0:34 [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). Piano I introduces rich rolled chords, first on the off-
beats,
then on the downbeat in the last measure of the phrase. This last measure actually
reaches a half-close in C minor, emphasized by the first forte marking.
0:49 [m. 13]--At first, this phrase appears to back away and return to the opening
phrase of Part 1, 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,
there are rich rolled chords in Piano I, now reaching higher.
1:05 [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 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 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 with
a long-delayed full cadence.
1:31 [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 right hand of Piano II 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 Piano I play off the beat,
the former in low octaves. The last two measures of the first phrase accelerate
slightly and add colorful chromatic inflections. The bass in both pianos becomes
more active. Another yearning turn figure in Piano II, leading into a triplet
rhythm,
concludes the phrase and leads into the next one.
1:46 [m. 27]--The second phrase of the codetta begins like an intensification of
the first. The right hand of Piano I joins that of Piano II on the harmonized
cadences
and appoggiaturas. The left hand of Piano I plays rolled fifths in the off-beat
accompaniment patterns to compensate for the added strength, and that of Piano II
moves to low bass octaves. 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. Another triplet figure, now in Piano I, leads into the
following
transition.
2:02 [m. 31]--Transition. At the climax, both pianos suddenly hold back in tempo
and diminish in volume. While Piano I emphasizes the lead-in to E major, Piano II
slowly descends into that key. Piano I plays octaves with some syncopation and
internal
harmonic motion. Its 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
I bass B, chromatic descending thirds in the left hand of Piano II and a syncopated
line in its right hand smoothly bridge into the theme of the B section.
B Section--E major
2:18 [m. 35]--The right hand of Piano I leads into the new theme with an upbeat on
a rising octave. It then continues on descending patterns in triplet rhythm. Both
left hands, meanwhile, play rolled chords against the melody, emphasizing the
“dominant”
note in the middle range. The Piano I left hand moves to low bass B’s after two
measures. The theme is marked molto espressivo and is more intense than the A
section
melody. After two measures, the right hand of Piano II enters and takes the lead
with a continuation in straight rhythm, harmonized in sixths. The unison triplets
in Piano I continue underneath it as an accompaniment pattern. The left hand of
Piano II plays two more isolated rolled chords.
2:30 [m. 39]--The Piano II melody continues, harmonized in sixths, but it now turns
to E minor. The bass in both pianos adds rising octaves like the upbeats that led
into the melody. The now accompanying triplet rhythm in the Piano I right hand
moves
to the tenor range. Piano II reaches a half-close in E minor. At the half-close,
Piano I plays a descending line in its left hand. Its right hand joins, quickly
moving back to E major and leading into the next statement of the melody.
2:42 [m. 43]--The right hand of Piano II provides the upbeat for a new, higher
statement
of the theme. Its left hand adds a new counterpoint in clashing straight rhythm,
bringing in the two-against-three conflict earlier than before, but vaguely
imitating
the right hand. Piano I alone plays the rolled chords with both hands doubled an
octave apart. The continuation in straight rhythm is now played by Piano I, but
unlike the beginning of the statement, the continuation is an octave lower than
before.
Piano II continues the triplets in the accompanying role. Its left hand continues
its straight-rhythm line, now subordinate to both right hands. The bass of Piano
I solidly emphasizes the “dominant” note in octaves.
2:55 [m. 47]--The turn to minor is intensified. It lands solidly on the “dominant”
harmony right at the outset. Piano II presses with the minor-key continuation in
a more agitated manner. Brahms indicates a steady, gradual acceleration. Against
this, Piano I plays two measures of pulsating triplets on B, the “dominant” note.
These triplets then pass to octaves in the right hand of Piano II in a role
reversal,
and Piano I extends the minor-key continuation. After one more measure, it moves
higher. The Piano II octave triplets begin to move up and about, but circle back
to the “dominant” B. The extension, with a steady buildup, continues for three
more
measures.
3:08 [m. 53]--At the climax, Piano I suddenly and abruptly switches back to major.
The hands play in harmony an octave apart. The Piano II triplets continue, as
does
the solid bass. Piano I recedes in volume and tempo, settling back to a cadence
in E major as the Piano II triplets dissipate.
3:20 [m. 55]--Epilogue. Piano II plays chords, dolce, in the rhythm of the
accompaniment
to the main A section theme. Piano I, in low bass octaves, plays an ascending
octave
upbeat in the dotted rhythm and character of the B section theme. Its upbeats are
then twice joined by higher right hand figures on descending ninths, the first
using
the chromatic note D-natural. After four measures, the right hand moves to a new
half-step pattern in the tenor range, using the dotted rhythm and another chromatic
note, C-natural (which also appears in the Piano II chords). This pattern, despite
diminishing volume, has an urgent character obtained through a cross-rhythm (here
a briefly implied 2/4 meter). The left hand of Piano I plays low E’s, and Piano
II makes one more arrival on E major. On the last upbeat, the Piano I bass leaps
down to D-natural (as had the right hand before).
Re-Transition
3:42 [m. 61]--The key signature changes back to four flats. Very quietly and
mysteriously,
Piano II again plays chords in the rhythm of the accompaniment to the A section
theme.
Piano I again adds its dotted-rhythm upbeats, now mostly the urgent, dissonant
leaping
ninth. Now the left hand descends and the right hand ascends, its leaps
harmonized.
The right hand 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 Piano I bass and the Piano
II chords. The right hand of Piano I drops out.
4:05 [m. 67]--The winding Piano II bass 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 low Piano II bass notes along
with a more active Piano I, which uses the familiar accompaniment rhythm of the A
section. The quiet, mysterious mood prevails. After two measures, the Piano I
right
hand enters in thirds, dolce, with the opening gesture of the A section theme
itself,
not in G minor, but G major. As the left hands persist on their repeated D’s, that
opening gesture is repeated an octave lower in the right hand of Piano II, and now
it is in G minor.
4:23 [m. 71]--The left hands move up a half-step to E-flat. The Piano I right hand
uses the G-minor harmony to pivot artfully to A-flat major, the home key of the
movement.
The E-flat in the low bass becomes the “dominant” of A-flat, anticipating its full
arrival. The bass continue its established pattern on the new pitch. The right
hand of Piano I begins 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 right hand of Piano II
joins
both hands of Piano I in a rich harmonization. At that point, Piano I reaches its
highest pitch, the harmony in both its hands expands to sixths, and then both speed
and volume quickly recede, settling into the well-prepared, natural arrival.
A’ Section
4:38 [m. 75]--Part 1, as at the beginning. The first phrase is played with no
alterations.

4:55 [m. 79]--Second phrase, as at 0:17 [m. 5].

5:12 [m. 83]--Part 1, varied repetition. The A’ section adds a second full and
varied
statement of Part 1 with “reversed” parts. The first phrase transfers the main
theme
to Piano I, which maintains the original harmonies but adds an upper octave. The
accompaniment is given to Piano II, which adds a gentle rising arpeggio to each
entry
after the first beat of the measure. Otherwise, it is similar to the original
accompaniment,
with some added chords. In the last two measures of the phrase, the hands of Piano
I are both harmonized in sixths and doubled an octave apart.
5:28 [m. 87]--The second phrase is similarly presented by Piano I. The
accompaniment
in Piano II, which retains the decorative arpeggios, adds more chordal harmonies,
including rolled chords at the end of the phrase.
5:45 [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
0:34 [m. 9]. But it is really a continuation of the varied repetition, since
Brahms
retains the scoring of that repetition, with the melody in Piano I and
accompaniment
in Piano II. Piano II, in fact, continues its established pattern of adding gentle
arpeggios to each entry of the accompaniment rhythm. The phrase builds, as it did
before, moving to C minor, and Piano II continues to add richer chords to the
accompaniment,
rolling them at the climax.
6:01 [m. 95]--This phrase corresponds to 0:49 [m. 13], and like that phrase, it
quickly
intensifies and moves to a cadence in D-flat. Both hands of Piano I play an octave
apart, harmonized in thirds and later sixths. Piano II continues its established
accompaniment pattern with the initial arpeggios, and it adds even wider rolled
chords
at the strong arrival on D-flat.
6:16 [m. 99]--The six-measure phrase that concludes Part 2 is analogous to 1:05 [m.
17]. The half-close in C-flat and the full cadence in A-flat are retained. Piano
I continues to take the melodic lead, with the hands doubled an octave apart and
each playing in two voices. Piano II 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 melodic notes in Piano I (whose right hand is briefly
independent)
are doubled in speed from their previous 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.
6:43 [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 right hand of Piano I plays the first
upbeat,
a rising octave, and continues with this. The left hand follows with descending
ninths doubled in octaves. Meanwhile, Piano II plays rising thirds in both hands,
introducing some chromatic motion to match the chromatic leaps of a ninth in the
Piano I bass. Suddenly, the right hand of Piano II blossoms into joyously arching
triplet octaves and a syncopated appoggiatura as the right hand of Piano I reaches
upward. Both pianos reach a broad climax here, then settle down. Piano II again
uses thirds in this descent. The left hand of Piano I still plays in octaves but
turns upward.
6:56 [m. 109]--The previous passage is played again with reversed parts. The left
hand of Piano II leads with the first upbeat octave while its right hand takes the
descending ninths, now in high octaves. Piano I plays the rising lines, the
harmonies
now spread out with both hands in octaves. The joyously arching triplet octaves
and syncopated appoggiatura are now taken by the right hand of Piano I. Its left
hand plays the more urgent bass octaves, which are harmonized by the left hand of
Piano II. 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, especially in the right hand of Piano II, which remains very high,
playing
patterns beginning with falling and rising octaves, then with rising and falling
half-steps. This continues for three more measures.
7:15 [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 right hand of Piano II leaps
down
in syncopated octaves against the rising bass of Piano I. Octaves in the right
hand
of Piano I settle down from the climax. They include syncopation on repeated
notes..
Under them, Piano II leads through very active and colorful chords back to the
home
key of A-flat. Everything rapidly becomes slower and quieter. Piano I descends,
again in syncopation, toward a cadence.
7:29 [m. 118]--At the cadence, the right hand of Piano I, in the tenor range, leads
into the melody of the original codetta with the familiar appoggiatura. Piano II
plays chords on the off-beats under it, joined by octaves in the bass of Piano I.
Piano II then joins the melody at a higher level than Piano I, adding the familiar
harmonization and leaving the off-beats to the bass of both pianos. There is a
rapid
buildup. Gloriously, the right hand of Piano I leaps upward, diverging from the
original material and expanding the opening gestures with rich, full harmony and
volume. The right hand of Piano II subtly shifts to trail after Piano I on these
gestures. The bass, doubled in both pianos, plays compound broken octaves (two-
octave
leaps) on the keynote A-flat, signifying a final arrival.
7:46 [m. 122]--The codetta gestures are fragmented, with the right hand of Piano
II still trailing that of Piano I. Piano I then plays gentle undulations like slow
trills and is trailed by the left hand of Piano II, 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 work. Piano I comes to a close and
the left hand of Piano II continues to trail, still including the dissonance. Its
right hand adds support. The octaves in the bass of Piano I continue as the Piano
II right hand, which plays in comforting thirds, leads to the last chord. This
quiet,
sustained chord has the fifth or “dominant,” not the keynote, in the top voice of
Piano I.
8:18--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 low C in the bass of Piano I. After two measures, the three other
hands enter on a highly syncopated unison arpeggio that seems to suggest A-flat
major
(the key of the slow movement) rather than C minor. The left hand of Piano II does
mark the downbeat. After the arpeggio, Piano II slides into a sinuous melody, also
syncopated and in unison octaves, that finally confirms the C-minor key. The bass
of Piano I continues to plunk the low C, keeping a steady beat. The right hand of
Piano I, in octaves and in a low tenor range, subtly enters with a response to the
syncopated melody. It is narrow and almost sinister, a quality enhanced by its
syncopation.
After two identical gestures, it follows Piano II on arching lines, always
syncopated,
that reach high and close off the first statement of Theme 1.
0:11 [m. 13]--Theme 2 (2/4 time). With the arrival on the “dominant” note G, Piano
I drops out. Piano II immediately changes the flowing 6/8 to an angular 2/4. In
unison octaves, Piano II utters 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, Piano I enters in support with staccato chords that
remain close to G. The bass of Piano II later joins these, leaving its right hand
alone (in the lower octave) on the persistent long-short rhythm.
0:20 [m. 22]--Theme 3 (6/8 time). After the hushed and ominous opening, both
pianos
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 Piano I.
0:27 [m. 30]--In the second statement, Piano II enters in firm octaves against the
repeated G’s, its top voice an octave lower than that of the first statement. A
third octave doubling is added in the low bass. Piano I follows a measure later
and a third (plus an octave) higher. In Piano I, the chords are doubled an octave
apart between the hands, with both hands in the treble register. Halfway through,
Piano I abandons the imitation and simply supports the lower Piano II octave melody
with chords. Its top voice does not play the melody as it did before. Again,
octave
G’s, now in Piano II, round off the statement.
0:34 [m. 39]--Re-transition. The now-powerful syncopated arpeggios from Theme 1
(in Piano I) are combined with the thumping octave G’s that continue from Theme 3
(in Piano II). These G’s also move down to C with harmonization on F-sharp. 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
0:41 [m. 47]--Theme 1. The theme begins as before, but without the two measures
of introductory bass thumps, the octave G’s having taken care of that. The bass
of Piano II quietly enters, along with the syncopated arpeggio in Piano I octaves.
Continuing the reversal of parts, the right hand of Piano II enters with the
“sinister”
responses. The second of these, however, reaches a step higher, as does the melody
in Piano I. The ensuing high syncopated arching lines build rapidly. The hands
of Piano I are now in octaves, both harmonized in sixths. The right hand of Piano
II follows, also in sixths. The bass thumps (Piano II left hand) are now in low
octaves. The arching lines reach higher, and make a true motion to G.
0:50 [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 both pianos an octave
apart,
and with a forceful, dramatic presentation as opposed to its secretive earlier
statement.
It is also given in full harmony. The top line of both pianos has 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 pianos, still playing in long-
short
rhythms and arpeggios, cascade down and convert B-flat to the preparatory
“dominant”
in E-flat minor.
0:59 [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
left
hand of Piano I in E-flat minor, the central key of the fugue passage. A
“countersubject”
is played against it in the bass of Piano II. This detached line marches downward,
leaps back up, and marches down again.
1:03 [m. 71]--The second fugue statement of the theme is in right hand of Piano II.
It slides from E-flat minor to B-flat minor. The original marching, detached
countersubject
is in the left hand of Piano I, with some changes of contour. The bass of Piano
II, 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.
1:07 [m. 76]--The third statement is back in E-flat minor. The theme is in the
newly
entering right hand of Piano I. The original detached countersubject is in the
right
hand of Piano II, now at a much higher level, but the bass of Piano I adds a new
line moving in contrary motion to the original line. The second, syncopated
countersubject
is still in the left hand of Piano II, but it leaps up to the lower treble range.

1:10 [m. 80]--The fourth statement is again the B-flat-minor version. The theme
is again in the right hand of Piano II, an octave higher than the second statement.
The detached countersubject continues with another statement in the right hand of
Piano I, and the syncopated one moves to the bass of Piano I. The left hand of
Piano
II adds a new line in conjunction with the detached countersubject in the Piano I
right hand (similar to that given the Piano I 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.
1:14 [m. 84]--For the fifth statement, Brahms does go back to E-flat minor, but
changes
the ending. The theme is in the right hand of Piano I, at the same level as the
first statement in its left hand. The original detached countersubject is back in
the left hand of Piano II, but it is now in the treble register. The syncopated
countersubject is high in the Piano II right hand. That hand adds a second, lower
voice playing the new line from the fourth statement that was in the Piano II left
hand. The left hand of Piano I adds new, isolated punctuations of the theme’s
signature
long-short rhythm, alternating with the same rhythm in the theme itself (in the
same
piano’s right hand). The ending is altered to approach a different goal instead
of B-flat minor.
1:18 [m. 88]--A sixth statement seems to begin with the theme in the right hand of
Piano II, the detached countersubject in the bass of Piano I, the syncopated
countersubject
in the right hand of Piano I, and the “new” detached line in the Piano II bass.
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 Piano I
1:21 [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
syncopated
countersubject and original countersubject are basically combined in both hands of
Piano I and the left hand of Piano II, including harmonization. The fragmented
main theme is in the right hand of Piano II. 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.
1:28 [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 both hands of
Piano
I and the left hand of Piano II. It is the right hand of Piano II 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 passage is particularly effective
in the two-piano version as opposed to the quintet. This time, the third, closing
sequence is also included, but at that point the unison playing breaks. The pianos
play punctuating chords on each beat, the long-short “dotted” rhythm is relegated
to the left hands, and the “filling” material in the Piano II 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.
1:37 [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 0:20 [m. 22]. Again, the
statement ends on the “dominant” and is rounded off with pounding octave B-flats,
now in Piano II.
1:44 [m. 117]--The second statement of the chorale in E-flat follows the pattern
from 0:27 [m. 30] in the new key. Piano II follows Piano I, a reversal from
before.
Again, the statement is rounded off with punctuating octave B-flats, this time in
Piano I.
1:51 [m. 126]--Re-transition. The pattern from 0:34 [m. 39] is followed with the
pianos reversing roles. The thumping octaves are now 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.
1:59 [m. 134]--The volume suddenly recedes. The thumping octaves move down again,
to G. This note is the preparatory “dominant” of C minor, and signifies an arrival
there. Piano II, still in unison octaves, plays an arpeggio in octaves on G.
Significantly,
it is on the downbeats, momentarily interrupting the heavy syncopation. But
immediately,
the volume builds again and the right hand forcefully shifts to the syncopated
arpeggios
in the high register. The music now more closely matches the re-transition from
0:34 [m. 39], even in key, but the syncopated arpeggio is an octave higher than it
was before. The “bridging” octaves are back on their original pitch of G, but this
time, the low, quiet Piano II arpeggio on the downbeat 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.
2:08 [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 low Piano II arpeggios on the
downbeat.
Both pianos 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, Piano I takes the lead at a higher level than
before. It includes new parallel harmonies a sixth below, with the hands doubled
an octave apart. Instead of the original “sinister” line of counterpoint, Piano
II supports the melody with almost joyously tolling, widely leaping octaves.
2:13 [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.
Piano
I continues to play harmonies of sixths, then full chords doubled in both hands an
octave apart. The right hand of Piano II begins to play faster, downward-arching
patterns while its left hand moves the 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)
2:20 [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 1:28 [m. 100] is used, with both hands of Piano II and the Piano I
left hand in unison, and the right hand octaves of Piano I “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.
2:25 [m. 164]--A minor (more precisely, the “dominant” harmony in A minor on the
note E-natural) is prolonged. Fist, 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 I right hand add harmonies to create full chords, increasing
the tension and excitement. The rising long-short rhythms (also expanded to
chords)
actually do reach a full cadence on A minor, but it is immediately followed by a
drop back down to 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.
2:36 [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 right hand of Piano I drops out, and the remaining hands play the
opening
of Theme 2. The “filling” notes are given to the right hand of Piano II. The
presence
of the note D-flat again suggests F minor. Suddenly and unexpectedly, the right
hand of Piano I enters with the syncopated arpeggio from Theme 1 as Theme 2
continues
underneath it. But the arpeggio is now fully harmonized and given in the context
of 2/4 time, making the syncopation more “clipped.” The bass notes are on the
downbeat,
softening the syncopation. The harmonized arpeggio also prominently includes D-
flat
and suggests C major as a “dominant.” The whole pattern is repeated.
2:43 [m. 184]--In the final phrase, Theme 2 continues to be hammered in Piano II
octaves. Piano I, 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,
Piano II stalls on the turn figure, which also heavily emphasizes the motion from
D-flat to C. Piano I plays a cascading chordal descent in the long-short rhythm,
supported by true “plagal” motion (F to C) in its bass. This descent also includes
motion from D-flat major (or F minor) to C major.
2:48 [m. 190]--As the powerful Piano I descent reaches its last C-major chord,
Piano
II isolates the now almost violently insistent half-step motion from D-flat to C.
Downward octave leaps are added and, significantly, the note G, which helps to
establish
the finality of C (despite the highly disruptive D-flat). Piano I plays two more
C-major chords, sustaining the last one over the final defiant D-flat—C half-step.

TRIO (C major)
2:53 [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 I bass. Piano II, in bass
octaves,
enters on the downbeat. The Piano I bass establishes a solid foundation on low C
and G, and the Piano II bass plays a constant rhythmic pattern on low C. The Piano
I pattern consists of two quick notes on the upbeats leading to a longer downbeat
note. After this brief preparation, the right hand of Piano I, 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.
3:02 [m. 202]--The melody, along with the bass, turns to emphasize the “dominant”
harmony on G. The Piano II bass pattern, while maintaining the same rhythm,
becomes
active and no longer fixed on a single note. The same is true of the Piano I 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.
3:10 [m. 210]--Part 1, varied repeat. The introductory upbeat and downbeat are now
preparatory “dominant” chords that move back to C major. Piano I plays them with
an octave leap, and Piano II adds harmony of a fifth to its rhythm against the
chords.
The theme is played by Piano II in harmony, an octave higher than the previous
Piano
I statement. Its left hand joins an octave below the right after a last statement
of the rhythmic bass pattern. Piano I accompanies with sonorous descending
arpeggios
and solid bass notes. These remain anchored on C for three measures, then move
away.

3:18 [m. 218]--Motion of the melody to G and B major, as in the previous statement.
Piano II has the long top notes, along with the three-note upbeats. The bass of
Piano I now takes the rhythmic upbeat/downbeat patterns. The right hand of Piano
I plays chords in the same rhythm that land on the second beat of each measure,
alternating
patterns with its left hand.
3:26 [m. 226]--Part 2. The meter changes to 2/4, but the upbeat/downbeat patterns
continue in the 6/8 motion (now notated as a triplet rhythm and shifting to the
bass
of Piano II). It settles on G, the “dominant,” where it remains throughout the
phrase,
anchoring the unstable harmonies above. In the 2/4 meter, the left hand of Piano
I leads the right hand of Piano II in a long, mildly agitated series of detached
notes. The Piano II right hand follows at a close distance, but does not imitate
the Piano I left hand; instead, the two hands play in contrary motion, with the
Piano
II right hand arching down and the Piano I left hand arching up. The patterns
steadily
work upward and are highly chromatic, touching on ascending minor-key harmonies.
The Piano I right hand, in octaves, plays longer notes that also work upward.
These
top patterns become steadily faster and higher. At the high point, the pianos,
with
a high trill in the left hand of Piano I, arrive on a G-major chord.
3:33 [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 Piano I bass.
The lines in octaves that begin with long notes and gradually become faster are
transferred from the Piano I treble to the Piano II bass. The Piano II right hand
plays the original “leading” line with the detached notes, expanded to octaves and
culminating in the high trill. The original “following” line is now in the Piano
I right hand.
3:41 [m. 242]--The main theme from Part 1 returns (along with its 6/8 meter) to
round
off the trio section. The preparatory beats are played by Piano II, but its bass
moves to the very unstable note B-flat. The right hand sustains an octave C. When
the theme enters, it is played by Piano I in full harmony, and at the lower level
of the original statement from the beginning rather than the higher presentation
in the varied repeat. The harmonies are consistent with previous statements of the
theme, but the persistent B-flat in the Piano II bass, still in the familiar rhythm
originally played by Piano II in the first statement, undermines the stability and
creates great tension. After four measures, it moves down through A to the more
stable “dominant” note, G. The long-held note in the right hand moves down to B-
natural
and A.
3:50 [m. 250]--The phrase from 3:02 [m. 202] and 3:18 [m. 218] is altered so that
it settles at home on C major. The long top notes are played by Piano I over block
harmonies. After touching on the somewhat dissonant note F-sharp, the Piano II
bass
works down to F and then arrives on the long-awaited low C. Meanwhile, the melody
itself arrives on C with a gentle cadence. The three-note upbeats, first in
octaves,
then harmonized in thirds as before, are in the right hand of Piano II in the tenor
register. They are very chromatic, again emphasizing B-flat, and lend color to the
C-major arrival. The cadence in Piano I is reiterated twice, extending the phrase
by a measure.
3:59 [m. 258]--The phrase abruptly cuts off. Piano I re-enters with three more
C’s,
but these are in the distinctive syncopated rhythm of the scherzo’s main theme,
entering
right before the downbeat. They are preparatory for the rhythm in the return of
the scherzo, to which they form a re-transition. They are harmonized by the right
hand of Piano II. The bass of Piano I plunks low C’s on three straight downbeats,
behind the displaced C’s in the right hand. The Piano II bass, still on C, omits
its last upbeat and isolates the final downbeat. The syncopated C with this third
downbeat (m. 261) omits its upper octave and has no harmony. The low bass C’s
provides
a smooth transition into the scherzo reprise, which begins with more of them.
SCHERZO REPRISE
Part 1
4:04 [m. 1]--Theme 1 in 6/8 time, as at the beginning.
4:15 [m. 13]--Theme 2 in 2/4 time, as at 0:11.
4:24 [m. 22]--Theme 3 in 6/8 time, first phrase of chorale, as at 0:20.
4:31 [m. 30]--Second phrase of chorale with Piano I following Piano II, as at 0:27.

4:38 [m. 39]--Re-transition with arpeggios from Theme 1, as at 0:34.

Part 2
4:45 [m. 47]--Theme 1 with motion to G minor, as at 0:41.
4:54 [m. 57]--Forceful presentation of Theme 2 in G minor and B-flat minor, as at
0:50.
5:03 [m. 67]--Fugato in E-flat minor. Theme in Piano I left hand and first
countersubject
in Piano II left hand, as at 0:59.
5:07 [m. 71]--Second statement. Theme in Piano II right hand, first countersubject
in Piano I left hand, new syncopated countersubject in Piano II bass, as at 1:03.

5:11 [m. 76]--Third statement. Theme in Piano I right hand, first countersubject
in Piano II right hand with new bass harmonization in Piano I left hand, syncopated
countersubject in Piano II left hand, as at 1:07.
5:15 [m. 80]--Fourth statement. Theme in Piano II right hand an octave higher,
first
countersubject in Piano I right hand, syncopated countersubject in Piano I bass,
new line tied to first countersubject in Piano II left hand, as at 1:10.
5:18 [m. 84]--Fifth statement. Theme in Piano I right hand, first countersubject
in Piano II left hand in treble register, syncopated countersubject high in Piano
II right hand harmonized by “new line” from last statement, and new punctuations
in Piano I left hand, as at 1:14.
5:22 [m. 88]--Sixth statement and beginning of transition starting in D-flat.
Theme
in Piano II right hand, countersubjects in alternation between hands of Piano I,
“new line” in Piano II left hand, as at 1:18.
5:26 [m. 92]--Fragmentation and stretto of fugue elements leading to climax in E-
flat
minor, as at 1:21.
5:32 [m. 100]--Climactic statement of Theme 2 in E-flat minor with “filling” of
gaps,
as at 1:28.
5:41 [m. 109]--Theme 3 in E-flat major, as at 1:37.
5:48 [m. 117]--Second statement of Theme 3 chorale in E-flat, as at 1:44.
5:56 [m. 126]--Re-transition with Theme 1 arpeggios, then motion back toward C
minor,
as at 1:51.
6:03 [m. 134]--Extension of re-transition, including new non-syncopated Piano II
arpeggios, as at 1:59.
6:12 [m. 144]--Exuberant final statement of Theme 1 without syncopation, as at
2:08.

6:17 [m. 150]--Expansion of Theme 1 melody and C-minor cadence, as at 2:13.

Coda (Part 3)
6:24 [m. 158]--Version of Theme 2 from climax, then chromatic upward motion to A
minor, as at 2:20.
6:29 [m. 164]--Prolongation of A-minor material, as at 2:25.