) until about halfway through this second set of figures.
2:04 [m. 31]--Now the first violin breaks free with a soaring line, still beginning
off the beat, but rising above the other instruments, who pulsate on chords. The
phrase begins in B major. The first violin swells to a high point, then moves to
a straight rhythm for its descent, clashing with the pulsing chords. On this
descent,
it moves away from B major. The volume quickly recedes, and the first violin
continues
its descent, alternating between syncopated triplet rhythm and straight rhythm.
The descent finally reaches a full cadence on E-flat minor. Brahms makes much use
of “enharmonic” relationships, where notating pitches in different ways can make
key relationships seem more distant than they are.
2:20 [m. 35]--The sequence of dolce halting figures begins again. The first set,
which is again in A-flat minor, begins the same in the first violin, but the other
instruments are on different pitches, most notably the cello, which is on a low E-
flat.
 The opening harmony is the “dominant” on that E-flat. The first violin pitches
remain as before until the very end, where they reach lower. In the second set of
figures, the cello slides up to E, and the other instruments reach higher. The set
is a wholesale transposition of the previous figures in B major up to E major.
2:33 [m. 39]--With the transposition to E major, the soaring melody from 2:04 [m.
31] is primed for an arrival back home on A-flat (instead of the previous E-flat).
But in a twist, the soaring melody is played by the cello instead of the first
violin,
at least for its first sweeping arch. The first violin joins the other instruments
in the pulsating chords. With the continuing descent and the alternation between
syncopated triplet rhythm and straight rhythm, the melody moves back to the first
violin and reaches the expected cadence in A-flat minor.
2:48 [m. 43]--Re-transition. After the cadence, the cello continues with its off-
beat
pulsations, moving steadily upward. Against this, the first violin and viola, in
harmony, bring back the familiar upward gesture in dotted rhythm from the main
section.
Briefly turning to E major, the instruments continue upward, now joined by the
second
violin, and return to A-flat (with a deft respelling of G-sharp as A-flat). A
third
sequence continues to move up and builds in volume, briefly touching on C minor.
At the top, the first violin stalls while the second violin and viola ease back
downward and recede. The pulsing off-beat cello drops down to a low E-flat and is
now plucked. All of this melts into the return of the main theme.
A’ Section
3:12 [m. 49]--While the outlines of the first phrase are maintained, it is greatly
varied through the introduction of a triplet rhythm. Most recognizable is the
initial
gesture in the lower three instruments, but already above it, the first violin
begins
its decorations in the triplet rhythm, distinctively holding notes over the beats.
This triplet rhythm continues in a highly embellished version of the original
first
violin melody. It slowly infects the second violin and viola as well, the cello
alone resisting it. The harmonic structure of the phrase is maintained, most
clearly
in the cello line, and the decorative first violin line marks the expected arrival
on E-flat with an upward arpeggio in a faster sixteenth-note rhythm.
3:34 [m. 55]--The second phrase is both more florid and higher than the first. The
first violin soars in broad sixteenth-note patterns with distinctive octave leaps
both up and down. As with the previous statement in triplets, it holds notes over
beats. The other instruments again begin with the familiar gesture, but they also
devolve into the sixteenth-note patterns. The cello takes over the familiar
melody,
as it did before in the second phrase. In the fourth measure, with the first
violin
reaching very high levels, the triplet rhythm works its way back into the texture,
clashing with the sixteenth-note patterns. The viola moves below the cello,
providing
a bass for its melody. The phrase again ends with a first violin arpeggio.
3:59 [m. 61]--While the phrase corresponds to 0:51 [m. 13], only the most basic
harmonic
structure is similar. With the first violin reaching the top of its arpeggio, the
key makes the expected shift to C major. The dotted rhythm, however, disappears,
and the arpeggio introduced by the first violin is passed between the upper three
instruments. The cello provides a foundation with steady plucked notes. After the
first three measures and the motion back to A-flat, the triplet rhythm returns in
the first violin as it plunges downward. At the same time, the other instruments
slow down and the cello, taking the bow, provides a bass line resembling the end
of the original phrase.
4:22 [m. 67]--Finally, the music takes on the firmly recognizable outline of the
climactic final phrase of the main A section, corresponding closely to 1:17 [m.
19].
But it is not an exact repetition, as the triplet rhythm continues its presence,
initially in the cello and viola for the first two upward swings before the
interrupted
cadence.
4:35 [m. 70]--Corresponding to 1:30 [m. 22], the repetition with the melody in the
cello follows as expected, the now pervasive triplet rhythm moving to the again
soaring
first violin. The expected sinking, interrupted cadence arrives, hinting at a
return
of the B section material.
4:47 [m. 73]--As before, a two-bar transition follows, but the pulsing rhythm is
replaced by pizzicato chords in the two violins and cello. These are heard on the
first two beats of each bar. The echo of the interrupted cadence is now in the
viola,
and it already begins in the first bar. It then extends further downward in the
second bar, implying a motion toward D-flat instead of A-flat.
Coda
4:56 [m. 75]--The coda begins with the sighing, halting figures from the B section.
After initially suggesting a harmony on D-flat, they they turn surprisingly
upward,
making a striking motion toward the distant key of E major. Once there, the
shorter
two-note figures are heard. In the third measure, the first violin presents an
entirely
new idea, a yearning melody in E. This melody is in “straight” rhythm, clashing
with the persistent triplets of the lower instruments, which move steadily upward.
When the melody turns back down, so too do the second violin and viola, but the
cello continues to move up.
5:11 [m. 79]--The first violin breaks off briefly, but the other instruments
continue
the steady triplet motion. The sequence begins a step higher, with the halting
figures
initially suggesting E-flat, then turning to G-flat, where the yearning first
violin
melody in straight rhythm begins again. But this time, the other instruments do
not move upward, and the melody is diverted in its second measure, essentially
stalling
on a note held over the bar line. The other three instruments now begin a downward
motion, extending the phrase, as the first violin also swings its way down, moving
back home toward A-flat major.
5:30 [m. 84]--In a two-bar transition, all instruments move to straight rhythm.
The first violin begins a descent that becomes fully chromatic after the first two
notes. The other instruments settle on off-beat punctuating chords as the volume
diminishes approaching the arrival.
5:38 [m. 86]--Now the top three instruments begin an incredibly warm reminiscence
of the beautiful closing phrase from the main A section melody. The melody is
divided
between the two violins, who exchange positions. An expressive octave leap in the
first violin, followed by a downward swing, is punctuated by three plucked cello
arpeggios. The sequence begins again, moved up a fourth, but after the octave
leap,
the first violin reaches even higher against the returning cello arpeggios.
5:56 [m. 90]--Unexpectedly, the violins suddenly drop out. The viola and cello,
the latter now bowed and in double stops, take up the main melodic gesture, making
a surprising harmonic diversion, again to the distant key of E major. This detour
is striking at such a late point. The violins immediately respond, still in E, but
Brahms re-spells it as F-flat to help facilitate a quick motion back home. With
a surge, A-flat major makes its final conquest as the first violin reaches its top
note and begins a beautiful descent in triplet rhythm. This descent is in two
waves
separated by an upward leap. The second violin accompanies in clashing straight
rhythm, the viola echoes the opening gesture, and the cello plays pairs of plucked
chords.
6:13 [m. 94]--The movement closes with gentle sighing gestures in the violins, a
last reminiscence of the opening gesture in the viola, and more warm plucked cello
chords. The final chord is off the beat, with the violins now plucked and the
cello
bowed. The third of the chord, C, is on top, creating a suspended effect.
6:36--END OF MOVEMENT [96 mm.]

3rd Movement: Allegretto molto moderato e comodo; [Trio] Un poco più animato
(Intermezzo
and Trio). F MINOR, 4/8 and 3/4 time.
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