10:16 [m.

181]--The descending bass octave triplets, continuing string arpeggios,

and cadence gesture follow as at 0:48 and 4:24 [m. 20], but now the cello doubles
the piano bass on the descending triplets, giving them much more power and lending
more force to the cadence gesture.
10:23 [m. 184]--Transition. With no mediation, the yearning melody from 0:54 and
4:31 [m. 23] is transposed from the previous F minor to B-flat minor, and the
abrupt
shift is striking. It is also transferred from first violin to cello, changing its
character. The second measure of the melody has an altered contour, downward
reach,
and displacement down an octave. The piano is more active than before, taking the
triplet accompaniment and “sighing” figures, and adding a more solid bass support
to the cello in its higher range. The first violin adds long patterns beginning
after the downbeat. These seem to replace the smooth second violin counterpoint
from the exposition.
10:32 [m. 188]--Transition to new key, analogous to 1:04 and 4:40 [m. 27]. The
first
violin, which played the melody’s first phrase in the exposition, now plays the
continuation
formerly taken by the viola. The active piano and the cello play the triplet
rhythms
and sighing figures. After two bars, the piano right hand takes the melody for the
buildup. This had previously been played by the first violin. The chords formerly
played by the piano here are now assigned to the cello and second violin. The
first
violin and viola are given the sighing triplet leaps as the buildup and key change
(to F-sharp minor, here already indicated at m. 191) progress. The viola is the
only instrument that basically has its original role here. The cello and piano
bass
do move to their supporting roles as the arrival point approaches. The oscillating
triplet rhythms of the two-bar bridge are in the viola, supported by plucked cello
bass notes, instead of the piano bass.
10:49 [m. 196]--Theme 2. The choice of F-sharp minor for Theme 2 in the
recapitulation
rather than the home key of F minor is analogous to the exposition, where Theme 2
was not in the expected “dominant” key, but a half-step above it. The pattern from
1:21 and 4:58 [m. 35] is followed, but re-scored. The viola and plucked cello
continue
to play the oscillating triplets and “pedal point” bass (now on f-sharp). The
piano
left hand takes much of the previous viola part.
10:58 [m. 200]--Analogous to 1:30 and 5:07 [m. 39]. The expressive phrase with
triplets
moves largely back to the original scoring, with the oscillation moving back to the
piano (along with the following arpeggios), and the lead taken by viola and cello.
The restatement, however, is varied. The second violin takes the place of the
viola.
As expected, it shifts up a half-step and turns to G major. But after the first
piano arpeggio, the viola inserts a buzzing repeated octave on F-sharp. The second
arpeggio moves back down to F-sharp instead of remaining on G. But after this, the
buzzing viola octave follows its sequence and moves down another half-step to F.
This prepares the motion back to the home key of F minor.
11:15 [m. 208]--Analogous to 1:48 and 5:24 [m. 47]. The first two measures
establish
F minor, the long-absent home key. The opening part of the theme is replaced by
a new, but similar passage for strings alone. In contrast to the jerky melody and
its long-short rhythms, the passage is smooth and almost mysterious. The three
upper
strings play lines the follow the contour of the theme, and the cello adds a
pulsating
“pedal point,” not on F, but on its “dominant” note, C. The expansion from the
third
measure returns to the original material, but the soaring line is played by the
piano
in octaves instead of strings. The violins and viola (the latter holding a long
note) play the original harmonies of the piano right hand. The cello continues its
pulsing anchor, moving briefly to F before the expected downward motion to E-flat.

11:24 [m. 212]--The continuation, analogous to 1:57 and 5:33 [m. 51], largely
returns
to the original scoring from the exposition. In this case, the piano continues its
own rising line rather than taking over from the violins. The broken octaves in
the piano bass and the plucked cello notes are mostly as before. The key touches
this time on D-flat before the soaring line and full cadence in F minor. The
repetition
of this soaring line and cadence is again given to the viola. The piano is
slightly
more urgent here than it was before, but the plucked cello remains the main
propulsive
force.
11:37 [m. 218]--Expressive phrase from viola, arpeggios from Theme 1, and arching
cadence, analogous to 2:10 and 5:46 [m. 57]. The scoring is mostly as it was in
the exposition, except that the viola replaces the second violin on the pulsating
triplets under the cadence.
11:46 [m. 222]--Cello repetition of expressive phrase, analogous to 2:19 and 5:55
[m. 61], with brief motion to D-flat. The first two measures are scored as in the
exposition, but the expanded violin cadence is changed to include all instruments
and begin the buildup earlier. Brahms changes the key signature to F major here,
earlier than in the exposition. Both violins play the leading line in octaves.
The trailing line formerly taken by the second violin is in the piano right hand,
also in octaves. The pulsations that had been played by the piano are now in the
viola and also in octaves. The cello harmonizes the piano bass above.
11:55 [m. 226]--The variant of the expressive phrase, as well as the following
buildup
and cadence, are analogous to 2:28 and 6:04 [m. 65]. The first two measures have
the most changes in scoring. The first statement had been played by second violin.
It is now played by the piano right hand, continuing its replacement of the second
violin in the previous passage. The second violin and viola, then, take over the
passionate arpeggios, replacing parts of them with tremolos. The first violin
holds
its high note from the previous passage, which it did not do before. From the
point
where the first violin took over the expressive statement from before, the scoring
is similar to what it was. The first violin plays the second statement again, and
the piano returns to the dramatic arpeggios. At the climax, the first violin is
doubled an octave lower by the viola, making the buildup even more intense. The
piano bass focuses more on the low octaves. The last cello notes approaching the
cadence are slightly altered in contour.
12:14 [m. 235]--Closing section. Analogous to 2:47 and 6:24 [m. 74]. The downward
slide is played by the piano bass and the cello. From that point, the strings and
piano reverse roles from the exposition. The arching arpeggios are played by the
piano, as are the martial dotted rhythms. The strings hold long notes. The
descending
echoes that were played by the piano before are taken by the strings (without
viola).

12:23 [m. 239]--Analogous to 2:56 and 6:33 [m. 78]. The slide down to the leading
tone is played by cello and viola doubling the piano bass. From there, the role
reversal from the closing theme in the exposition continues. The piano plays the
outward arching arpeggios again, reaching higher, along with the marching dotted
rhythm. The first echo is played by the strings, and the extra second echo, the
expansion, is played by the piano.
12:34 [m. 244]--Analogous to 3:07 and 6:44 [m.83]. The harmonized descending
groups
of three-note patterns in straight rhythm, obscuring the bar line and building in
volume, continue in an exact role reversal from the exposition. The strings play
the first group of three patterns, the piano the second, and the strings join the
piano on the third (thus causing the scoring to match the exposition at the end of
this third group).
12:41 [m. 247]-Analogous to 3:15 and 6:51 [m. 86]. The lengthened descents begin
with the same scoring as in the exposition. The repetition an octave lower is
thinned
out by removing the second violin and viola. There is no full F-major cadence
here,
as the weak-beat pulses that closed the exposition are omitted. Instead of a
cadence,
the coda immediately begins with this material, building on the three-note
descents.

CODA
12:51 [m. 251]--Part 1. The piano, in the tenor range with bass support, echoes
the last first violin descent. From that point, an intricate web of imitation
between
piano and strings follows on the three-note descents, with the top line of each
gradually
moving up by step. There is a steady buildup. After three such exchanges, a
climax
is reached, the top lines stall on F and the imitative motion becomes more
continuous,
adding a downbeat before each descent. The cello breaks from the continuous string
harmonies and plucks broken octave descents on F. Three of these more continuous
imitations then follow.
13:05 [m. 257]--The string answer to the third imitation is interrupted, and all
instruments join together on on a series of two-beat phrases, with the first violin
taking the leading voice. It still leaps down while the second violin, viola, and
piano right hand mostly move up by step or leap. The piano bass arrives on a very
low F and plays slow, rising broken octaves, supported by the now static plucked
cello notes (also on its low F). The two-beat phrases steadily move down in the
first violin, and half-steps are again emphasized. The tension steadily abates.
All voices except the piano and cello bass reach the preparatory “dominant”
harmony,
slowing and diminishing in volume on a suspended, otherworldly oscillation.
13:16 [m. 261]--Part 2. Brahms gives the tempo heading “Poco sostenuto.” The
first
violin leads a hushed meditation on the main theme, beginning with a descent from
an upbeat instead of the usual ascent. The second violin begins to imitate the
first,
but deviates quickly, adding characteristic syncopation. The two violins emerge
into a contrary motion, with the first floating upward. The lower strings and
piano
bass hold, then slowly move on an unstable “dominant” harmony and “pedal point” F
under this violin meditation.
13:27 [m. 265]--The cello begins the meditation on the main theme anew, in B-flat
instead of F. The first violin plays the syncopated “imitating” line previously
played by the second violin. The second violin and viola hold the harmonies. The
piano bass remains on the “pedal point” F. The statement is extended by two
measures,
lingering on the contrary motion, which changes direction and which the middle
strings
join. The cello finally lands on its low F and holds it. The piano bass subtly
drops out, and the strings hold notes over a bar line, extending the statement by
another measure. The strings reach a delayed, unstable, incomplete, and
chromatically-tinged
cadence on B-flat. From here, the piano is absent for a time.
13:44 [m. 272]--The strings, except the cello, play a series of syncopated chords
held over strong beats and bar lines, continuing from the weak B-flat cadence. The
cello slowly emerges into syncopated Theme 1 material, and all instruments
gradually
move back toward F minor, slowly abandoning the major key. After four measures,
the leading cello leaps downward as the upper strings descend, settling toward a
“dominant” harmony as the volume reaches its quietest point. The cello repeats its
last gesture, which is clearly recognizable as the opening figure of Theme 1. The
other strings become detached on their off-beat chords.
14:04 [m. 279]--After the second cello arrival, that instrument leads a transition
passage. The descending line from Theme 1, beginning with an upbeat, takes over.
After the cello lead-in, the piano enters with the hands playing in unison with
the cello and an octave apart. Brahms indicates a steady acceleration here. The
piano takes over from the cello. It accommodates the acceleration by speeding up
to a triplet rhythm, still in octaves. The other strings, including the cello,
play
upbeat figures leading into strong beats and emphasizing them. The piano triplets
begin to arch, working steadily upward and increasing in intensity and speed. This
leads directly into the main tempo and the passionate arpeggios, at which point
Brahms
finally changes the key signature back to the four flats of F minor.
14:13 [m. 283]--Part 3. The passionate piano arpeggios from 0:16, 3:52, and 9:44
[m. 5 and m. 166] emerge in a “tragically triumphant” way from the buildup and
acceleration.
The first two brief gestures are played as usual, but the third, longer one is
extended
from three measures to four, with new harmonies focusing on major keys to the
“flat”
side of F minor (D-flat, G-flat, and C-flat). The string chords still use much
half-step
motion, although the heavy emphasis on major harmonies makes the passage more
triumphant
than tragic. The fourth measure works decisively back to F minor.
14:26 [m. 290]--The arrival point is filled with feverish intensity. The piano
moves
from the fast arpeggios to a version of the slower ones that were heard under the
string statement of the theme (which usually followed the fast arpeggios). The
strings
now take the fast arpeggios, passing them back and forth from first violin and
viola
to second violin and cello. The slower piano arpeggios move steadily downward to
another big F-minor arrival. The scoring of the three-measure pattern is then
reversed.
The piano takes back the fast arpeggios, leaping from the high to the low register
with both hands in octaves to approximate the previous string interplay. The
violins
and cello play the slower arpeggios here while the viola adds rapid repeated notes
to solidify the harmonies. A third huge arrival on F minor follows as expected.

14:38 [m. 296]--Brahms suddenly applies the brakes with a sostenuto marking. All
four string instruments join in unison octaves, still on the slow arpeggios. The
piano breaks from the fast arpeggios and plays longer, heavy chords that leap back
and forth, low to high. Its bass emphasizes a low octave F. The strings are
accented
on strong beats, and the piano’s high chords on weak ones, creating a sort of
cross-rhythm.
The harmonies create an extended cadence on F minor, but not a typical one. These
last cadences focus on “plagal” or “subdominant” harmonies in an ending that
foreshadows
that of the Fourth Symphony’s first movement. After two measures, the piano plays
three grand F-minor chords under the continuing slow string arpeggios. The strings
stop and join the piano on the last of these highly dramatic final chords.
14:53--END OF MOVEMENT [299 mm.]

2nd Movement: Andante, un poco Adagio (Ternary form--ABA’). A-FLAT MAJOR, 3/4 time.

A Section
0:00 [m. 1]--Part 1. The piano right hand, playing espressivo and sotto voce in
the tenor register, presents the main theme. Its principal gesture, an upward
skipping
short-long rhythm that is followed, after the long note is sustained a beat, by a
distinctive short-short-long pattern, remains almost constantly present. The same
is true for the harmonization in thirds or sixths. The first violin and viola, in
octaves, play a halting accompaniment whose distinctive gestures include notes on
the second halves of all three beats in the measure and the beginning of the second
beat. The piano bass plays with them, but reverses the direction of the gestures.
The cello adds plucked notes on the downbeats. The first two measures are
identical.
The third moves down toward the half-close, and the fourth establishes a cadence
measure pattern by changing the short-long rhythm on the downbeat, in this case
reversing
it to long-short.
0:20 [m. 5]--The second phrase changes the contour of the short-short-long patterns
after the downbeats, intensifying them. The second measure of the phrase adds
notes
from the minor key. The third and fourth measures blossom into a new arching
approach
to the half-close. In the cadence measure, the first violin and viola, joined by
the plucked cello and piano bass, play only after the beats, without the added
“halting”
note on the second beat.
0:40 [m. 9]--Part 2. The next phrase begins with the minor-key inflection,
emphasizing
it by omitting the short-long rhythm in the first measure. The phrase intensifies
in both volume and harmony, and moves strongly toward C minor (not the initially
suggested A-flat minor). The last measure of the phrase actually reaches a half-
close
in C minor, emphasized by the first forte marking. The second violin makes its
first
entrance here, joining the viola and cello in plucked off-beat chords. The first
violin plays at the top of these, but retains the bow
1:00 [m. 13]--At first, this phrase appears to back away and return to the opening
phrase of Part 1. The viola again bows the accompaniment patterns with the first
violin, and the second violin rests again. But the music already deviates and
intensifies
before the second measure. As in the preceding phrase, the last measure reaches
a new key, this time D-flat major, and with a strong full cadence rather than a
weaker
half-close. Again, the second violin joins the viola and cello in rich plucked
chords
under the high, bowed first violin.
1:20 [m. 17]--Part 2 of the A section concludes with an extended six-measure
phrase.
As before, the beginning recedes back to the quiet level. The first measures
resemble
the second phrase of Part 1, but without the change in contour of the short-short-
long
patterns. The previous patterns are followed, but the cello has gradually moved
away from the downbeats. The harmonic motion is even more adventurous here, but
the volume remains quiet. The A-flat-minor inflections are used to pivot to its
related major key, C-flat. The third measure adds a second skipping figure, and
the fourth adds a very expressive piano turn at the half-close in C-flat. The two-
measure
extension also emphasizes the skipping short-long figure, and quickly moves back
home to A-flat major. The piano speeds up toward long-delayed full cadence.
1:50 [m. 23]--Part 3 (Codetta). The greatly anticipated cadence is embellished
with
an expressive downward resolution (an appoggiatura). This leads into the closing
material. It is extremely warm and beautiful. The piano is still in the tenor
range,
still playing mostly in thirds and sixths. The appoggiatura lends itself as a
defining
feature. The left hand and strings play off the beat, the former in low octaves.
The second violin, which has only played at the louder cadences with plucked viola
and cello, is still absent. The last two measures of the first phrase accelerate
slightly and add colorful chromatic inflections. The piano bass and plucked cello
become more active. Another yearning turn figure, leading into a triplet rhythm,
concludes the phrase and leads into the next one.
2:08 [m. 27]--The second phrase of the codetta begins like an intensification of
the first. The two violins, the second playing with the bow for the first time in
the movement, join the piano on the harmonized cadences and appoggiaturas. The
plucked
cello plays in double-stops in the off-beat accompaniment patterns to compensate
for the added strength of the violins. After the first two measures, there is
intensification
as before, but the colorful inflections are heightened and actually lead toward a
new key. The goal is the key of the B section, E major, notated as F-flat in this
transitional passage. The cello takes the bow for the first time in the movement
here, and another triplet figure leads into the following transition.
2:23 [m. 31]--Transition. At the climax, the instruments all suddenly hold back
in tempo and diminish in volume. While the piano emphasizes the lead-in to E
major,
the strings slowly descend into that key, all now playing with the bow. The piano
plays octaves with some syncopation and internal harmonic motion. The piano bass
leads up through half steps to B-natural, the “dominant” note in E major, and the
four-sharp key signature is introduced. Over the held piano bass B, chromatic
descending
thirds in the right hand and a syncopated line in the first violin smoothly bridge
into the theme of the B section.
B Section--E major
2:41 [m. 35]--The second violin and viola, in unison, lead into the new theme with
an upbeat on a rising octave. They then continue in unison on descending patterns
in triplet rhythm. The first violin and piano, meanwhile, play rolled chords
against
the melody while the cello again plucks in support of the piano bass on the
“dominant”
note. The theme is marked molto espressivo and is more intense than the A section
melody. After two measures, the piano right hand takes the lead with a
continuation
in straight rhythm, harmonized in sixths. The unison triplets in second violin and
viola continue under the piano as an accompaniment pattern. The first violin plays
two more isolated rolled chords.
2:52 [m. 39]--The piano melody continues, harmonized in sixths, but it now turns
to E minor. The piano bass adds rising octaves like the upbeats that led into the
melody. The first violin drops out, then the second violin also subtly exits,
leaving
the now accompanying triplet rhythm to the viola. The piano reaches a half-close
in E minor with only the viola and cello remaining from the strings. At the half-
close,
the cello takes the bow and plays a descending line. The piano then drops out.
The second violin and viola join the cello, quickly moving back to E major and
leading
into the next statement of the melody.
3:04 [m. 43]--The first violin provides the upbeat for a new, higher statement of
the theme. The second violin adds a new counterpoint in clashing straight rhythm,
bringing in the two-against-three conflict earlier than before, but vaguely
imitating
the first violin. The piano alone plays the rolled chords with both hands doubled
an octave apart. The continuation in straight rhythm that had been played by piano
alone is again taken by the piano, but unlike the beginning of the statement, the
continuation is an octave lower than before. Its harmonies are doubled by the
viola
and cello, which enter here. The first violin continues the triplets in the
accompanying
role. The second violin continues its straight-rhythm line, now subordinate to
viola,
cello, and piano. The piano bass solidly emphasizes the “dominant” note in
octaves.

3:16 [m. 47]--The turn to minor is intensified. It lands solidly on the “dominant”
harmony right at the outset. All strings except the viola drop out, and the piano
presses with the minor-key continuation in a more agitated manner. Brahms
indicates
a steady, gradual acceleration. Against this, the viola plays two measures of
pulsating
triplets on B, the “dominant” note. These triplets then pass to octaves in the
piano
right hand in a role reversal, and the cello joins the viola in an extension of the
minor-key continuation. After one more measure, the two violins join in as well.
The piano octave triplets begin to move about, but circle back to the “dominant”
B. The extension, with a steady buildup, continues for three more measures.
3:31 [m. 53]--At the climax, the strings suddenly and abruptly switch back to
major.
The first violin and cello are an octave apart, as are the viola and second
violin,
which harmonize them. The piano triplets continue, as does the solid bass. The
strings recede in volume and tempo, settling back to a cadence in E major as the
piano triplets dissipate.
3:41 [m. 55]--Epilogue. The piano plays chords, dolce, in the rhythm of the
accompaniment
to the main A section theme. The cello plays an octave upbeat in the dotted rhythm
and character of the B section theme. Its upbeats are then twice joined by first
violin and viola on descending ninths using the chromatic note D-natural. After
four measures, the viola moves to a new half-step pattern, using the dotted rhythm
and another chromatic note, C-natural (which also appears in the piano chords).
This pattern, despite diminishing volume, has an urgent character obtained through
a cross-rhythm (here a briefly implied 2/4 meter). The cello plays low E’s, the
first violin drops out, and the piano makes one more arrival on E major. On the
last upbeat, the cello leaps down to D-natural (as had the first violin and viola
before).
Re-Transition
4:06 [m. 61]--The key signature changes back to four flats. Very quietly and
mysteriously,
the piano again plays chords in the rhythm of the accompaniment to the A section
theme. The strings again add their dotted-rhythm upbeats, now mostly the urgent,
dissonant leaping ninth. Now the cello descends and the two violins ascend. The
second violin has smaller leaps of a fourth and a fifth. The violin leaps resolve
downward, easing the tension. The harmony moves down by half-step from the
previous
E major. The first two measures strongly suggest E-flat minor and major. They are
then shifted down another half-step for two measures that seem to fall in D minor
and major. Another half-step descent appears to begin, but it is immediately
diverted
back to D by the winding cello and the piano chords. The violins drop out.
4:30 [m. 67]--The winding cello had included the note E-flat. This note helps the
D harmony to begin acting as a preparatory “dominant” leading to G minor, where
Brahms
now moves. The note D is isolated in the viola and cello, the latter plucked and
the former using the familiar accompaniment rhythm of the A section. The quiet,
mysterious mood prevails. After two measures, the violins enter in thirds, dolce,
with the opening gesture of the A section theme itself, not in G minor, but G
major.
As the lower strings persist on their repeated D’s, that opening gesture is
repeated
in the piano left hand, and now it is in G minor.
4:47 [m. 71]--The cello and viola move up a half-step to E-flat. The violins use
the G-minor harmony to pivot artfully to A-flat major, the home key of the
movement.
The E-flat in the low strings becomes the “dominant” of A-flat, anticipating its
full arrival. The piano drops out for two measures. The cello and viola continue
their established pattern on the new pitch. The violins begin to spin out a
yearning
passage, harmonized in thirds, that is clearly targeted toward the arrival of the
main A section theme in the home key. After a brief acceleration and swelling of
volume, the piano re-enters, with its low bass doubling the viola. At that point,
the first violin reaches its highest pitch, the harmony between the violins expands
to sixths, and then both speed and volume quickly recede, settling into the well-
prepared,
natural arrival.
A’ Section
5:03 [m. 75]--Part 1, as at the beginning. The first phrase is played with no
alterations.

5:22 [m. 79]--Second phrase, as at 0:20 [m. 5].

5:43 [m. 83]--Part 1, varied repetition. The A’ section adds a second full and
varied
statement of Part 1 with “reversed” instrumentation. The first phrase transfers
the main theme to the first violin and cello, which maintain the original piano
harmonies,
stretched from thirds to tenths. The accompaniment is given to the piano, which
adds a gentle rising arpeggio to each entry after the first beat of the measure.
Otherwise, it is similar to the original string accompaniment, with some added
chords.
In the last two measures of the phrase, the second violin joins in to double and
strengthen the cello line in a higher octave.
6:00 [m. 87]--The second phrase is similarly presented by first violin and cello.
The second violin does not join, but the accompaniment in the piano, which retains
the decorative arpeggios, adds more chordal harmonies, including rolled chords at
the end of the phrase.
6:19 [m. 91]--Part 2. The varied repetition of Part 1 has extended the A’ section.
At this point, the analogous relationship returns, and this phrase corresponds to
0:40 [m. 9]. But it is really a continuation of the varied repetition, since
Brahms
retains the scoring of that repetition, with the melody in the strings and
accompaniment
in the piano. The piano, in fact, continues its established pattern of adding
gentle
arpeggios to each entry of the accompaniment rhythm. For this phrase, the viola
is added to first violin and cello, doubling the violin in a lower octave. The
phrase
builds, as it did before, moving to C minor, and the piano continues to add richer
chords to the accompaniment, rolling them at the climax.
6:38 [m. 95]--This phrase corresponds to 1:00 [m. 13], and like that phrase, it
quickly
intensifies and moves to a cadence in D-flat. The second violin enters and doubles
the cello, the viola continuing to double the first violin. The piano continues
its established accompaniment pattern with the initial arpeggios, and it adds even
wider rolled chords at the strong arrival on D-flat.
6:57 [m. 99]--The six-measure phrase that concludes Part 2 is analogous to 1:20 [m.
17]. The half-close in C-flat and the full cadence in A-flat are retained. The
strings continue to take the melodic lead, with first violin doubled by the viola
and the second violin doubling cello. The piano finally abandons the graceful
ascending
arpeggios at the beginning of its accompaniment patterns. Rolled chords give way
to block chords at the expressive turn figure in C-flat. At the very satisfying
cadence in A-flat, the last three first violin notes are doubled in speed from
their
previous piano presentation. This causes the cadence to arrive on the last beat
of the measure rather than the first. The new Coda that takes the place of Part
3 begins on the upbeat with this cadence.
7:24 [m. 105]--Part 3 (Coda). The “codetta” is expanded to a full-scale coda,
beginning
with new material. This new material is actually derived from the wide dotted-
rhythm
upbeat at the beginning of the B section theme, specifically as this upbeat
appeared
in the epilogue and re-transition. The first violin plays the first upbeat, a
rising
octave, and continues with this. The viola and cello follow with descending ninths
an octave apart. Meanwhile, the piano plays rising thirds in both hands,
introducing
some chromatic motion to match the chromatic leaps of a ninth in the low strings.
Suddenly, the right hand blossoms into joyously arching triplet octaves and a
syncopated
appoggiatura as the first violin reaches upward. All four instruments (the second
violin is absent) reach a broad climax here, then settle down. The piano again
uses
thirds in this descent. The viola and cello remain an octave apart, but turn
upward.

7:41 [m. 109]--The previous passage is played again in a new instrumentation. The
viola leads with the first upbeat octave while the piano right hand takes the
descending
ninths, now in high octaves. The first violin, cello, and piano bass play the
rising
lines, the harmonies now spread out. The joyously arching triplet octaves and
syncopated
appoggiatura are now taken by first violin and cello. The piano, also in octaves,
takes the role previously played by the low strings here. The second violin is
still
absent. This ending passage is suddenly expanded. The closing gestures do not
settle
down, but increase in speed and urgency, repeating patterns with new chromatic
inflections.
This continues for three measures.
8:03 [m. 115]--In the preceding passage, the presence of the note G-flat seemed to
indicate a diversion to D-flat major. Brahms thwarts that expectation with a
sudden
and striking detour to F major at the climax. The piano leaps down in syncopated
octaves against its rising bass. The viola drops out, leaving the first violin and
cello to settle down from the climax. They also play in syncopation on repeated
notes.. Under them, the piano leads through very active and colorful chords back
to the home key of A-flat. Everything rapidly becomes slower and quieter. The two
strings descend, again in syncopation, toward a cadence.
8:15 [m. 118]--At the cadence, the cello leads into the melody of the original
codetta
with the familiar appoggiatura. The piano plays chords on the off-beats under the
cello. It then joins the melody, along with the viola, adding the familiar
harmonization
and leaving the off-beats to the bass. There is a rapid buildup. Gloriously, the
two violins enter, diverging from the original material and expanding the opening
gestures with rich, full harmony and volume (the second making its first entrance
after a long absence). The piano right hand and viola subtly shift to trail after
the violins on these gestures. The cello, now plucked, along with the piano bass,
plays broken octaves on the keynote A-flat, signifying a final arrival.
8:30 [m. 122]--The codetta gestures are fragmented, with piano and viola still
trailing
the violins. The violins then play gentle undulations like slow trills and are
trailed
by the viola, which plays the undulations in the opposite direction It introduces
the dissonant note a half-step above the “dominant,” reflecting a typical key
relationship
in the Quintet. The violins come to a close and the viola continues to trail,
still
including the dissonance. It is supported by the piano right hand. The octaves
in the plucked cello and piano bass continue as the viola and the piano right hand,
which plays in comforting thirds, lead to the last chord. This quiet, sustained
chord has the fifth or “dominant,” not the keynote, in the top voice, the violins.

9:06--END OF MOVEMENT [126 mm.]

3rd Movement: Scherzo – Allegro (Developmental Scherzo with Trio). C MINOR, 6/8
and 2/4 time.
SCHERZO
Part 1
0:00 [m. 1]--Theme 1 (6/8 time). The scherzo begins ominously and extremely
quietly
with a thumping plucked cello on its low C. After two measures, the viola and
first
violin enter on a highly syncopated unison arpeggio that seems to suggest A-flat
major (the key of the slow movement) rather than C minor. After the arpeggio, they
slide into a sinuous melody, also syncopated and unison, that finally confirms the
C-minor key. The cello continues to pluck the low C, keeping a steady beat. The
piano, in octaves and in its low range, subtly enters with a response to the
violin/viola
melody. It is narrow and almost sinister, a quality enhanced by its syncopation.
 After two identical gestures, the piano follows the violin and viola on arching
lines, always syncopated, that reach high and close off the first statement of
Theme
1.
0:13 [m. 13]--Theme 2 (2/4 time). With the arrival on the “dominant” note G, the
piano and cello drop out. The first violin and viola immediately change the
flowing
6/8 to an angular 2/4. Still in unison, they utter a highly distinctive and
rhythmic
idea. Still quiet and ominous, the percussive, driving force of this idea will
later
reach its full potential. It begins with detached long-short rhythms on repeated
G’s, then moves to a turn figure. The second sequence reaches higher, changing the
turn to a brief arpeggio. In a third sequence, the cello and (making its first
appearance)
the second violin enter in support with plucked chords that remain close to G. The
first violin joins these, leaving the viola alone on the persistent long-short
rhythm.

0:22 [m. 22]--Theme 3 (6/8 time). After the hushed and ominous opening, all five
instruments suddenly break out into a loud and joyous chorale in C major. It
begins
with an upbeat, in this case a half-measure after a rest on the downbeat. It is
richly harmonized and has a march-like quality. The three-chord upbeats propel the
chorale forward. The first statement ends on the “dominant” harmony (after a brief
detour to A minor) and is rounded off by repeated octave G’s in the piano.
0:29 [m. 30]--In the second statement, the strings enter against the repeated G’s,
an octave lower than the first statement, while the piano follows them a measure
later and a third higher. Instead of providing low bass support, as in the first
statement, the left hand doubles the chords an octave lower, with both hands in the
treble register. Halfway through, the piano abandons the imitation and simply
supports
the strings with chords, although its top voice does not play the melody as it did
before. Again, octave G’s in the piano round off the statement.
0:37 [m. 39]--Re-transition. The now-powerful syncopated arpeggios from Theme 1
(in the violins) are combined with the thumping octave G’s that continue from Theme
3 (in the piano). These G’s move down to C with harmonization on F-sharp. The
viola
and cello add punctuating octaves. There are two statements of the arpeggios with
the thumping Theme 3 octaves. The harmony remains closely tied to the “dominant,”
but the syncopated arpeggios ensure that the key does not actually move there. The
two statements are bridged by octave G’s, and they also form another bridge to the
reprise that opens Part 2.
Part 2
0:45 [m. 47]--Theme 1. The theme begins as before, but without the two measures
of introductory cello thumps, the octave G’s having taken care of that. The cello
quietly enters with the syncopated arpeggio in first violin and viola. The piano
enters as expected on its “sinister” responses. The second of these, however,
reaches
a step higher, as do the first violin and viola. The ensuing high syncopated
arching
lines build rapidly. The cello and second violin join. The violins, in thirds,
double the viola and cello below them. The piano right hand follows. The cello
having abandoned its low plucked notes, the thumps are passed to the piano bass in
low octaves. The arching lines reach higher, and make a true motion to G.
0:55 [m. 57]--Theme 2. The meter changes again to 2/4, and this time it remains
in force for an extended passage. Theme 2 is given again, but now fully in G minor
(with an emphasis on its “dominant” note, D), played by all five instruments, and
with a forceful, dramatic presentation as opposed to its secretive earlier
statement.
It is also given in full harmony, with piano chords doubled by the lower strings.
The top lines of the piano and the first violin have the actual melody, including
the turn figures and arpeggios. The chords support the long-short rhythm. The
third,
closing sequence is replaced by a repetition of the first two in a new key, B-flat
minor. Following this repetition, the instruments, still playing in long-short
rhythms
and arpeggios, cascade down and convert B-flat to the preparatory “dominant” in E-
flat
minor.
1:04 [m. 67]--An extended fugato (fugue passage) begins on the Theme 2 material,
the first “developmental” passage in the scherzo. It begins at a suddenly much
quieter
level. The theme itself serves as a fugue “subject.” It is first heard in the
viola
in E-flat minor, the central key of the fugue passage. A “countersubject” is
played
against it in the piano bass. This detached line marches downward, leaps back up,
and marches down again.
1:08 [m. 71]--The second fugue statement of the theme is in the piano right hand.
It slides from E-flat minor to B-flat minor. The original marching, detached
countersubject
is in the viola, with some changes of contour. The piano bass, continuing from the
first statement, adds a second “countersubject,” It is a series of syncopated
descents
punctuated by detached low leaps of a fourth. The “subject,” with its
countersubjects,
is extended by a measure to facilitate harmonic motion back to E-flat.
1:12 [m. 76]--The third statement is back in E-flat minor. The theme is in the
newly
entering first violin. The original detached countersubject is in the piano right
hand, but the piano bass adds a new line moving in contrary motion to the original
line. The second, syncopated countersubject is in the viola, continuing from the
first one.
1:16 [m. 80]--The fourth statement is again the B-flat-minor version. The theme
is again in the piano right hand, an octave higher than the second statement, the
detached countersubject in the first violin, and the syncopated one back in the
piano
bass. The viola adds a new line in conjunction with the detached countersubject
in the first violin (similar to that given the piano bass in the third statement).
This statement, unlike the second, is not extended by a measure. Instead, the end
of the last measure is slightly altered.
1:20 [m. 84]--For the fifth statement, Brahms does go back to E-flat minor, but
changes
the ending. The theme is in its original instrument for the fugue, the viola. The
original detached countersubject is back in the piano left hand, but it is now in
the treble register. The syncopated countersubject is high in the piano right
hand.
The second violin and cello make their first entries. The second violin plays the
viola line from the fourth statement. The first violin and cello, in alternation,
add new, isolated punctuations of the theme’s signature long-short rhythm. The
ending
is altered to approach a different goal instead of B-flat minor.
1:24 [m. 88]--A sixth statement seems to begin with the theme in the first violin,
the detached countersubject in the piano bass, the syncopated countersubject in the
piano right hand, the new “viola line” in that instrument, and the isolated long-
short
rhythm in the second violin. But this is really the beginning of a large ascending
sequence that serves as a transition. It starts on D-flat, then briefly settles
on the fugue’s main key, E-flat minor. Elements of the two countersubjects
alternate
between hands of the piano.
1:27 [m. 92]--All fugue elements are fragmented and placed in close succession.
This transition is a type of fugal stretto (stacking of subject entries). The
cello
enters, harmonizing the syncopated countersubject and original countersubject in
the piano and viola. These two elements are basically combined here. The
fragmented
main theme is in the unison violins. The thematic fragments work up to the
secondary
key, B-flat minor, and at that point the volume, which has been hushed throughout,
suddenly and rapidly builds. The theme is fragmented even more urgently, reduced
to a half-step. A last shift to E-flat minor brings a sudden climax.
1:34 [m. 100]--At the climax, as the fugue breaks, Theme 2 is given its grandest
statement yet, still in E-flat minor. It is played in unison by all strings and
the piano bass. It is the piano right hand that intensifies it. It plays octaves
to “fill in” the gaps left in the long-short rhythms of the theme’s repeated notes,
resulting in a heavily percussive effect. It also briefly imitates the turn
figures,
also in octaves. This time, the third, closing sequence is also included, but at
that point the unison playing breaks and only the first violin takes the lead on
the long-short rhythm, supported by the piano bass. The other strings play
punctuating
chords on each beat, and the “filling” material in the piano right hand expands to
full chords. The closing phrase itself essentially follows the pattern of the
first,
hushed statement in Part 1, but is extended to the downbeat.
1:43 [m. 109]--Theme 3. The 6/8 meter returns after a long absence. The joyous
chorale makes a welcome return. It is given in E-flat major, the “relative” major
key to C minor (as opposed to the home major key in Part 1). Other than the key,
the first statement essentially follows the pattern from 0:22 [m. 22]. Again, the
statement ends on the “dominant” and is rounded off with pounding octave B-flats
from the piano.
1:51 [m. 117]--The second statement of the chorale in E-flat follows the pattern
from 0:29 [m. 30] in the new key. The piano follows the strings, as it did there.
Again, the statement is rounded off with punctuating octave B-flats.
1:59 [m. 126]--Re-transition. The pattern from 0:37 [m. 39] is followed, but with
the thumping octaves on B-flat, moving down to E-flat with harmonization on A-
natural.
The key center is still E-flat, with heavy emphasis on the “dominant,” B-flat.
As before, there are two statements of the syncopated arpeggios. The bridging
octave
B-flats after the second statement move down a step, to A-flat. Previously, they
remained static. This motion helps lead back to the home key of C minor and an
extension
of the re-transition.
2:07 [m. 134]--The volume suddenly recedes. The piano octaves move down again, to
G. This note is the preparatory “dominant” of C minor, and signifies an arrival
there. The viola and cello, still in unison, play an arpeggio in octaves on G.
Significantly, they are on the downbeats, momentarily interrupting the heavy
syncopation.
But immediately, the volume builds again and the violins enter forcefully with the
syncopated arpeggios. The music now more closely matches the re-transition from
0:37 [m. 39], even in key, but the first violin and cello are both an octave higher
than they were before. The “bridging” octaves are back on their original pitch of
G, but this time, the quiet viola/cello arpeggio is added to them (it is played a
total of three times). As with the statements in E-flat, there are two statements
of the syncopated arpeggios in C.
2:16 [m. 144]--A final statement of Theme 1 rounds off Part 2 of the Scherzo. It
is significantly different this time, not only due to its forceful presentation.
The syncopation is eliminated, and the unison arpeggio enters on the downbeat.
This shift had been prepared by the preceding viola/cello arpeggios on the
downbeat.
All four strings and both hands of the piano are in a powerful unison on this
arpeggio.
It is faster, adding more notes in a long-short rhythm, and reaches up two octaves
instead of one. At the arrival of the melody’s continuation, the first violin and
viola play their original lines, with the violin an octave higher. The second
violin
and cello add new parallel harmonies a sixth below them. Instead of its original
“sinister” line, the piano supports the melody with almost joyously tolling, widely
leaping octaves.
2:22 [m. 150]--At this point, the arching lines of the original Theme 1 melody are
altered, with four measures being expanded to eight. This is accomplished by
adding
a longer descending pattern and a second “wave” of motion that begins higher. The
second violin and cello continue to harmonize the first violin and viola. The
piano
right hand begins to play faster, downward-arching patterns while the left hand
moves
its octaves down to the low bass. This extension facilitates an strong arrival on
C instead of the “dominant” note G. Each “wave” ends with a full, emphatic C-minor
cadence. The firm establishment of C minor is important, as it will be greatly
undermined
in the following coda.
Coda (Part 3)
2:30 [m. 158]--The coda returns to 2/4, and is almost entirely based on Theme 2,
although the rising arpeggios from Theme 1 make an appearance at the end. It
begins
with the last firm cadence on C minor. Almost immediately, however, C seems to
function
as a “dominant” of F minor. The frequent presence of the notes D-flat and E-
natural,
foreign to C minor, greatly undermine the key, and E-natural is sometimes used as
part of a C major chord, including at the very end. The version of Theme 2 from
the climax at 1:34 [m. 100] is used, with the strings and piano bass in unison and
the piano right hand “filling in” the gaps and adding brief imitation. The first
two measures follow the familiar pattern, seemingly in F minor, but then the long-
short
rhythms begin to move upward chromatically, touching on G minor and landing on A
minor.
2:35 [m. 164]--A minor (more precisely, the “dominant” harmony in A minor on the
note E-natural) is prolonged. First, the turn figure is extended for more
statements.
Then the long-short rhythm moves up again chromatically. At this point, the
“filling”
octaves in the piano right hand add harmonies to create full chords, increasing the
tension and excitement. The rising long-short rhythms and the added piano
harmonies
actually do reach a full cadence on A minor, but it is immediately followed by a
drop back down the the “dominant” note and a restatement of the pattern. The
chromatic
ascent is subtly altered in its third measure, thwarting the A-minor cadence and
diverting the music back toward C.
2:46 [m. 176]--The music arrives on C, but the chord is C major, not C minor. The
key is very ambiguous. This arrival can either be interpreted as a “plagal”
cadence
in C minor (with the chord inflected to major by the so-called “picardy third”) or
as a motion to the “dominant” in F minor. Because of the strong downbeat emphasis
of the C-major chord and the knowledge that C is the home key, F minor is weakened,
although there was a cadence there (replacing the A-minor one) in the previous
chromatic
ascent. The piano drops out as the strings play the opening of Theme 2. The
“filling”
notes are given to first violin and viola. The presence of the note D-flat again
suggests F minor. Suddenly and unexpectedly, the piano enters with the syncopated
arpeggio from Theme 1 as Theme 2 continues in the strings. But it is now fully
harmonized
and given in the context of 2/4 time, making the syncopation more “clipped.” The
bass plays on the downbeat, which softens the syncopation. The harmonized arpeggio
also prominently includes D-flat and suggests C major as a “dominant.” The whole
pattern is repeated.
2:53 [m. 184]--In the final phrase, the strings continue to hammer at Theme 2. The
piano, meanwhile, plays leaping chords leading from an upbeat D-flat chord to a
downbeat
C-major chord. This half-step motion down from D-flat to C is a modification of
the “plagal” cadence and dominates the ending. After three measures, the strings
stall on the turn figure, which also heavily emphasizes the motion from D-flat to
C. The piano plays a cascading chordal descent in the long-short rhythm, supported
by true “plagal” motion (F to C) in the bass. This descent also includes motion
from D-flat major (or F minor) to C major.
2:59 [m. 190]--As the powerful piano descent reaches its last C-major chord, the
violins isolate the now almost violently insistent half-step motion from D-flat to
C. The viola and cello add downward octave leaps to it and, significantly, the
note
G, which helps to establish the finality of C (despite the highly disruptive D-
flat).
The piano plays two more C-major chords, sustaining the last one under the last
defiant D-flat—C half-step.
TRIO (C major)
3:03 [m. 194]--Part 1. The scherzo ends on the downbeat of m. 193. The trio
section
begins immediately on the upbeat (second half) of that measure. The meter changes
to 6/8 before this upbeat. The beginning of the trio section is indicated as m.
194 because in the total measure count, m. 193 is more properly assigned to the
main
scherzo section. The upbeat itself is in the piano bass. The cello enters on the
downbeat. The piano bass establishes a solid foundation on low C and G, and the
cello plays a constant rhythmic pattern on low C. The cello pattern consists of
two quick notes on the upbeats leading to a longer downbeat note. After this brief
preparation, the piano right hand, also beginning halfway through the measure,
begins
to play a broad, noble, richly harmonized melody in the tenor range. The theme
prominently
uses the “three-chord upbeats” that were typical of Theme 3 in the scherzo section.

3:11 [m. 202]--The melody, along with the piano bass and cello, turns to emphasize
the “dominant” harmony on G. The cello pattern, while maintaining the same rhythm,
becomes active and no longer fixed on a single note. The same is true of the piano
bass. The top line of the melody becomes static, oscillating between long notes
that move by step. The three-note upbeats (largely harmonies in thirds) are in a
middle voice. After four measures, the harmony moves yet again to the remote B
major,
where it remains for another four measures.
3:20 [m. 210]--Part 1, varied repeat. The introductory upbeat and downbeat are now
preparatory “dominant” chords that move back to C major. The piano plays them with
an octave leap, and the cello adds a double-stop. The theme is played by the
strings
in harmony, an octave higher than the previous piano statement, with the melody in
the first violin. The cello moves to a plucked bass, now in isolated notes that
move with the harmony, although the first three measures remain anchored on C. The
piano itself accompanies with sonorous descending arpeggios whose bass notes
anticipate
or coincide with the plucked cello notes.
3:28 [m. 218]--Motion of the melody to G and B major, as in the previous piano
statement.
The first violin plays the long top notes, while the three-note upbeats are in the
second violin and viola. The cello, still plucked, moves back to its original
upbeat/downbeat
patterns (which were bowed before) with some octave shifts. The piano also changes
to this type of pattern, with its low bass doubling the cello. The right hand,
however,
plays chords in the same rhythm that land on the second beat of each measure,
alternating
patterns with its left hand and the cello.
3:37 [m. 226]--Part 2. The meter changes to 2/4, but the piano bass continues to
play its upbeat/downbeat patterns in the 6/8 motion (now notated as a triplet
rhythm).
It settles on G, the “dominant,” where it remains throughout the phrase, anchoring
the unstable harmonies above. In the 2/4 meter, the cello, now bowed, leads the
piano right hand in a long, mildly agitated series of detached notes. The piano
right hand follows at a close distance, but does not imitate the cello; instead,
the two instruments play in contrary motion, arching in opposite directions. The
patterns steadily work upward and are highly chromatic, touching on ascending
minor-key
harmonies. The violins, in octaves, play longer notes that also work upward. The
violin patterns become steadily faster and higher. At the high point, the
instruments,
with a high cello trill, arrive on a G-major chord. The viola drops out at the
beginning
of this phrase.
3:44 [m. 234]--The phrase is repeated with the instrumentation rearranged. The
solid
bass G’s in the upbeat/downbeat triplet rhythm are transferred to the cello. The
lines in octaves that begin with long notes and gradually become faster are
transferred
from the violins to the piano bass. The piano right hand plays the original
“leading”
cello line with the detached notes, expanded to octaves and culminating in the
trill.
The original “following” line that was in the piano right hand is now in the first
violin. The viola joins the first violin an octave below two measures before the
end. The second violin is absent for the phrase.