The second sonata in E-flat returns to the three-movement structure used in the first two violin

sonatas and the first cello sonata, but contains no true slow movement. The first movement is
perhaps Brahmss most subtle and fluid sonata form. The development section is extraordinarily
rich in content, especially its latter portion, which is used as the material for the magical
coda. The main theme is highly ingratiating and amiable (the movement is in fact marked
Allegro amabile), as if Brahms wished to give a final repudiation to the serious and severe first
movements of not only the first sonata, but also the quintet and trio with clarinet. The middle
movement is the last scherzo Brahms ever wrote. It is passionate and virile, but has a sort of
seething restraint. Its E-flat-minor key is the same as his earliest published scherzo (and earliest
published work), the Op. 4 piece for piano. Like that piece, it has a trio section in B major,
which has a confident, noble, glowing warmth. Brahms follows his last scherzo movement with
his last theme and variations. Previous works to end with this form include the Third String
Quartet (Op. 67) and the Clarinet Quintet (Op. 115). The theme has a certain relationship with
the main theme of the first movement from Op. 120, No. 1, sort of bringing the pair of sonatas
full circle. A four-bar first section with an always varied repetition is followed by a six-bar
second part. The variations increase in activity until the fourth, which comes to a near standstill
before the Allegro outburst of Variation 5, which is in a new 2/4 meter and the minor key. The
coda is joyous and brilliant. After meditating on the distinctive closing gesture and main melody
for a while, it erupts into a jovial, even comical final flourish to close Brahmss chamber music
oeuvre.
In the guide, the clarinet version is used for the full analysis. An abbreviated, more rudimentary
guide is provided for a recording with viola, with detailed descriptions of the viola parts
deviations from the clarinet. The most distinctive of these are the double stops and extensions at
the end of the trio section of the scherzo.
Clarinet Version
1st Movement: Allegro amabile (Sonata-Allegro form). E-FLAT MAJOR, 4/4 time.
EXPOSITION
0:00 [m. 1]--Theme 1. The clarinet begins immediately with the highly ingratiating, memorable
theme, which has a distinct vocal character. It winds down and back up, making heavy use of a
long-breathed dotted (long-short) rhythm. The piano accompaniment is comprised mostly of
graceful arpeggios, with block chords against the more chromatic, downward-swinging line at
the beginning of the second four-bar phrase. After a half-close, the opening statement is
extended by two bars with a gentle figure in triplet rhythm and then a sweetly soaring arpeggio
that reaches up from the clarinets lowest notes.
0:27 [m. 11]--Transition. It begins like a restatement of Theme 1, with the opening melody
notes transferred to the piano bass below gentle high arpeggios in the right hand. The clarinet
reverses these, making reference to the theme. After two bars, the piano arpeggios are changed
to a triplet rhythm and the clarinet references to the theme reach higher and become syncopated,
steadily building.
0:37 [m. 15]--Before reaching a cadence, the clarinet suddenly drops out, leaving the piano to
play an aggressive sequence of full chords and octaves that move toward the dominant key of
B-flat. This solo piano passage utilizes the dotted rhythm, along with a rapid turning figure in
octaves.
0:45 [m. 18]--The expected arrival at B-flat is averted with a deceptive cadence onto the chord
of E-flat minor. Piano arpeggios that move inward in contrary motion between the hands
underlie a forceful statement of the theme in the clarinet. This dissolves into a descending
sequence in triplets and faster sixteenth notes as the piano moves to the low bass and tenor
registers. The volume rapidly diminishes, and the harmony touches on D-flat and G-flat
major. The clarinet line slows, becomes syncopated, and breaks off over a dissonant harmony (a
so-called augmented sixth chord) in anticipation of Theme 2 in B-flat.
0:56 [m. 22]--Theme 2 (B-flat major). The clarinet plays a halting melody with a recognizable
rhythm and with two distinct pauses. The bass of the piano imitates the clarinet in canon a beat
later and consistently an octave plus a fifth below. The harmonies to the piano canon, especially

in the right hand, often move in the opposite direction, but their rhythm follows the piano
bass. Both instruments are marked sotto voce. The expected four-bar phrase is extended by two
quiet echoes that maintain the clarinet/piano bass canon while touching on the minor key.
1:14 [m. 28]--The clarinet begins a more lyrical and expansive version of the melody, removing
the halting pauses. The piano abandons the canon, changing to accompanying after-beat and offbeat chords. These chords are underpinned by low octaves which quickly settle on a pedal
point on the dominant note, F. In the third bar, the clarinet introduces dynamic triplet
rhythms into the melody, which is still marked dolce.
1:31 [m. 34]--After another six-bar phrase, the clarinet trails and drops out as the piano takes
over, still maintaining the accompanying rhythm with its right hand chords, but with a more solid
left hand, now stubbornly maintaining the pedal point F on the off-beats. The harmony of the
piano mirrors the clarinet in the previous phrase as it had moved to the triplet rhythm. After two
bars, the clarinet itself enters with the original notes of that measure. After that single-bar
restatement, the clarinet flares up into a grand expansion that culminates in a dramatic upward
arpeggio in faster sixteenth-notes over a rapid crescendo. The piano immediately imitates this
arpeggio, reaching upward even more strongly as its bass moves away from the pedal point. At
the climax, the clarinet suddenly drops out and the piano is left with a powerful cadence gesture
in chords and leaping bass octaves.
1:47 [m. 40]--Closing section. The expected B-flat of the cadence arrives in the piano bass. The
piano then begins a series of sweeping arpeggios in triplet rhythm against a steady bass. The
clarinet introduces a new and strongly lyrical theme with a broad reach. Its eighth notes and
sixteenth notes are played straight against the piano triplets. The theme makes another turn to a
rapid arpeggio over chromatic harmony, after which the clarinet leaps to its low register as the
piano bass moves away from B-flat and the right hand plunges downward.
1:58 [m. 44]--Another statement of the theme begins, now taken by the piano right hand. The
triplet arpeggios are passed between the clarinet and the left hand. At the third bar of the theme,
the clarinet drops out and the piano breaks away from the tune at the point where the clarinet had
the rapid arpeggio. It introduces leaping, detached figures in the left hand and manipulates the
theme into a rhythm reminiscent of the beginning of Theme 2, while briefly shifting to D
major. Rapidly diminishing in volume, the accompanying rhythm from the second statement of
that theme now also returns. The piano bass and the clarinet use broad leaping octaves to lead to
lead gradually back to B-flat major and another cadence. This quieter cadence settles into the
variant of the main theme that closes the exposition.
2:21 [m. 52]--To round out the exposition, the clarinet note from the last rising octave is held
over into the beginning of a new version of Theme 1 in B-flat. This new version has the familiar
accompaniment, but quickly introduces new syncopation and trailing triplet rhythms. These
rather abruptly shift to the movements home key, E-flat, where the development section begins.
DEVELOPMENT
2:32 [m. 56]--The boundary between exposition and development is very nebulous. Its
placement here is based on material included in the recapitulation and the movement away from
B-flat, where the exposition would be expected to end. The piano begins a statement of Theme 1
in E-flat, with brief clarinet arpeggios, but the harmony and melody quickly deviate from the
theme and the key. A sudden forte outburst of piano chords with pounding bass octaves shifts
back to the realm of B-flat and its related minor key, G minor. After three bars, these break off
into a cascading triplet arpeggio as the clarinet begins yet another unstable version of the
theme. This also breaks into a plunging arpeggio, moving to the areas of G and D minor.
2:57 [m. 65]--The clarinet, suddenly hushed, arrives at the low D, the instruments deepest
pitch. It plays a tolling pedal point on that note seven times. Above it, the piano plays a spectral
version of Theme 2, complete with the halting pauses, fluctuating between G minor and D
minor. The D pedal in the clarinet seems to pull more, as a dominant note, to G minor, despite
the vacillation between the two keys in the harmony.
3:08 [m. 69]--Now the clarinet, sotto voce, plays the transformed Theme 2. The piano, also very
quiet, maintains a hint of the imitation associated with the theme. The harmony is now a mixture
of G minor and G major. Suddenly, the clarinet breaks away, soaring into a beautiful cadence
gesture. The piano plays chromatic chords underneath it until both instruments strongly confirm

the key of G major. The music will remain in that key at length during the following extended
passages.
3:20 [m. 73]--Prolonging the cadence, the piano plays Theme 1 in G major with warm, aching
triplet arpeggios accompanying. The clarinet enters to complete the melodic phrase. Another,
slightly syncopated statement begins a fourth higher, on C major. The triplet arpeggios continue
in the piano bass. Both instruments gradually settle down, with a colorful E-flat borrowed from
the minor key, to a delayed cadence in G.
3:35 [m. 78]--A remarkable passage of lilting, bouncing triplet figures, mostly outlining the Gmajor chord, begins with the cadence. Marked dolce, it seems almost like a parenthesis within
the development section, since this material was not present in the exposition. It is passed from
the clarinet to the piano, then back to the clarinet. After moving to the clarinet a second time, the
triplets stay there and the piano moves to slightly more forceful chords in clashing straight
rhythm. These chords curiously and consistently omit the note F-sharp, which is important for
the identity of G major, despite the consistent outlining of that keys chord. It is unclear whether
G major is still the key center or whether it is functioning as a dominant of C major.
3:49 [m. 83]--Now the piano introduces chromatic harmony, including the note F-sharp, but
ironically, the clarinet moves to the chord of F-sharp major with the bouncing triplets,
temporarily establishing that key, although it also lacks its crucial leading note. Almost
immediately, things shift down another half-step, to F. Then, in a magical outburst, the piano
takes over the bouncing triplets, blossoming back into B-flat, for which F serves as a
dominant. The arrival back at the key of Theme 2, where the development section also began,
greatly increases anticipation for the arrival back home to E-flat and the recapitulation, but this
remarkably long development section is not over yet. The clarinet enters at the top of the pianos
arrival on B-flat, its two-note descents also establishing the key.
4:06 [m. 89]--The clarinet joyously begins Theme 1 in B-flat, with the exuberant bounding
triplets continuing in the piano. Shortly, the left hand moves to downward leaps in straight
rhythm. The two-against-three rhythmic juxtaposition has now become quite characteristic. The
clarinet statement of Theme 1 unexpectedly strives upward, becoming very exuberant, and
emerging into the bouncing triplets. A greatly anticipated cadence in B-flat is now almost
cruelly averted.
4:17 [m. 93]--A deceptive chromatic motion to G-flat, almost immediately re-notated as Fsharp, prolongs the development section even more. The piano begins an extremely chromatic
meditation on fragments of the main theme in full harmony. A pedal point is established on Fsharp, which serves as the dominant of B, but the extreme chromaticism makes it impossible to
distinguish major and minor. The clarinet adds melodic fragments to this unstable passage, in
which Brahms seems to take great pleasure in extending anticipation as long as possible. Bass
motion then seems to confirm arrival at F-sharp major.
4:30 [m. 98]--Another abrupt chromatic shift leads through A-flat in a chordal descent on the
piano. Finally, the bass slides from A-flat up to B-flat, where the chord is quickly and firmly
established as the dominant of E-flat, the home key that has been anticipated for such a long
time. The harmony settles down with a sense of great relief, as does the general tension. After
the incredible extensions and harmonic journeys of the development section, this re-transition is
brief, with piano chords and mildly syncopated clarinet notes moving inevitably to the arrival of
Theme 1 in E-flat. There is an echo of the false arrival of the theme in the home key at 2:32
[m. 56] which only heightens the accomplished sense of relief here.
RECAPITULATION
4:47 [m. 103]--Theme 1. The clarinet line is as in the exposition. The piano arpeggios in the
first phrase are now played in a triplet rhythm, intensifying the two-against-three motion that has
become increasingly prominent in the movement. In the second phrase and the two-bar
extension, the accompaniment is as in the exposition. To begin the new transition, the piano will
imitate the soaring clarinet arpeggio that closes the statement of Theme 1. Its first note is
anticipated in the last beat of the bar and held over.
5:16 [m. 113]--Transition. It is four bars shorter than in the exposition, and has a different tonal
destination. The bass restatement of the theme and the aggressive piano chords are
omitted. Instead, the arpeggio at the end of Theme 1 is imitated a fourth higher by the piano,

leading to a clarinet statement of the Theme 1 opening in A-flat major over piano arpeggios in
triplets. The clarinet line also inserts a single gentle triplet rhythm. The piano then states the
theme, shifting it abruptly down to G-flat major, continuing with the contrasting triplet rhythm in
the left hand. A final clarinet entry on the theme dissolves into a descending, diminishing line in
triplets as the piano drops out. It is distinctly similar to the clarinet descent that preceded the
entry of Theme 2 at 0:56 [m. 22]. This clarinet descent changes key once again, shifting from Gflat to C-flat as the triplets move to a slower straight rhythm for the last descending notes.
5:37 [m. 120]--Theme 2. The first statement of Theme 2 is given in the unexpected key of C-flat
major. The piano canon and sotto voce markings are analogous to 0:56 [m. 22]. The first of the
two echoes has a subtle alteration in melody and harmony, and the second is shifted up a third
from the exposition, an octave lower than the first echo, moving the key center back home to Eflat, the expected key of Theme 2 in the recapitulation. This is a wonderful effect after the
somewhat darker colors of the C-flat diversion.
5:55 [m. 126]--Lyrical and expansive version of the melody with after-beat and off-beat chords,
analogous to 1:14 [m. 28], in the home key of E-flat. The low pedal point is now on B-flat, the
dominant note of the home key.
6:12 [m. 132]--Clarinet drops out as piano maintains off-beat rhythm and pedal point. Then
clarinet entry and grand expansion, with dramatic upward arpeggio imitated by the piano,
followed by powerful cadence gesture. Analogous to 1:31 [m. 34].
6:29 [m. 138]--Closing section. Cadence in E-flat, then sweeping piano arpeggios in triplet
rhythm under broadly lyrical clarinet theme in straight rhythm. Rapid arpeggio, then leap to low
register in the clarinet over chromatic harmony and plunging piano right hand. Analogous to
1:47 [m. 40].
6:40 [m. 142]--Analogous to 1:58 [m. 44]. Second statement of closing theme by piano right
hand in octaves, with triplet arpeggios split between the clarinet and the piano left hand (where
their initial direction is reversed from the exposition and moves downward). Clarinet drops out
as leaping, detached figures begin in the piano. Brief shift to G major. Then accompanying
rhythm of second phrase from Theme 2. Leaping octaves lead to E-flat cadence. This settles
into the variant of the main theme that ended the exposition and launched into the development,
which is now used analogously to lead into the coda.
7:04 [m. 150]--New version of Theme 1 in E-flat with syncopation and trailing triplet rhythms,
analogous to 2:21 [m. 52]. The trailing clarinet line appears to move to A-flat, which would
match the harmonic motion of the false arrival at E-flat that began the development
section. But this expected arrival is diverted at the beginning of the coda.
CODA
7:16 [m. 154]--The expected arrival at A-flat is magically diverted to the distant key of E
major. This is accomplished by re-interpreting A-flat as G-sharp. In this key, Brahms uses
material from an unexpected passage of the movement: the transition from the exposition at 0:27
[m. 11] that was not used in the recapitulation, now shifted up a half-step from its original
presentation. All the elements are here: the bass statement of the theme, the high arpeggios in
the right hand, the reversals in the clarinet, the shift to triplet rhythm in the piano arpeggios, and
the move to a more syncopated rhythm in the clarinet. But at the clarinet syncopation, Brahms
continues the triplet motion in the piano right hand, which he did not do before and which creates
a three-against-two contrast with the left hand. In the fourth bar, the clarinet lines are also
extended higher, and the two-against-three motion in the piano continues.
7:28 [m. 158]--Still in E major, the clarinet syncopation leads to material from Theme 2. In the
clarinet, the triplet motion from the expansive version at 1:14 [m. 28] and 5:55 [m. 126] is
heard. The piano uses the familiar halting rhythms from the beginning of Theme 2, but they are
now passed between a low bass line in the left hand and chords in the right hand. Groups of
three notes or chords in each hand are dovetailed with a new group in the other hand, creating a
continuous flow despite the pauses between groups. The music is very tranquil, and it is marked
molto dolce sempre. The clarinet breaks off, and the piano trails, also breaking off. Both
instruments cut off a strongly anticipated cadence in E major.
7:41 [m. 162]--On the upbeat, the piano bass slips from B to B-flat, supporting an E-flat chord
and a shift back home to that key, thwarting the E-major cadence. The music is now headed

Tranquillo. The right hand plays the groups of three chords derived from Theme 2, while the
left hand moves to a slower rhythm and an alternation between low bass notes and higher midrange chords. The clarinet turns to another unexpected element, the lilting, bouncing triplet
figures from the latter part of the development section beginning at 3:35 [m. 78]. This creates a
three-against-two contrast with the piano right hand. The piano and clarinet descend together to
a cadence as the clarinet moves away from the bouncing triplets.
8:00 [m. 166]--The lilting triplets move to the piano, and the music now more closely resembles
the latter portion of the development. The last beat of each bar moves to chords in straight
rhythm supported by a brief clarinet entry. There are two ascents, each an octave higher, and
then two descents back to where the ascents began. The passage is exceedingly gentle and
serene, and it reaches a full cadence.
8:16 [m. 170]--As the piano triplets settle to their destination, the clarinet enters one last time
with the bouncing triplets. Reaching a top high note, it then descends down an arpeggio in
straight rhythm. At the same time as this clarinet descent, the triplets are played for a final time
on the piano, ascending as before, but with both ascents condensed to one measure. This is the
last measure of two-against-three rhythm in the movement. The music has risen and fallen in
dynamics while slowing down. There remain only the last three chords, with the clarinet ending
on its lowest E-flat, a half-step above its lower limit.
8:43--END OF MOVEMENT [173 mm.]