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

A MINOR, Cut time [2/2]

with four 3/2 measures.
EXPOSITION
0:00 [m. 1]--Theme 1. The first violin takes the lead with an expressive, broadly
arching line. The viola begins a pattern of arpeggios in leisurely triplet rhythm.
These always begin with an upward reach, then leap down again and back up. The
second violin and cello play measure-long notes. After its initial arch, the first
violin melody takes up an anxious gesture that rises once in sequence. The second
violin joins it in harmony and counterpoint. After another arching line that
includes
a syncopated note held across the bar line, the melody becomes anxious again. A
pattern reaching up and falling down is played twice, the second time decorated
with
a “turn” figure. The second statement builds rapidly in volume.
0:21 [m. 13]--The two violins reach high and play a descending line in octaves.
The viola takes over for the second violin halfway through. This descent begins
forcefully, but rapidly diminishes. The cello enters and all four instruments, in
harmony and strong syncopation, settle toward a cadence. At first the arrival is
interrupted by a rest, but then, in longer notes, it is fully completed.
0:36 [m. 20]--Transition. Immediately after the cadence, all instruments except
first violin play another agitated, but dolce gesture. It begins with two
syncopated
chords, which are followed by faster notes that seem to whisper and sigh. A second
statement overlaps with it, the first violin entering to take the lead. The
harmony
and direction are changed slightly. A second overlapping alternation begins a
fifth
lower, again with the first violin following the others. The motion away from A
minor begins with a brief turn to E minor. Now the overlapping entries (primarily
between first and second violin; the others accompany both) follow at a closer
distance,
becoming intense and building rapidly.
0:52 [m. 30]--A climax is reached as the cello begins a long held “pedal point” on
its low C. The first violin plays wailing downward arpeggios as the middle two
instruments
continue the agitated motion. The key appears to have shifted to F minor, with the
low C as a “dominant” pedal point. Two wailing arpeggios, the second a step lower,
are heard. The first violin then departs from the pattern as the cello moves away
from its low C and itself plays arpeggios in the opposite direction from the first
violin. There are three such motions, all with the middle instruments continuing
to violently churn.
1:04 [m. 38]--In the previous passage, the key had touched on the related keys of
F minor and A-flat major. Now, the true destination is revealed. The motion is
suddenly arrested in a descent that is not quite finished. But the key has now
clearly
moved to C minor. The inner two instruments play syncopated pulsations while the
first violin again reaches up and down against the plunging cello. Suddenly
hushed,
the last first violin leap down is repeated, but now with harmonies that suggest
a change to major. This is then confirmed in the harmonies that briefly accompany
a long, winding solo first violin line. It is quickly left exposed, slowing
slightly
before sweetly leading into Theme 2 with a slow triplet rhythm.
1:20 [m. 46]--Theme 2 (C major). In the “relative” major key, the ingratiating
second
theme begins, played largely in a distinctive parallel harmony between the two
violins.
Brahms includes a very detailed Italian expression marking: molto piano e sempre
mezza voce, grazioso ed animato. This indicates that the theme is graceful, but
still full of energy. The violins begin in thirds. The melody swings with an
almost
constant long-short (dotted) rhythm, and many of the longer notes are colorful
chromatic
“lower neighbor” notes. The viola again plays in broad triplets, mainly leaping
down and back up, and the cello adds a plucked straight-rhythm bass line that leaps
widely, largely in octaves.
1:33 [m. 54]--The violins have reached a high point, and their harmony has widened
from thirds to sixths. The center has also shifted to the “dominant” of C major,
G. Although there was some syncopation in the first phrase in the form of notes
held across bar lines, it becomes more pronounced here, including within measures.
This begins in the second violin, joined later by the first. Even the triplets
in the viola add some syncopation. The viola line is now focused on an initial
downward
leap, which is then isolated in a broader long-short swing. The plucked cello line
settles on the note D, first in octave leaps, then isolated notes. At the end of
the phrase, the first violin finally separates from the second, adopts the gently
swinging triplet rhythm, and moves, over chromatic cello notes, toward a cadence
on G.
1:45 [m. 62]--The viola inserts a rising line onto the upbeat, interrupting the
arrival
and moving back strongly to C. The theme is played again, but now an octave lower,
with parallel harmonies in second violin and viola. The viola actually plays the
higher notes in the parallel line, above the second violin. The cello is still
plucked,
but is less continuous, not playing on several beats, including some downbeats.
Most interestingly, the first violin, marked lusingando, plays a very graceful new
counterpoint in decorative downward arching arpeggios. At the end of the phrase,
the melody is altered with strategic upward shifts and leaps that allow it to
remain
in C rather than moving to G.
1:58 [m. 70]--This phrase is parallel to 1:33 [m. 54], but is now set at home
instead
of on the “dominant.” The second violin, as before, begins the strong syncopation
first, but at the point where the viola joins it, the parts are exchanged and the
second violin moves back above the viola, taking the top line. The decorative
arpeggios
continue in the first violin, and they also start to incorporate the syncopation.
In a change from the previous parallel phrase, the triplet rhythm does not take
over the melody where expected, and instead the syncopation prevails for four more
measures, first in the viola, then in the violins (the first violin finally ending
its arpeggios). In these last two measures, the broad triplets sneak into the
viola.

2:11 [m. 78]--Now the triplets that led to the previous G-major cadence are heard,
if delayed. It is now the second violin that leads with the melodic continuation
in these triplets. The first violin again begins its decorative downward-arching
arpeggios. The cadence (in C) is reached as before in this new distribution.
2:18 [m. 82]--The cadence is immediately extended. The first violin takes over for
the second and repeats the measure approaching the cadence an octave higher. The
volume strongly builds here. Suddenly, and with increasing agitation, the second
violin and viola play arpeggios as the cello finally takes the bow for the bass
line.
These arpeggios are passed to the first violin, which has just completed its
cadence,
and it turns them strongly to minor before leaping downward. The viola and cell
then take the now strongly agitated minor arpeggios.
2:24 [m. 86]--The first violin leads in a very forceful statement of the main
thematic
material in C minor. The second violin and viola provide strong harmonies. The
arpeggios continue, largely led by the cello, although the viola leaves its
harmonization
of the melody to take over when the arpeggios reach higher. The four-measure
statement
is closed by strong punctuating chords. The cello then takes over the theme, and
the first violin plays two octave leaps in the long-short rhythm of the theme. The
second violin and viola play arpeggios, then pass them to first violin as they
harmonize
the cello. Again, the forceful chords round off this statement, but the first
violin
is an octave higher and the chords strikingly turn back to major.
2:37 [m. 94]--The familiar broad triplet rhythm from the cadences returns and eases
the tension. The first violin twice passes the triplets to the viola, which trails
downward. The other two instruments provide bass and harmonic support. Then the
triplets are passed from first violin to viola two more times, but these statements
each compress two regular measures into one 3/2 measure. The insertion of these
two 3/2 measures (mm. 98-99) coincides with the onset of a ritardando as the music
settles down.
2:50 [m. 100]--Following the 3/2 bars, the regular meter returns. The first violin
takes back over the triplets and makes a huge leap down, leading to a full cadence.
This cadence overlaps with a restatement by the second violin an octave lower.
The first violin soars above it with an octave leap, and the bass line in the cello
has chromatic half-step motion. The second violin’s downward leap is much smaller,
reaching the same note the first violin did. Its cadence is full, arriving on the
downbeat and making a cutoff.
3:00 [m. 104]--Closing material. The strong cadence introduces the closing theme,
which is a forceful surge in full harmony, with the violins rising, the viola and
cello falling. The intensity quickly subsides after the surge, and the violins
continue
upward in a more gentle manner, sighing toward a half-close. The forceful surge
is then repeated. The quiet continuation reaches higher, but again reaches a half-
close,
this one slightly more expectant.
3:23 [m. 116]--More chromatic harmony and half-step motion takes hold as the
violins
hold a long harmonic third and the lower instruments, in contrary motion, quietly
echo the last gentle reach. More sustained and colorful harmonies beautifully lead
to a satisfying cadence on C major. Trailing after it, the second violin, viola,
and cello, in that order, play overlapping reminiscences of the long-absent Theme
1. The second violin holds notes across bar lines, and the trailing harmonies
naturally
move toward the home key of A minor. In the first ending (m. 127a), this is
further
diverted to D minor, which is actually the first harmony heard under the theme.
The arrival there marks the beginning of the exposition repeat.
EXPOSITION REPEATED
3:47 [m. 128a (m. 1)]--Theme 1. The first measure is notated as part of the first
ending because, due to the preceding voice leading, the first two notes in the
viola
are different. Initial arching lines and their anxious sequels, as at the
beginning.

4:08 [m. 13]--Large descent and extended cadence, as at 0:21.

4:22 [m. 20]--Transition. Agitated, syncopated gestures with overlapping entries
and buildup, as at 0:36.
4:40 [m. 30]--Climax with cello pedal point and wailing arpeggios, as at 0:52.
4:52 [m. 38]--Arrival at C minor and major, sudden quiet, and long solo first
violin
line, as at 1:04.
5:09 [m. 46]--Theme 2 in C major. First phrase with violins playing in thirds, as
at 1:20.
5:22 [m. 54]--Strong syncopation and triplet rhythms leading to cadence in G major,
as at 1:33.
5:34 [m. 62]--Viola upbeat, then statement of theme with viola leading, as at 1:45.

5:48 [m. 70]--Parallel passage to 5:22 [m. 54] with extended syncopation, as at
1:58.

6:01 [m. 78]--Motion to cadence in C major led by second violin, as at 2:11.

6:08 [m. 82]--Extension of cadence by first violin, buildup, and turn to C minor,
as at 2:18.
6:14 [m. 86]--Forceful statements of theme in minor from first violin and cello,
as at 2:24.
6:27 [m. 94]--Return of triplet rhythms in major key and insertion of 3/2 measures,
as at 2:37.
6:40 [m. 100]--Full cadences with large downward leaps in first and second violin,
as at 2:50.
6:50 [m. 104]--Closing material. Forceful surges, then quiet continuations, as at
3:00.
7:13 [m. 116]--Chromatic motion to extended cadence and reminiscences of Theme 1,
as at 3:23. The motion back to A minor leads into the second ending, which, in
only
two measures, deftly avoids the D minor arrival and shifts the harmony, quite
mysteriously,
to the remote C-sharp minor, a half-step lower.
DEVELOPMENT
7:41 [m. 129]--The first violin states the opening arch of Theme 1, and is imitated
by the cello a bar later. The viola then enters with the same opening arch, but
in halved note values. The key seems centered on C-sharp minor, but G-sharp minor
is heavily implied as well. Following these hushed and timid thematic entries, the
music suddenly becomes extremely agitated, almost violent. The cello, playing
short
ascending figures, is followed directly by the other three instruments in harmony.
They reverse the direction of the cello and forcefully thrust downward. The motif
is derived from the “anxious gesture” that originally followed the opening arch.
There are five of these alternations, in which C-sharp minor is confirmed.
7:54 [m. 137]--The leading cello suddenly becomes quiet, and the responses of the
other instruments broaden to a more leisurely and smooth triplet rhythm. After
four
of these, which steadily move downward, the direction of the upper instruments
changes,
matching that of the cello for four more statements. These remain centered around
the same range. A strong arrival on C-sharp minor is continuously implied, but
avoided.
Finally, the upper instruments depart from this pattern and reach upward
longingly,
changing from triplet to straight rhythm. The cello remains in triplets and now
trails them. They reach a strong half-close.
8:09 [m. 147]--In an impressive and dramatic combination, the forceful upward
gesture
from the closing material is combined with the “anxious gesture” from Theme 1. The
second violin leads the former, followed by the viola. The first violin and cello
take the latter. Then all instruments join in a dramatic presentation of the
previously
quiet continuation of the closing material, with its sighing upward motion. The
key shifts up a half-step from C-sharp minor to D minor, where the entire sequence
is presented a second time. The very end of this second statement is subtly
shifted
to lead into the following unstable passage.
8:22 [m. 155]--The continuation of the closing material, now fully transformed into
an active, aggressive force, propels an extremely rapid and unstable sequence of
harmonies. It appears to begin in G minor, but rapidly presses upward, largely by
half-step, as the volume builds even more. The first violin takes the lead, with
the others providing support. The climax comes as all four instruments come
together
and oscillate on half- and whole-step motion. Both the home key of A minor and the
minor version of its related “dominant,” E minor, are suggested here.
8:31 [m. 161]--All four instruments present a grand unison statement spread over
three octaves. It begins with the gesture from the closing material, then isolates
a three-note upward ascent that is repeated in a descending sequence. At first,
the top note of each ascent is repeated, which keeps the meter undisturbed, but
then
the repetition is dispensed with, momentarily disrupting the sense of meter and
greatly
increasing the agitation. The statement vacillates between A and E minor, and is
cut off at a point suggesting the latter.
8:37 [m. 165]--In another impressive climax, the first five measures of Theme 1 are
stated by the cello in E minor. Against it, the forceful upward gesture from the
closing material returns in the upper three instruments. As the cello continues,
they dissolve into supporting harmonies. At the end of the five measures, the
cello
subtly inflects its statement toward the major (and a clearer “dominant”
preparation
for A minor). The cello then isolates this last figure, lengthening the upbeat
notes
so that they take up a full measure. This happens twice, the second time again
fully
in minor. The harmonies and lines in the upper instruments actually move toward
a strong half-close in E minor. Then the longer upbeat notes are given one more
time as the upper instruments drop out. The first violin echoes these notes two
octaves higher.
8:58 [m. 177]--Re-transition. E minor remains in force, and is again subtly
transformed
to E major as a “dominant” preparation for the decisive return of A minor for the
recapitulation. The first violin takes over and presents the opening arch of Theme
1 at a higher level (on B, though the harmony does not move there). The second
violin,
then the cello, introduce the broad triplet motion typical of the theme’s
accompaniment
and formerly associated with the viola. They pass it back and forth. The viola
itself inverts the motion of the opening arch. The first violin plays the opening
arch twice more on E, the second time beginning off the beat. The cello adds two
plucked A’s an octave apart as it breaks from the triplets.
RECAPITULATION
9:08 [m. 183]--Theme 1. Its entry sneaks in and avoids drawing attention to
itself.
At first, it seems like a continuation from the preceding statements of the
opening
arch. Like the last one, it begins off the beat, one of several alterations from
its first presentation. The rhythmic displacement continues into the second
measure,
which smooths out the first anxious gesture. Also notable are the significant and
colorful changes to the harmony. The triplet rhythm, now with more undulation than
arpeggios, is passed between the second violin and cello, the viola playing wide
leaps typical of the theme. The theme gradually achieves its original identity,
initially in the violins.
9:22 [m. 191]--From this point, the theme has achieved its original identity in all
four instruments, matching the exposition from the ninth measure on, where the
pattern
reaching up and falling down is given twice, the second time with an added turn
figure
and a rapid buildup of volume and intensity.
9:29 [m. 195]--Large descent and extended cadence, as at 0:21 and 4:08 [m. 13].
9:43 [m. 202]--Transition. It is greatly abridged from the exposition. The
agitated,
syncopated gestures from 0:36 and 4:22 [m. 20] begin, now in the two violins. They
are followed by the viola and cello, but with a much closer overlap than before,
after only two measures. The alternation between these pairs of instruments on
these
patterns continues, rapidly deviating from the harmonies of the exposition. After
six measures and three exchanges, the patterns are shortened, focusing on the
faster
notes. As in the exposition, the volume rapidly builds with these shortened
patterns.

9:56 [m. 210]--The short patterns unexpectedly merge directly into the long solo
first violin line preceding Theme 2. The climactic passage with pedal points and
wailing arpeggios is completely omitted, along with the suddenly quiet echoes. The
solo first violin line is strongly played in A major instead of C major. Its
opening
is displaced by half a measure, and it is extended by a half-measure to compensate.
The contour is also subtly altered leading into the rising triplets that introduce
Theme 2.
10:05 [m. 214]--Theme 2 in the home major key (A major, with key signature change
here), analogous to 1:20 and 5:09 [m. 46]. Other than the new key, the first
phrase
closely matches the earlier C-major presentation, except for a couple of necessary
and insignificant octave shifts in the plucked cello notes.
10:18 [m. 222]--Strong syncopation and triplet rhythms leading to cadence,
analogous
to 1:33 and 5:22 [m. 54]. The cadence is now in E major. The patterns of the
exposition
continue to be closely followed.
10:30 [m. 230]--Viola upbeat, then statement of theme with viola leading, analogous
to 1:45 and 5:34 [m. 62]. The setting in A major is lower than in the exposition,
but the viola remains above the second violin, which now reaches quite low in its
range. The first violin counterpoint is again marked lusingando.
10:44 [m. 238]--Parallel passage to 10:18 [m. 222], analogous to 1:58 and 5:48 [m.
70]. In the exposition, the first violin reaches to its lowest note in the first
two measures. This makes it necessary to replace these leaps down an octave with
syncopated notes in the lower setting.
10:57 [m. 246]--Motion to cadence in A major led by second violin, analogous to
2:11
and 6:01 [m. 78].
11:04 [m. 250]--Extension of cadence by first violin, buildup, and turn to A minor,
analogous to 2:18 and 6:08 [m. 82].
11:09 [m. 254]--Forceful statements of theme in minor from first violin and cello,
analogous to 2:24 and 6:14 [m. 86]. The first violin statement is moved up an
octave,
which is an effective change given the lower overall setting here. The other parts
also make some range adjustments, including a brief exchange of previous parts
between
second violin and viola. The cello statement is at the expected level.
11:22 [m. 262]--Return of triplet rhythms in major key and insertion of 3/2
measures,
analogous to 2:37 and 6:27 [m. 94].
11:35 [m. 268]--Full cadences with downward leaps, analogous to 2:50 and 6:40 [m.
100]. The leap in the first violin is much smaller here because an analogous leap
would take it below its range. That instrument also makes other range adjustments.
The passage with the leap in the second violin is here transferred to the viola.

11:45 [m. 272]--Closing material. Only the first forceful surge and quiet
continuation
are retained. Range adjustments are made in viola and cello. After the first
statement,
the key signature of A major is changed back to A minor, and the material deviates,
marking the beginning of the coda.
CODA
11:57 [m. 278]--The second violin and viola begin the surge from the closing theme,
but now the first violin follows with its inversion, descending from two octaves
above. The cello trails, moving up but changing the harmony. A second surge (or
third, counting the original one) makes a striking motion suggesting B-flat major
or D minor. Here, the second violin and viola leap up with the first violin, then
move down with it. Only the cello has the upward motion.
12:04 [m. 283]--The distinctive “continuation” from the closing theme, which formed
the climax of the development, is heard in unison in the viola and cello. The
violins
follow in thirds, apparently moving from D minor back to A minor. When the lower
instruments enter a second time, now lower and in harmony, things quickly settle
down. All four instruments join in a quiet pizzicato. Two chords appear to lead
toward a cadence, but this is interrupted.
12:15 [m. 289]--After a pause interrupting the cadence, the agitated and syncopated
figure from the transition appears in second violin and viola, joined by cello.
It is lengthened slightly. But the first violin interrupts this with a high
statement
of the opening arch from the main theme. This dissolves into a descending line in
triplet rhythm while the second violin soars above with the Theme 1 material. The
transition gesture is then heard again, and is again interrupted by the first
violin,
but it now reaches dramatically higher for the first theme material. Now the first
violin launches into a passionate, agitated melodic line that plunges down and
soars
back up with much syncopation, steadily building.
12:45 [m. 305]--With the marking “più animato sempre,” the excitement rapidly
builds.
The first violin continues with its feverish line, interrupted by dramatic
rests.
The second violin and viola play syncopated harmonies with gestures beginning off
the beat. The cello provides a wide ranging bass line in longer notes. Beginning
from a note tied over the previous bar line, the first violin line here is
presented
in two “waves,” the second an octave higher than the first. The second “wave” is
extended and reaches up yet another octave.
13:01 [m. 315]--The first violin now erupts into the heavily syncopated figures,
which form an even more passionate melody. The second violin and viola, in unison,
take the material previously played by the first violin and add heavy syncopation
with notes held over bar lines. The cello, meanwhile, forcefully begins a series
of rising arpeggios in triplet rhythm. These provide the music with even more
forward
propulsion.
13:10 [m. 321]--The rising triplet arpeggios introduced by the cello now take over,
being passed between the cello and first violin. Meanwhile, the opening arch is
passed from viola to second violin to first violin. When the first violin takes
it, the triplets migrate to the viola and second violin. The arching line finally
moves to the cello as the first violin plunges down, and the other two instruments
continue with the triplet motion, now adding descending arpeggios.
13:21 [m. 329]--The intensity of the faster tempo notwithstanding, the first violin
now settles into its final cadence in two “waves.” The second violin and viola
continue
with the triplet rhythm, which now oscillates in an almost angry murmur. All four
instruments reach a strong cadence, with the cello leaping up from the “dominant”
note. The cadence is then emphatically punctuated with two final “dominant-tonic”
chords.
13:36--END OF MOVEMENT [335 mm.]

2nd Movement: Andante moderato (Modified Ternary Form--AB(c)A’(c’). A MAJOR, 4/4

time.
A Section
0:00 [m. 1]--Verse 1. The main section is proportionally large for a ternary
movement,
and falls into two “verses.” The main melody is a beautiful, expressive singing
line, but it is constructed economically. Its initial presentation is in the first
violin, accompanied by a steady and wide-ranging, but suavely sumptuous and
chromatic
bass line from viola and cello in octaves. The melody is almost entirely built
upon
a two-note one-step descent. The descending step is usually placed off the beat
or on a weak beat. The end of the phrase becomes quieter and moves toward the
“dominant,”
E major. A triplet rhythm is introduced, the second violin makes its first entry,
the melody reaches high, and the viola separates from the cello.
0:35 [m. 9]--The upper three instruments introduce a three-note harmonized figure
beginning off the beat. The cello remains on the downbeat. A pair of these
figures
begins a melodic line that briefly descends to F-sharp minor. A second pair of
off-beat figures, with a high reach between them in the first violin, builds in
volume
and turns back to E. Here, the opening gesture of the main theme returns in the
first violin.
0:51 [m. 13]--A series of arching arpeggios begins in the viola and second violin.
These overlap and dovetail between the two instruments. Meanwhile, the cello
twice
plays the opening gesture of the main theme, and is twice answered by a sighing
variation
of that gesture in the first violin. The second time, the instruments move inward,
the cello up an octave, the first violin down one. Each of the two cycles begins
on E, and each time the harmony moves toward D minor. The phrase begins strongly,
but by the second cycle is much quieter. In a one-bar extension, the first violin
slides up by half-step, punctuated by a chord in the lower instruments, leading
back
to A major and the second verse of the A section.
1:11 [m. 18]--Verse 2. The melody of the first four measures closely follows that
of Verse 1, but is moved up an octave. A new accompaniment, based on the off-beat
figures from 0:35 [m. 9], is added. All parts are marked dolce. From the fifth
measure, where the music had moved toward E major before, the melody deviates, but
remains reasonably analogous. The off-beat accompaniment ends and is replaced by
more steady rocking motion. The triplet rhythm is expanded and intensified,
creating
more of a yearning character. Most significantly, the music remains rooted in A
major here, including the cadence, which is similar in construction. Now it leads
directly into a new extension.
1:44 [m. 26]--The extension begins rather mysteriously, with chromatic notes and
hushed descents. The viola part is heavily syncopated. After two bars, the first
violin emerges with a soaring, bright upward scale on B major. This then resolves
into cadence patterns that quickly move through E major and back to A as they
descend
to another, even more convincing cadence. The second violin has joined the viola
in the syncopated accompaniment, and the cello follows the melodic cadence with an
off-beat arpeggio.
2:04 [m. 31]--The three-note off-beat figure originally heard at 0:35 [m. 9], is
now used for a new postlude to both the second verse and the entire A section. At
first, the three upper instruments play it in harmony, leading into figures that
resolve unstable downbeat harmonies on the second beat. These alternate with
arpeggios
in the cello. At first gentle, the postlude builds up over four measures until the
first violin erupts into a passionate line that descends, reaches up again, and
finally
settles down to a full cadence. The lower instruments at first have syncopated
harmonies,
then gradually join the motion of the first violin. The cello hangs onto its
arpeggios
and starts playing them continuously before before it breaks and finally joins the
cadence.
2:32 [m. 38]--Transition. Coinciding with the cadence, the main melody is used for
a very subdued transition into the middle section. It is first heard in the second
violin, and then passed to the first violin. The viola and cello provide the
familiar
accompaniment patterns, also passing them back and forth. The ubiquitous two-note
descents become isolated against the melodic fragments. Chromatic notes such as
B-flat and F-natural create a twinge of modal flavor. After two alternations of
the main melodic gesture and one last A-major cadence, the viola and cello suddenly
and powerfully move to the “relative” F-sharp minor, where the turbulent B section
is set.
B Section--F-sharp minor
2:53 [m. 43]--After the powerful viola/cello arrival on F-sharp, the viola begins
a passionate tremolo, largely on double-stop harmonies. When the violins enter,
the second violin joins the viola on the tremolo, but the first violin begins a
feverish
dialogue in canon with the cello, which follows its motion precisely. The cello
is two octaves plus a fifth below the first violin. In order for the canon to be
strict, Brahms skillfully uses the “subdominant” B minor and the “dominant” C-sharp
major harmonies, almost mixing them. The canon itself uses forceful upward and
downward
leaps, jagged short-long rhythms, and finally triplet motion, all against the
continuing
tremolo. The canon settles down to an arrival on the “dominant.”
3:11 [m. 48]--A gentle dolce interlude in C-sharp major stands in stark contrast
to the forceful canon. The first violin hesitantly leads it with syncopated notes.
The viola and cello provide accompanying counterpoint with some chromatic motion.
After the first gesture, the second violin enters and takes over the leading role,
and the first joins the counterpoint, inverting the viola’s first chromatic line.
Still in C-sharp, the harmony is inflected to minor and reaches a cadence.
3:30 [m. 52]--After the cadence, the viola and cello make a forceful descent back
to F-sharp. This happens on the upbeat to the second half of the measure (m. 52).
There, the first violin and cello once again begin a passionate canon, this one
even stormier and more intense than the first one. The second violin and viola
begin
their accompaniment by reiterating the forceful upbeat descent, but after a
measure,
they revert to the familiar tremolo from the first canon. Because the canon now
begins on the second half of a measure, at first it appears that only a slight
adjustment
with an extra leap will reorient the meter, but in fact this is only part of a
larger
expansion including new very wide leaps and more dotted rhythms. The triplet
portion
with the diminishing volume has the same pattern, but now points to an arrival at
home on F-sharp.
3:59 [m. 60]--There now follows an extremely tender passage which, while
technically
still part of the B section, also merits its own subsection (c) because it returns
almost in full as the coda to the movement. It bears some similarity to the
interlude
from 3:11 [m. 48], but is far more developed. It begins in F-sharp major, but both
the first violin melody and the lines of counterpoint from the other instruments
are highly chromatic. The cello punctuates with rocking figures. The triplet
rhythm
is heavily used, first in the accompaniment, then in the melody, which uses a
descending
triplet motion after its initial gesture. This already inflects back to minor, but
the tender major-key opening gesture is heard twice more.
4:17 [m. 64]--Now the harmony becomes adventurous, with a large-scale—but still
highly
chromatic—diversion to G major, a half-step above the home key (the so-called
“Neapolitan”
harmony). One statement of the opening gesture is followed by two measures of the
descending triplets, and the rocking figure now appears in both the cello and the
viola, being passed between them. The second violin counterpoint is very
syncopated.
After a soaring leap and descent, there is an abrupt motion back to F-sharp minor
above plucked chords. This is reiterated in the viola, but instead of a full
cadence,
there is a “deceptive” motion to D-major harmony, confirmed by a solid cello bass.

4:44 [m. 70]--Re-transition. The main melody from the A section, now in D major,
is heard in the viola, echoed by an inversion in the second violin. The first
violin
provides the familiar steady accompaniment, then takes over the next statement of
the melodic opening, passing the accompaniment to the second violin. This overlaps
with another viola entry and an inversion in the cello. At this point, there
appears
to be the expected move back to the home key of A major for the reprise. The first
violin leaps up an octave, then slowly descends as the cello moves to A. The
chromatic
note B-flat has been a constant presence, and at the last moment, it is used for
a surprising diversion to F major, where the A’ section remarkably begins.
A’ Section--F major and A major
5:15 [m. 77]--Verse 1. Both verses are presented in their entirety, but Brahms
takes
an unusual approach to the expected variation by setting most of the first verse
in the “wrong” key, F major. The first phrase largely follows the pattern from the
beginning, but the steady accompaniment, originally in the viola and cello, is now
played by the viola and the second violin (which had been silent in the opening
measures).
The cello holds a solid F, as if to reiterate that yes, we are in fact in that
key.
After three measures, the cello does move up to the “dominant” note C. The
instruments
return to their original orientation in the last three measures with the motion to
the “dominant,” now C major.
5:49 [m. 85]--The three-note harmonized off-beat figures follow as at 0:35 [m. 9],
and as expected, the first pair turns to the related minor, here D minor. The
second
pair, however, begins in a higher octave and is very subtly altered, especially the
first violin descent after its high reach. The subtle change causes the return of
the opening gesture to move not toward C, as would be expected based on the
previous
pattern, but toward A. This is the first sign of the home key’s delayed return.

6:04 [m. 89]--The pattern from 0:51 [m. 13] is followed for two measures, with the
first violin answering the cello, but the first violin response is not placed
analogously;
rather it is at the same pitch level as it was in the earlier statement, bringing
things even closer to their original orientation and further emphasizing the home
key harmony on A. The second statement and answer are given to the viola and the
cello, the latter switching roles. The accompanying arpeggios, already somewhat
altered, are played by the two violins in this last exchange. The one-bar
extension
is replaced by two bars that solidify the final transition home to A major. The
cello has a wide arch. The other instruments play rising harmonies, then two off-
beat
chords.
6:28 [m. 95]--Verse 2. Although A major has finally been achieved, there is still
variation, at least for the first five measures. The melody from 1:11 [m. 18] is
transferred without alteration to the cello, an octave lower than the previous
first
violin presentation. Naturally, the first violin joins in the off-beat harmonies.
From the sixth measure of the phrase, the first violin takes over the melody and
finally, the music corresponds exactly with its counterpart in the first A section.

7:00 [m. 103]--Extension beginning mysteriously, then emerging into bright B-major
scale and descent toward a strong cadence, as at 1:44 [m. 26].
7:21 [m. 108]--The exact correspondence does not last long and ends here. The
postlude
from 2:04 [m. 31] is changed. Already in the cello, the arpeggios are replaced by
a syncopated pedal point on A, twice moving up an octave. The three-note off-beat
gestures are reversed in direction and reach higher. There are three of these
gestures,
and the third slows down the resolution. A fourth, much lower and without the
first
violin, doubles the note values and leads directly into the coda, a variant of
subsection
c from the B section. The previous descending line and strong cadence are
dispensed
with in favor of this arrival.
Coda (c’)
7:42 [m. 112]--The tender passage from the end of the B section is used to create
the movement’s coda. The first four measures are almost exactly analogous to 3:59
[m. 60], now in the home key of A instead of F-sharp major. The triplets occur
where
expected. The major difference is in the last measure, where the first violin
leaps
up an octave, which splits a previously held note and adds another layer of
syncopation.
The cello also moves up an octave, and the second violin part is significantly
altered
with more emphasis on the triplet rhythm.
8:00 [m. 116]--The “Neapolitan” diversion is dispensed with simply by omitting the
statement of the opening gesture where the shift was made and moving to the
descending
triplets a measure early. These, then, remain in the home key, and the first
violin
plays them analogously, albeit in a higher octave. The accompaniment, however, is
significantly changed. All three lower instruments reiterate a cadence motion from
the “dominant” note E to the keynote A. This is passed from second violin to viola
to cello, with the first two plucked. The pattern is then repeated on the notes
D-A under the second measure of triplets.
8:10 [m. 118]--After the two measures of first violin triplets, the pattern from
the previous c passage is abandoned. The first violin descends by half-step in
long
notes, and its descending triplet arpeggios are passed down to the other
instruments,
dovetailing between them. At first only the second violin and viola play them as
the cello holds a long high A, but then they are passed down to the cello as well.
The gradually descending patterns are still quite chromatic. After three
measures,
a cadence is reached
8:24 [m. 121]--At the cadence, the cello, viola, and second violin immediately
begin
a gentle echo of the main theme as the first violin reiterates the cadence. The
cello holds a low A under its upper thematic motion. After two gestures recalling
the opening of the theme, the violins leaping up an octave on the second one, the
final three chords are heard. The viola and cello follow the violins on the first
two before all arrive on the last held chord.
8:57--END OF MOVEMENT [124 mm.]

3rd Movement: Quasi Minuetto, moderato; Allegretto vivace ; Tempo di Minuetto

(Minuet
and Trio). A MINOR, 3/4 and 2/4 time.
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