. , ;'. "（…） a -， * * ： ſº :ſ. ** « * P R O P E R T Y O F A R T E S S C ; E N T | A V E R l T A S : CHAMBER AND ORCHESTRAL MUSIC OF JOHANNES BRAHMS. w IMPORTANT MUSICAL WORKS. Written or Translated by EDWIN EVANS (SENIOR). H AND BOOK TO THE VOCAL WORKS OF BRAH MS. An Historical, Descriptive and Analytical Account of the Entire Vocal Works of Johannes Brahms. Treated in the Order of the Opus Number. Original English Translations supplied to many num- bers. Preceded by a Didactic Section and followed by Copious Tables of Reference. For the Use of Concert-Goers, Pianists, Singers and Students. By Edwin Evans, Senior. Thick 8vo, cloth, 15s. met. “THE IMMORTAI, NINE.” BEETHov EN’s NINE SYMPHONES Fully. Described and Analysed. A series of Chapters giving a complete Account of Thematic Material and Auxiliary Motives : an Analyti- cal Chart of each Movement; full Technical Descriptions of Developments; Particulars of Formal and Rhythmic Features : Epitomical Tables, etc. Illustrated by 637 Musical Examples. By EDWIN Evans, Senior. Cloth, Vol. I (Nos. 1 to 5), 10s. 6d. met. Vol. II (Nos. 6 to 9), 10s. 6d. pet. CONCISE METHOD OF INSTRUMENTATION. How to Write for the Orchestra, and Ar- range an Orchestral or Band Score. Illustrated with Musical Examples and various large folding charts and index. By EDWIN EVANS, Senior. 8vo, cloth. Vol. I, 8s. 6d. met. Vol. II, 8s. 6d. net. Vol. I. How to Write for Strings, Arrangement of Scoring and Preparation of Parts. With charts. Vol. II. How to Write for Wood, Brass and Drums, and Arrange a Band Score. With large folding charts. THE GIPSY IN MUSIC. By FRANz LISZT. Englished for the first time by EDw1N Evans, Senior, and preceded by an Essay on Liszt and his Work. Gipsy and Jew, Two Wandering Races. Gipsy Life in Relation to Art. Gipsy Music and Musicians The result of the Author's long Experience and Investigations of the Gipsies and **.*. With Portraits of the Author, etc. In two handsome volumes, cloth, 16s. ... net. OPERA AND DRAMA. By RICHARD WAGNER. Translated by EDw1N Evans, Senior, F.R.C.O. Vol. I: Part I. Opera and the Essence of Music. Part II. The Stage-Play and Dramatical Poetic Art in the Abstract. Vol. II: Part III. Poetry and Music in the Drama of the Future. The three parts in two vols. Portrait. Crown 8vo, cloth, 12s. 6d. net (or separately, Vol. I, 7s. 6d. Muet; Vol. II, 6s. 6d. met). Without a study of its contents no true and lasting understanding of opera can be arrived at. Wagner's somewhat heavy and Teutomic style in the original has been admirably Englished by Edwin Evans, and Wagner students will feel they owe him a full debt of gratitude for so clear and expository a translation. This pleasure is added to by the setting of the text which has been arranged in numbered paragraphs, each with a sub-heading denoting the subject dealt with. A copious index makes possible an easy and quick reference to any of these paragraphs. HOW TO ACCOMPANY AT THE PIANO. By EDw IN EVANs (Senior). (Plain Accompani- ment, Figurated Accompaniment, Practical IIarmony for Accompanists.) 172 Music Examples which are made Clear by the Explanatory Text. Cr. 8vo, cloth, 5s. met. THE MODAL ACCOMPANI MENT OF PLAIN CHANT. A Practical Treatise. By EDw1N Evans, Senior, F.R.C.O. Part I, Theoretical; Part II, Practical School of Plain Chant Accompaniment, consisting of 240 Exercises, with an Appendix of Notes. Crown 8vo, cloth, 4s. 6d. met. A CRITICAL STUDY OF BEETHOVEN'S N1 NE SYMPH 0N i ES. With a Few Words on His Trios and Sonatas, a Criticism of “Fidelio " and an Introductory Essay on Music. By Hector BERLIoz. Translated from the French by EDw IN EVANs, Senior. Portrait. Crown 8vo, cloth, 58. 6d. met. - G LUCK AND H IS OPERAS. With an Account of their Relation to Musical Art. By IIEctor BERLIoz. Translated from the French by EDW IN EVANS, Senior. Crown 8vo, cloth, 5s. 6d. met. * te MozART, we BER AND WAGNER, and Various other Essays on Musical Subjects. . By HECTóR DLRLIoz. Englished by EDw1N E VANs, Senior, F.R.C.O. Crown 8vo, cloth, 5s. 6d. net. WAGNER's TEACHINGS BY ANAL06Y. IIis Views on Absolute Music and of the Relt. tions of Articulate and Tonal Speech, with Special Reference to ‘‘ Opera &nd Drama.” A series of Papers for the Student. By EDWIN EVANs, Senior, F.R.C.O. Crown 8vo, cloth, 3s. 6d. net (paper, 2s. ºvel). tº 6 & The above forms am introduction to Wagner's Prose Writings. - - - - º How To compose. A Practical Guide to the Composition of all Works within the Lyric Form, and which include the Valse, Gavotte, Mazurka, Polonaise, March, Minuet and all Ordinary Dance Forms; as also the Nocturne, Impromptly Berceuse, Reverie and Similar Characteristic Pieces. By EDWIN EVANs, Senior, F.R.C.O. With 60 Musical Examples. Crown 8vo, cloth, 48. Ga., net ... paper, 2s. 6d. i4't. THE TEMPLE EDITION OF ORGAN OVERTURES, ETC. (Three Staves.) Arranged from Full Score. Chiefly by EDw IN Evans, Senior. 3s. met each. (List on application.) BRAHMS CONCERT AND ORCHESTRAL MUSIC. The Second Series is in the printer’s hands and when published will be followed by THE PIANO WORKS OF BRAHMS, by Edwin Evans, Senior. WILLIAM REEVES 83 CHARING CROSS TOAD, BooBSELLER LIMITED, — LONDON, W.O.2. - HANDBOOK TO THE CHAMBER & ORCHESTRAL JOHANNES BRAHMS HISTORICAL AND DESCRIPTIVE ACCOUNT OF EACH WORK WITH FXHAUSTIVE STRUCTURAL, THEMATIC AND RHYTHMICAL ANALYSES, AND A COMPLETE RHYTHMICAL CHART OF EACH MOVEMENT COPIOUSLY ILLUSTRATED IN MUSIC-TYPE BY EDWIN EVANS sºlo Author of “ Handbook to Brahms Complete Vocal Works,” “Modal Accompaniment of Plain Chant,” “Wagner's Teachings by Analogy,” etc. Complete Guide for Student, Concert-goer and Pianist First Series to Op. 67 inclusive WILLIAM REEVES 83 CHARING CROSS ROAD, BOOKSELLER LIMITED — LONDON, W.C.2 Music *// () E? Q \ Q., { *** V, Printed by THE NEW TEMPLE PRESS, Norbury, London, Great Britain, %;- - -1^^A_Jula 3 - X */37/6 ~~~} ... i --, -, ( , ". 7-2/ > *// n . -) - (, “f 2 l/, 2400 –32 THE CHAMBER & ORCHESTRAL WORKS. GENERAL TABLE OF CONTENTS. (A) DIDACTIC. CHAPTER I. Introductory CHAPTER II. *** **** Brahms as a Composer of Chamber Works CHAPTER, III. * Brahms as Orchestral Composer (B) THE HANDBOOK. Being a detailed account of all the Orchestral and Chamber Works of Brahms in the order of Opus number. (Op. 1, Sonata in C, for piano. Op. 2, Sonata in F sharp minor, for piano. Op. 3, Six Vocal Pieces. Op. 4, Scherzo in E flat minor, for piano, Op. 5, Sonata in F minor, for piano. Op. 7, Six Vocal Pieces.) Op. 6, Six Vocal Pieces, vi - CONTENTS. OP. 8. FIRST PIANO TRIO.Y.,' Preliminary Note - - - e tº a tº G - - - - & tº º ... w e a ... 13 Allegro con moto * * * º tº e º ºg & • * * tº e ºs * ~ * tº º º ... 15 Scherzo ... tº & © g tº º tº ſº tº tº º & º 4 º' * g e © - - & º e ... 25 Adagio non, troppo ... * * * * * * - - - * e º - - - tº a s ..., 28 Allegro molto agitato tº º is q := - • * * e e is - - - * * * ... 33 (Op. 9, Variations on a Schumann Theme in F sharp minor, for piano. Op. 10, Four Ballades for piano.) OP. 11. SERENADE (ORCHESTRA). Preliminary Note - - - * * * * e e - - - * - tº * * * * * > ... 38 Allegro molto ... - - - * - e. * - - • * * tº e gº - - - © tº a ... 41 Scherzo (No. 1) - - - - - - e - - • * * • * * - - - * * * ... 43 Adagio non troppo ... - - e. * - - • * * tº s & - - - - - - ... 45 Menuetto (I and II) ... - - - s - e. - - - e & & - - - * c & ... 48 Scherzo (No. 2) - - - - a s * - e. - - - a s g - - - • * 0. ... 49 Rondo ... gº è is * * * * - º * * * * * * * † e tº - - * * * ... 50 (Op. 12, ‘‘Ave Maria.” Op. 13, “Begräbnissgesang.”, Op. 14, Eight Songs and Romances. Op. 15, First Pianoforte Concerto in D minor.) OP. 16. SERENADE, (ORCHESTRA). Preliminary Note - - - • * s * is - - - - tº gº ºn - - - e e ſº ... 53 Allegro moderato - - - as e e * - e. e - º tº se e * ~ * * * * ... 55 Scherzo vivace ... - - - * * * tº - - tº e º tº e e - - - e tº gº ... 59 Adagio non troppo ... e s a * * * * * * s & ºt - - - e = * ... 63 Quasi menuetto - - - - - - • * * - - - e = s. • * * * * * ... 66 Rondo ... º e ſº - - - - - - - - - - - - e is e - - - tº t e ... 69 OP. 17. FOUR FEMALE CHORUSES. op. 18. FIRST STRING SExTET. V. Preliminary Note - - - - - - a tº º • * * tº e & * * * - * * c. . . 74 Allegro ma non troppo * * * • * * - - - * e s - - - e tº s ... 76 Andante ma moderato e e s , s a • • * * a g e • * * * * * ... 85 Scherzo ... * g e - - - . . . . . . . - * * * * * - - - s e tº ... 90 Tºondo ... tº ºn • - - * * * a sº - - - & s & * * * * * * ... 92 (Op. 19, Five Songs. Op. 20, Three Vocal Duets. Op. 21, Two Sets of Variations for piano solo. Op. 22, Seven Marienlieder, Op. 23, Varia- tions on a Schumann Theme, º piano duet. Op. 24, Variations and Fugue on Handel Theme, for piano.) Op. 25. FIRST PIANO QUARTET. Allegro ... e & 4 - - - • * * • * * * * * is gº tº - - - a tº tº ... 96 Intermezzo e & © - - - • s is * - e. - - - * * * • * * * * * ... 104 Andante con moto ... * * * * * * - - - is a s - - - • * * ... 108 Rondo alla. Zingarese * * * t a t 1 * * t = r t t → f = i ... 115 CONTENTS. vii O.P. 26. SECONO PIANO QUARTET. WAllegro non troppo ... ſº tº a * * * tº s 6 tº a º gº tº e * * * ... 120 Poco Adagio ... e tº º gº º ºr • * tº tº s º * * * * 4 tº tº gº º ... 125 Scherzo ... tº a º tº ºi º tº & # tº º º & º º tº e tº & & & * * * ... 129 Finale (Allegro) * * * is a tº e ge tº tº º $ tº tº t e ... 132 (Op. 27, Psalm XIII, Op. 28, Four Vocal Duets. Op. 29, Two Motets. Op. 30, “Geistliches Lied.” Op. 31, Three Vocal Quartets, Op. 32, Nine Sôngs and Vocal Pieces. Op. 33, Fifteen “Magelone '' Songs.) ,' OP. 34. PIANO QUINTET. 2' Allegro non troppo , ... tº ſº º tº a º a ſº º e is 9 * * s gº & ºf ... 137 Andante un poco adagio ... & Hº & tº # e. & e & * * * * ... 144 Scherzo ... * * * * g e * tº gº tº $ tº g º s tº $ tº tº e e tº º g ... 147 Finale ... tº º º * & º & º º a tº º * * * * * * s tº gº gº tº º ... 152 (Op. 35, Two Sets of Variations on Paganini Theme, for piano.) OP. 36. SECOND STRING SEXTET. Preliminary Note tº gº º gº º e tº q & tº º tº & & * * * # tº tº ... 159 Allegro non troppo ... tº ſº gº tº a gº tº tº gº g & E. a * * & sº tº ... 160 Scherzo ... * * * tº e tº & & & tº ſº tº tº gº & & tº g * g : e e ºl ... I67 Poco Adagio ... * g e tº sº e * * * g º is tº a & e s * * * ... 171 Poco Allegro ... is * * s tº º gº º º gº ºn tº e & e s & * g tº , , , 176 (Op. 37, Three Sacred Choruses.) OP. 38. FIRST VIOI, ONCELLO SON ATA, Allegro non troppo ... g is is tº e tº # tº º * e & * * * & º º ... 179 Allegretto quasi menuetto ... * * * * * * * * * * * * tº º º , , , 18] Allegro ... e tº º s & e * * * * * g. * * g. * g : a gº º * * * ... 183 (Op. 39, Sixteen Waltzes for piano solo or duet.) OP. 40. SECOND PIANO TRIO. , (THE “HoRN '' TRIo.) Preliminary Note ... * * * tº tº º * 8 tº & © & tº $ tº * = ºr , , , 185 Andante & as we s & # * g e tº º sº * * * * * * * * * * * , , , 186 Scherzo ... * * * e # * * * * tº & 4 $ tº * * - & a ſe • * * ... 191 Adagio mesto ... tº a e • * * § 4 & tº s & * = & • * * tº gº º ... 195 Finale—allegro con brio tº ſº tº * * * & e • * * g . . . 198 (Op. 41, Five Songs. Op. 42, Three Vocal Pieces. Op. 43, Four Vocal Pieces. Op. 44, Twelve Songs, and Romances. Op. 45, The German Requiem. Op. 46, Four Vocal Pieces. Op. 47, Five Songs. Op. 48, Seven Songs. Op. 49, Five Songs. Op. 50, “Rinaldo ’’ Cantata.) } / op. 51, No. 1. FIRST STRING QUARTET. " Preliminary Note tº ſº tº tº º tº tº tº º gº tº e tº e ſº e e # gº tº º ... 204 Allegro ... tº ſº tº • * * gº tº e tº a g tº e & & gº e tº º & a tº ... 205 Romanze tº tº e * & tº tº 4 tº * * * & tº º & º e * * * * * * . . . 210 Allegretto * * * g tº t * g e tº s & gº tº º * g e tº e ge * * * ... 214 Allegro ... if s is g = tº gº tº º tº º º tº º s s & e * * * a e e ... 217 viii . CONTENTS. t l - OP. 51, NO. 2. SECOND STRING QUARTET. A/ Allegro non troppo ... º a s º e a º e si - - - - - - s a e ... 222 Andante moderato ... s e a º º o º º a si s e º e a o e º ... 229 Quasi minuetto a s & º e se º º a º a 3 º e se e 233 Finale, Allegro non assai ... º - º is º º s a s a s e a e ... 236 (Op. 52, Liebeslieder Walzer. Op. 53, Rhapsody for alto and chorus, Op. 54, Schicksalslied. Op. 55, Triumphlied.) « V OP. 56a. VARIATIONS ON A HAYDN THEME (ORCHESTRA). Preliminary Note e º e e s e s a e a o di º º º º o s s º a ... 241 Var. 1. Andante con moto . . . . . . . g º a a e º a e º ... 244 Var. 2. Vivace is º s º e e s a e s º a º a º s o a e e ... 245 Var. 3. Con moto ... e «s a a se a i - º º º e s a e º º º ... 246 Var. 4. Andante s e a s a s t e s a e a as a e a o a e e º ... 247 Var. 5. Poco Presto si s e a 9 a sº º º o º a a se e e e º ... 248 Var. 6. Vivace º º º s e si s e o e º a g m a a a º a e º ... 249 Var. 7. Grazioso i a a e s s e a º a º e º o si o a s a ... 249 Var. 8. Poco presto º º e e º o a s s º e o s e º s a e ... 250 Var. 9. Andante (finale) ... º º e º se o i e º a s e e ... 251 (Op. 57, Eight Songs. Op. 58, Eight Songs. op. 59, Eight Songs.) OP. 60. THIRD PIANO QUARTET. Allegro non troppo ... s e si e º a º o º a º a s a s ... ... 255 Scherzo ... º e º º o º s e º º a e e e a e º e e º a º a ... 263 Andante e s e º e º º s s º a o a o e se e e ai a e º ... 267 Finale, Allegro comodo s s a e º a s º e s º e º º e s a e ... 271 (Op. 61, Four Vocal Duets. Op. 62, Seven Songs. Op. 63, Nine Songs. Op. 64, Three Vocal Quartets. Op. 65, Neue Liebeslieder. Op. 66, Five Vocal Duets.) OP. 67. THIRD STRING QUARTET.) Vivace g ... 275 Andante • • • . • • • e º e e e s s º e a o s a o e º a ... 281 Agitato (Allegretto non troppo) ... s a º a e e º e e e a ... 284 Poco Allegretto con variazioni º e s o º a º a o a a º a g º ... 287 (C) ANALYTIC. Including classification of Works, Index to Music Exam- ples, Rhythmical Tables, etc. I. Classification of the Chamber and Orchestral Works in gradu- ated order as to means º o a a s a e o e º º s g º a ... 295 II. Index to Music Examples ... s s e . . º º e ... 296 III. Index to Rhythmical Tables ... º º º º º a a º a º s a ... 303 BRAHMS HAND BOOK. (A) DIDACTIC. CHAPTER I. INTRODUCTORY. I. THE present volume, though corresponding with its prede- cessors in general plan, necessarily differs from them in certain particulars to which we must first draw attention. The multi- plicity of the vocal works required that in Vol. I detailed accounts should be reserved for the greater choral productions; whilst the pianoforte compositions treated in Vol. II, though presenting great variety of feature, were scarcely of a calibre to necessitate minute analysis. With the chamber and orchestral works in Vol. III however the case is different. It is true that highly interesting accounts of these are extant, giving a won- derfully clear impression of their nature and value, and even in Some instances instructively entering upon technical detail. Such excursions have however been made at the fancy of authors and have consequently little value for the student who, being thor- oughly determined to possess an accurate knowledge of these Creations, requires an account of them so exhaustive as to com- prise everything he can reasonably desire to know. To supply this nothing can be effective but analysis reaching to the rhyth- mical significance of every bar; accounting for all material, whether subjects or intermediate motives; laying bare all formal proportions and developments; and fully describing all con- trasts and characteristic features. 2. By describing the plan adopted in carrying out this labori- * 2 HANDBOOK TO BRAHMS (ORCHESTRAL). ous scheme we shall best prepare the reader for use of the “Handbook” or B section of the present volume, the immense detail contained in which reduces both the Didactic and Ana- lytical sections to very small dimensions. 3. The plan of the “Handbook” is therefore as follows:– Firstly to certain works of extra importance a “Preliminary Note” is attached for the purpose of including particulars either of general or historical character. The object of this is to exclude from the articles under movement-headings (such as “allegro,” “andante” and so forth) everything which is not strictly technical comment. Such comment upon the very early works will be found to be more than usually copious. This arises from the necessity of treating each Brahms feature as it arises at sufficient length to enable the explanation of it to be referred to in future cases. On the other hand there are a few works” the account given of which is rather more concise, though never to the exclusion of essentials. The foremost feature of the entire work is the complete rhyth- mical chart given of every movement. The manner of preparing and using the various rhythmical tables is explained under Op. 8, as the first work in order. In this the phrases are mostly taken at full length, but later on the number “2 ” has been relied upon as sufficient—either to indicate strong and weak bars, to locate extensions or to combine for phrase-groups. Any trouble devoted to forming the habit of using these tables will repay the student a hundredfold. The next feature consists of the quotation of subjects in such manner as to correspond with their table description; and its effect, if properly used as it should be in combination with the table, will be to convert the latter into a musically illustrated map of the whole movement. The “epitome” and “outline” of each movement (placed for convenience at the end of each article) give rapid views of what has been previously stated at length; and they complete the list of constant features appertaining to our plan. There is also however the important occasional feature of examples and elu- cidation of technical subjects involved in the descriptions. 4. A condition of successful use of the rhythmical tables is that the student should count his bars; and it is necessary, in any case, that he should understand the method of enumeration * Opp. 38, 77, 78, 99 and 108. | INTRODUCTORY. º, 3 here employed. For instance, the initial notes of opening phrases are here disregarded altogether, the counting com; ineficing with the first complete bar. As against that the final bar, though it may be incomplete, forms with us a unit. In #he case of repeated sections with alternative endings (indicated by “first” and “second time”) the printed bars are simply cóunted mechanically. The estimated addition for repeats ºtherefore includes the bars of such sections without either ending because of the bars occupied by such endings already forming part of the number.” As a consequence of the second ending of first section appearing after the double-bar the real is naturally shorter than the apparent length of the Durchführung by what- number of bars may have comprised the “Ima Volta.” 5. It is recognised that there is room for many differences of opinion upon some of the subjects, treated; as for instance the method of construing the rhythm, location of the groups, of ex- tensions of the phrase, and so forth. The object being to give a sufficiently lucid explanation to enable the reader to form his own view, praise or blame of any feature is not advanced with- out the details which have served to such conclusion. Gener- ally speaking, the point of view taken up is that of Brahms himself, who, as is well known, attached supreme importance to the musical thought and less to mere sensuous effect. 6. In respect of terminology the term Durchführungi (to the use of which we have persistently adhered) is the only one not 'generally understood; such words as bridge, overlap, approach, intermediate motive, etc., being used in their everyday signification. | 7. Finally, we may claim to have adopted a plan well cal- lculated to restrain all play of personal feeling on our own part. To subject a musical composition to minute analysis is to place it upon the scales of justice—a procedure not greatly in favour With either class of extremist. The results of this method of judgment are various; but that the general verdict to which they point admits of no doubt cannot at all events be imputed to any advocacy of partisan character. k | | l ; : The above assumes the “2da Volta” to consist of a complete bar : which, though generally, is not always the case. It is necessary to men- Šion therefore that when (as in the slow movement of Op. 36) it consists »f only a portion of the bar, that portion is disregarded in the counting. ! * w * | f Neither “development,” “working out,” “free fantasia,” nor any ther English term available, conveys the idea of conducting the listener, º it were, upon a Journey, to the return groups. } CHAPTER II. BRAHMS AS A COMPOSER OF CHAMBER WORKS } º $ f i i I. IT was evident from the first that Brahms would become a great composer of chamber music, and to this day even the first version of the Trio, Op. 8, published in 1859, has thoroughly held its own. It was followed by his cultivation of this school being somewhat delayed by the Serenades for Orchestra, Op. II and 16; but the result of the beautiful string Sextet, Op. 18, was even more convincing of the composer's special genius for chamber music. The two piano Quartets, Op. 25 and 26, can scarcely be said to occupy such high ground; but the º of Op. 18 is not to be expected in each successive work even from the greatest genius. - . | 2. The retention of early material in the quartets may account for their falling short of the perfection which Brahms had already taught people to expect, but with the piano Quintet, Op. 34, he at once assumed that position of ascendancy in pre- sent-day chamber-music which he has ever since enjoyed. On the other hand there remained certain obstacles to his general acceptance in that sense. These are fully detailed in the Handbook. 3. The second string Sextet, Op. 36, was scarcely calculated to lessen these obstacles though it did much to confirm the high opinion formed of the composer by his own immediate surround- ing. His extensive indulgence in polyphony for this particular work was followed up by a proportionate contrapuntal displayſ in the 'cello Sonata, Op. 38; and it is noticeable that several works reflect in this way the character of those they immediately, follow. - {. | f ;º } § ; i; BRAHMS AS A COMPOSER OF CHAMBER MUSIC. 5 4. Then came a new departure in the horn Trio, Op. 40. The conditions of the composition of any chamber work to which a wind instrument is admitted are so fully dealt with under the headings of the clarinet works that description here would be superfluous. It is enough to say that in the horn trio they are met with perfect success, and only the resultant constitution of this work prevents its full comparison with those for piano and strings. * 5. Up to this point Brahms had not indulged in the favourite combination of the string quartet—that at which composers are generally first to try their hand—but in 1873 he entered also upon this field, having previously, as we are told, written many quartets which he had not chosen to publish. Even without this information we should know from the very finish of the two Quartets of Op. 51 that they were no first attempts at writing for this combination, but in them Brahms does nothing to pro- pitiate those who had previously found fault with his peculiar style. The only work hitherto in which any desire to hold out a hand to opponents can be said to have appeared is the Sextet, Op. 18, the geniality of which was however probably due to quite other causes. 6. It is doubtful whether even up to this point Brahms had completely shaken off his attachment to early material and the third piano Quartet, Op. 60, beautiful as it is, bears traces of influences not quite to its advantage. But with the third string Quartet, Op. 67, we have his style in full maturity; which is equivalent to the highest praise possible to be given to any work. 7. His indifference to the customs of other composers, as shown by the late appearance of his first string quartet, is con- firmed by the much later appearance of his first violin Sonata, Op. 78—a work which contributed so powerfully to the spread Of his reputation that the opinions it immediately called forth are now of special value for comparison between them and those held at the present time. 8. After another orchestral diversion Brahms again returned . to chamber music with the third piano Trio, Op. 87, in 1883. This work may be said to be one of the least appreciated; though the reasons for this naturally appertain to its own re- view, to which the reader is referred. In the general sense this neglect merely betokens an incorrect standpoint and is not there- fore contributed to by the real Brahms student, for whom this work presents no difficulty whatever. On the other hand, it is 6 HANDBOOK TO BRAHMS (ORCHESTRAL). doubtless true that appearance of the lovely first string Quintet, y Op. 88, in the same year did much to divert attention from the trio. - 9. After this we have some relaxation of effort in the second 'cello and violin Sonatas, Op. 99 and IOO respectively—each of them works of high purport and full calibre for the means em- ployed. These were followed by the fourth piano Trio, Op. IOI, appearing in 1887, in which the composer almost surpasses himself in his endowment of sonata form with new means of variety. This perpetual investment of one form with new features of interest may in fact be said to be that which most distinguishes him from other composers; and the same trait appears, though necessarily on a reduced scale, in the third; violin Sonata, Op. 108. After this only one work precedes what we may venture to call the “clarinet period"—this being thei second string Quintet, Op. I I I. Special attention is due to this quintet as really marking the conclusion of Brahms's labours within the domain of pure chamber music. For an epitome of the value of this work and of its relation to Brahms's entire output of its class the reader is referred to the digest of criticism given with its “Preliminary Note.” IO. The first clarinet work is the Trio, Op. I I4, ranking as | fifth piano Trio, but really standing apart. In it Brahms seems somewhat to have overrated the instrument's powers, but in the Quintet following as Op. I I 5 he shows a marvellously ripened experience. This fine result is considerably aided by the in- creased number of strings rendering it possible to reserve the clarinet for a special vocation throughout, whereas in the Trio he had been obliged to treat it on equal terms with its associates. The whole clarinet group shows that his experience tended in the direction of isolating the wind instrument; and this is finally borne out by the last work (Op. I2O), consisting of two Sonatas for piano and clarinet only—both highly successful. But the most beautiful of the clarinet group is undoubtedly the Quintet; which as a clarinet work is supreme, and comes very near to rivalling the best of the pure chamber works. II. In a general view of Brahms's works of this class the clarinet group should be regarded as an extra; especially as in them the ascendancy of Sonata-form is less apparent. This nat- urally follows from the tendency to variation style which is an inevitable consequence of use of the wind instrument, but it scarcely agrees with what seems to have been the composer's grand object—namely, to glorify sonata-form by offering a BRAHMS AS A COMPOSER OF CHAMBER MUSIC. 7 revelation to the modern musician of new possibilities within it. The same field had already been so ploughed by Beethoven that it was natural to deem its resources exhausted. Brahms not only proved the contrary but the fact of each successive work of his right up to the very latest containing something new in this regard goes far to show that even he has not exhausted it. N I2. He has however exhausted it for the time being. No com- poser of chamber music has appeared to dispute his right to a supreme position in that school, the combination of his love of formal beauty with a full measure of both science and inspira– tion being too rare an event. Should his rival ever appear in this field, and should the world of chamber-music ever have to rejoice over further revelations of the same kind the glory will be largely his for having so effectually pointed the way. CHAPTER III. BRAHMS AS ORCHESTRAL COMPOSER. I. BRAHMS's first orchestral work was the serenade for or- chestra, Op. I I ; which, though differing materially from the Op. 16 serenade, combines with it to represent what we are bound to deem an apprenticeship in orchestral writing. The peculiar style which he afterwards developed is not apparent in either of these works, motwithstanding that they consist of many move- ments and are very variously scored. 2. The evident effort involved in these first works for orches- tra is the first indication that orchestral writing was not to become this composer's peculiar field. His total output of the class numbers accordingly but nine works, even including the serenades just mentioned. Of the remaining seven no less than four are symphonies; a circumstance which those familiar with the bend of his mind must regard as a matter of course. In the symphony so much depends upon material and construction that necessities of scoring are largely pre-determined, and therefore do not depend upon any special orchestral bent. This could not fail to be a great attraction for a composer who excelled mostly in form and characteristic. Breadth of the bearings in a free style of composition throws a composer completely upon his orchestral resource, whereas in a symphony the material is already largely provided for. 3. The three remaining orchestral works are represented by the variations on a Haydn-theme and the two overtures. As to the first, which was also the first mature orchestral venture, it fully confirms the symphony argument, on account of the alloca- tion of material being even more rigid in variation-form than in the symphony. The overtures therefore form the outstanding BRAHMS AS ORCHESTRAL COMPOSER. 9 item; and that, all things considered, they further result in a strengthening of the same conclusion may be proved by reference to their chapters. e 4. It may therefore be assumed that in writing for the orches- tra Brahms always sought the protection of an outline the filling up of which depended more upon the skilful use of fixed imaterial than upon fantastic application of Orchestral effects. º are two reasons for bearing this well in mind; because it not only explains the absence from his orchestral works of all spasmodic and extravagant effect but shows how his renunciation !of these led also to his avoidance of all stock mannerisms. It is not so much the former as the latter of these traits which has led to fault being found with his orchestration, the ordinary listener being better able to dispense with his accustomed thrills than to accept new styles of ordinary accompaniment and ampli- - fication. For a long time it remained undiscovered that Brahms had practically invented a new style, people being content with |calling his instrumentation “thick ’ or “muddy” and there : letting the matter end. By degrees however the idea dawned that common traits of orchestration had been quite purposely avoided, and that a sort of filigree style had been set up the beauty of which could only result from very finished execution; but which, when once realised, appeared to possess a new and peculiar charm. Whether this feature is ever to become widely appreciated or no it will be seen that at all events it is not to be confounded with faulty workmanship and that those who so regard it simply lack information. 5. The characteristic in question will be found frequently re- ferred to in the following pages under the name of “Gothic.” instrumentation—a term invented for it by Dr. Riemann and extremely apt for its description. The very exhaustiveness with which the symphonies are individually treated under their sev- eral headings renders it unnecessary to proceed further with this Subject in the present chapter. Enough to say therefore that Brahms was by no means prolific as an orchestral composer; that his works acquire the orchestral character more distinctly through breadth of outline than by special choice of material; and that he renounced conventional use of the orchestra in favour of a style peculiarly his own. The reader who is inter- ested in the elucidation of these questions will find abundant º º for reflection in the following pages. ! h (B) THE HANDBOOK. THE CHAMBER ANI) ()RCHESTRAL WORKS JOHANNES BRAHMS IN THE ORDER OF THEIR OPUS NUMBER With Analyses, full explanation of Technical Detail and appropriate Biographical and Historical Information, Note:-The numerical succession of the Opus List is completed in the Companion volumes, containing a similar account of the PIANO- FORTE AND ORGAN (Vol. II) and of the WooAL (Vol. I) Works respectively. O.P. 8. FIRST PIANO TRIO. (For Piano, Violin and Violoncello.) I. ALLEGRO CON BRIO. II. SCHERzo, ALLEGRO MOLTO. III. ADAGIO NON TROPPO. IV. FINALE, ALLEGRO MOLTO AGITATO. Published by N. Simrock in 1859.” Revision by the Composer, published by N. Simrock in 1891. PRELIMINARY NOTE. I. THE consistency of Brahms's career renders it desirable to dwell upon the subject of the early works to an extent some- what out of proportion to the attention devoted to others of greater importance; but the convenience of this proceeding will be experienced later on when various matters, instead of having to be described at length, will be found capable of being dis- posed of by mere reference to the explanations now and shortly to be given. 2. But it is not only as an early work that this trio claims attention as it is also the only one which the composer revised to the extent of a new printed version, the nearest approach to anything of the same kind occurring in the case of Op. 16 (q.v.); and, though we naturally accept the revision as an expression of the composer's final desire (besides which it is now the version almost universally in vogue) we must also remember Brahms's own warning to the effect that It is rare for a work which has once reached conclusion to become better by revision. † * This is the date as stated in Simrock's Thematic Catalogue but Kalbeck gives it as J854. f Selten wird eine Arbeit, einmal zu einem Abschluss gekommen ist, durch Umar. beitung besser. I4 HANDBOOK TO BRAHMS (ORCHESTRAL). 3. We cannot moreover dismiss the case by assuming this to be one of the rare exceptions which he admits, considering the variety of opinion with regard to it; or insist upon superior value attaching to the original version as representing historical interest, if greater musical interest belongs to the new version. Upon the whole it is the latter which we have to consider, though it will be interesting to quote opinions upon both. Thus Fuller- Maitland calls the revision an interesting example of self-criticism characteristic of the very great- est minds, and very rare amongst musicians. In the last years of the composer's life he revised this, his first chamber composition; and a com- parison of the two versions is in the highest degree instructive to students of his methods. One subject was evidently discarded for too close a re- semblance to Schubert's song, “Am Meer”; a new development of the Finale is substituted for the old; and in the other movements many details are to be noticed, all of which are improvements in the direction of breadth and simplicity. - 4. On the other hand, we have the following from Miss Florence May. This trio remained for many years but little known ; but now with its beautiful youthful qualities it is dear to those who have yielded their hearts to the spell of Brahms's music. The composer’s fertile fancy has betrayed him in the first Allegro into some episodical writing which some- what clouds the distinctness of outline and Impedes the listener in his appreciation of the distinguished beauties of the movement, and there are places in the finale where a certain disappointment succeeds to the conviction inspired by the impetuous opening subject ; but in wealth of material, in the rare beauty of its principal themes, and in noble sincerity of expression the trio occupies a distinguished place even among the examples of Brahms’s maturity. The revised edition of 1891 does not seem likely to diminish the affection with which the original is regarded.” 5. Erb confirms Fuller-Maitland in the following terms. Thirty years after the production of this work Brahms recomposed it, the corrections in nearly every case taking the form of simplifications—a proof that his growth was towards clearness and the abandonment of those characteristics least pleasing to superficial hearers. 6. But most instructive of all is the opinion of Brahms's great friends the Herzogenbergs, whose admiration for the new ver- sion was curiously mingled with regret for the old. In a letter from Elisabeth v. Herzogenberg dated from Berlin, October 9, 1890, for instance, she gently chides the composer for applying his master-hand to the revision of the delightful productions of his youth because no one can be imbued with the same spirit after so long a time. * The italics are ours. OP. 8. FIRST PIANO TRIO. I 5 A few weeks later Heinrich v. Herzogenberg writes to say that though we both now understand the new form we quietly bemoan the traits of loveliness which have been taken away;” and that this became his permanent opinion is clear, for in the following year he makes a remark which is evidently the result of study. The power of adaptation of the elder Brahms to the younger is some- timest perfectly astonishing, but sometimest also I cannot get rid of the impression of a collaboration of two inherently unequal masters. 7. The fact is that no other composer was ever so well equipped for taking the productions of his youth in hand, Brahms's life-programme remaining ever the same. He did not chafe at the restrictions of form, having quite early in life achieved a complete mastery which enabled him to combine with their observance more legitimate liberty than had been hitherto exercised. He was not, like so many composers, a mere traveller and wanderer upon the face of the earth; but one who, contented with his dwelling-place, spent his life in rendering it more and more beautiful. His return to this particular work can there- fore only be construed as proof of his special affection for it; and though it may be true, as sometimes urged, that instruction is to be derived from comparison of the two versions, it is also true that the same may be obtained by comparison of any other two similar works, if sufficiently removed from one another in point of time. I. ALLEGRO CON BRIO. g 8. In dealing with this movement certain digressions will be necessary in explanation of rhythmical tables and other features of our work; for although a separate chapter might have been given to this subject an object-lesson will be found more useful. It will also be more useful if we set eulogy completely aside; and, considering what Brahms himself once said to Jenner : Wir verstehen nun die Idee der Umarbeitung wenn wir auch einzelnen Lieblingen leise hachweinen & t He mentions the movements to which the remark applies. I6 HANDBOOK TO BRAHMS (ORCHESTRAL). You will never hear a word of praise from me. If you cannot bear that it shows that what you have in you is not worth saving ;” we have the master's own approval of that course, as well as the certainty that he would have been the first to welcome a verdict passed upon his works, based not upon mere likings and dislikings, but upon a reasoned assessment of their artistic value. 9. The plan will therefore be—first, to gauge the structure of each work, and by the proportions of its outline to judge of its claim to symmetry and unity. Next, to take the thematic material which is the composer's basis of action and examine the contrasts which it provides both integrally and as a result of developments. These procedures combined should enable us to account for every rhythmic pulsation, trace its relation to the sub-phrase or motive—thence to the period—thence to the Sec- tion, movement and entire work. We have to deal with creations which are rich in evidence of the immense amount of thought bestowed upon their production, and it is ridiculous in such a case to suppose that even accomplished performers can by mere listening at once arrive at a proper judgment. This will explain the high degree of importance here attached to the rhythmical table. Io. In submitting these tables to the student we do not of course pretend that there can be no difference of opinion upon the dissections submitted. Even the broader rhythmical dis- positions sometimes admit of being construed differently, and this is naturally more the case the narrower they become. But, should the use of the tables bring such differences to light, far from diminishing, it will but prove their value in concentrating attention to a matter of Supreme importance, and yet one very much neglected. II. The great bulk of musical creation is finally reducible to the two-bar phrase as represented by the strong and weak bars. Sustained three-bar rhythm is extremely rare and five-bar scarcely to be considered at all, so that phrases of equal numbers may be safely taken for practical purposes as composed of S0 many times two. Later on we shall therefore adopt 2 as fixed component, but at first it will be better to distinguish between say two twelve-bar phrases which though each consisting of 2 × 6 might be formed respectively of 8 + 4 and 4 × 3. The present trio, for instance, opens with twelve bars which we in: —º * Sie werden nie ein lobendes Wort von mir hören. Wenn Sie das nicht vertrage; können, so ist das was in Ihnen Steckt, nur Wert dass es zu Grunde geht. OP. 8. FIRST PIANO TRIO. I7 dicate in the rhythmical table as 8 + 4, notwithstanding that they might with equal correctness have been construed as 4 × 3. The difference between the two significations is that the former reads the period as 8 bars to which 4 are added—that being the meaning of the plus sign; whereas the latter reading is of 3 four- bar phrases—that being the meaning of the multiplication sign. There is an artistic difference however; for, if the sentence is taken as three phrases of entirely similar character, the beauty of the extension disappears from view. This will no doubt be rendered clearer by an example; which will also serve as state- ment of first subject. Ex. I. Op, 8, Allegro con brio, first subject. | | |-|--|--~ 2. e. *E* # —-- d * #3 à 4 : ... a ! 2 : # -e- i-ºff: -*-tº-º-º- -i-e-a-F-I-2--e-f-i-º-º-º-t-i-e- €º Re— ====E= #: C # © ======= -------~ ſ—S t | -- | |-|-> | | | 5. 2. -a. dº |- 3. 2: ... 2. 3. º 3. 3. 2. 3: ... ?: 3: 3Tſ-î- O O #EEEHF #: –23–2. H-52––2-i-º-º-i-i-º-º-º- eºEEE *** *-* * É= = – ==EE = == tº § To locate the phrase-extensions and to make quite sure that our reading is in accord with the composer's intention is impossible Without the full rhythmical analysis which brings one part of a movement to the elucidation of another. The scanning more- over should not at first be in phrases so short as to allow a mere extension to appear as one. Here for instance the first eight bars might easily have been dissected into short phrases of two bars each, but this simpler method cannot prudently be employed until after experience has been gained. 13. It sometimes happens (and especially during episodial treatments) that the phrases indicated by table do not appear rhythmically detached and that the continuous flow of such Working might be held to leave it an open question whether they really are phrases in the ordinary sense of the term. From the broader rhythmical standpoint however they must be held to form part of the same category as those of the ruling rhythmical pulsation of the movement, providing they contain no internal evidence to the contrary. 3 I8 HANDBOOK TO BRAHMS (ORCHESTRAL). 14. The rhythmical table being therefore a chart of the move- ment we proceed to list its principal uses. These are to ascertain I. The proportion of the entire extent which is assigned to statement of first, second or third subjects separately. 2. The relation between thematic material as stated in open- ing and at the return respectively. 3. The proportion allowed to Durchführung and Coda sep- parately and the relation of these to one another. 4. The extent of purely episodial matter and that of theme development. 5. Particulars of all phrase-extensions. RHYTHMICAL TABLE. Ex. 2. Op. 8. I, Allegro con brio. Statement of first subject. PORTION OF | DESCRIPTION OF NO. OF EXTENJ). MOVEMENT. MATERIAL mas composed of ING To BAT& First \ 1st subject 12 8 + 4 12 Section ſ 8 4 × 2 20 (part of) 15 8 + 4 + 3 35 9 || 8 + 1 44 Episodial 10* || 8 + 2 54 principally 8* | 8 62 5 4 + 1 67 8 4 × 2 75 Introducing 8 4 × 2 83 2nd subject Totals. 83 83 15. We see from this that Brahms has indulged in episodial working to an extent scarcely consistent with a first statement; and the student is thus introduced to an apparent defect which may or may not be justified by contents; just as, later on, when we come to our analysis of the return, he will see whether Brahms has given unity to his work by treating this in some manner to be reconciled with the present development. The common know- ledge that this Trio is open to the charge of diffuseness should not deter us from making the discovery for ourselves, but in order to do that we require to see the entire movement at a * See par. 18. Op. 8. FIRST PIANO TRIO. IQ THYTHMICAL TABLE. Ex. 3. Op. 8. I, Allegro con brio. Statement of second subject. EXTEND- poRTIon MATERIAL BARS | COMPOSED OF | ING TO - BAR, 2nd subject 8 4 × 2 91 * Intermediate 1st section motives } 18 4 × 4 + 2 109 (part of) 3rd subject 8 2 × 4 I17 EXtra.” 3 - 120 Totals. 37 123 glance. We shall not therefore in future divide the subjects from the rest of the movements, which we have only done in this instance for extra simplicity by way of introduction. RHYTHMICAL TABLE. Ex. 4. Op. 8. I, Allegro con brio. Statement of Durchführung, Return and Coda. EXTEND. PORTION AIATER IAL B.ARS COMPOSED OF | TNG TO BAR, Durchführung | Bridge 9 2 × 4 + 1 129 3 y 10 2 × 5 139 1st subject 5 4 + 1 144 j is 7 4 + 3 151 Episodial 8 2 × 4 159 y 5 single bars 164 : 3 3 2 + 1 167 - ? 8 8 175 * 9. 12 8 + 4 187 1st subject 12 8 + 4 199 Totals. 79 199 Return 1st subject 9 8 + 1 20S 3 x 9 8 + 1 217 3 * 8 4 × 2 225 2nd subject 8 4 × 2 233 y 3 18 4 × 4 + 2 251 Bridge. 6 2 × 3 257 Totals. 58 257 Coda, Episodial 32 4 × 8 289 * , 3 3 + /> # 292 Totals. 35 292 * For 2da Volta. See Introductory Chapter, par. 4. t See par. 17. 2O HANDBOOK TO BRAHMS (ORCHESTRAL). 16. The separation into groups frequently occurs at an ex- tension” of the phrase, and obviously the total number of bars would otherwise be sufficiently accounted for in dividing it by the recognised phrase-length. Simple movements in lyric form often do admit of being so treated, and even in this case we have an instance in the coda, which, dissecting as 4 × 8 = 32, indi- cates an absence of phrase-extensions in that department. Its last phrase however is one of three bars the apparent irregu- larity of which we must explain. 17. The phrase in question is really only a prolongation of the final chord, and its contents of 3 + 2\, if stated in words, would amount to “3 bars, plus a reliance upon the intuition of the performers to prolong the final chord (and sometimes also to allow for silent bars thereafter) in a manner to satisfy rhythmic requirements.” The fact is that, although this Coda is cor- rectly indicated as 4 × 8, there is a rhythmic superiority of alternate four-bar phrases, counting from the first—as the reader will easily perceive upon hearing the work played. In other words it would be equally correct to state this Coda is 8 × 4; in which case the final three-bar phrase would obviously be the commencement of one of eight, and the pause simply a short way of indicating prolongation of the final chord and subse- quent silence during the time which these eight bars would, if written out, have occupied. They are here presented thus written out for the student's guidance. The case affords also Ex. 5. Rhythmic significance of the pause. | # 3. -ā. .4. .*- * - - - TEI2. It _* = . I I - - - &# ##### 25. Tº == C-E---EE f tº- SZT FT =TL*--> tfººtiºs:f-fºr-tº-f-i- Q -a ºr 5 ºr f 3-2-S 22-S3. • * * an illustration of what was said in par. Io, viz., that whether this rhythmic dissection be agreed to or no, the usefulness of its explanation remains. - 18. In episodial treatments the rhythm is liable to be some. what free in a manner of which an account of the number of bars gives no accurate record. Thus, in the present statement * Contraction, either simple or as caused by the overlapping of two phrases, does not occur in the present movement. OP. 8. FIRST PIANO TRIO. 2 I of first subject there are phrases of 8 and IO of which certain bars, instead of being in allabreve are in 3 time. This points to the difference between a pause which is rhythmically essential (such as that shown in Ex. 5) and one which is desirable merely as a means of expression. The precise length of the latter is of course indefinable, as it will naturally vary with the feeling of individual performers; and, in cases where the composer is willing to allow this latitude no one else can object. The refer- ence here is however merely to the expressive holding of a single note or chord. 19. But there is also a holding back of the rhythmic unit while motion continues—a fact which has hitherto been most strangely overlooked in description though not in feeling. There is abun- dant evidence of this in the favour accorded to changes in the bar-value by modern composers who have naturally become res- tive and impatient at the servility imposed upon them by having their music mechanically sliced up and served out in precisely equal time-portions. We have referred elsewhere to the superi- ority of Gregorian notation in this respect and there can be no doubt that the future has in store for us some reform of our notation calculated to meet the need here shown.” That of the moment however is to explain that the extra contents of these # bars are merely elaborations of their first beats by which the next first-beat entry is delayed, or in other words they are a mere continuation of motion while the rhythmic beat is being held back. In all such cases we must first examine the rhythmic basis of the musical thought before occurrence of the melodic incentive to elaborate. 2O. The student can only properly appreciate the melodic incentive to extend the bar value at the points marked * by re- Ex. 6. Rhythmic basis of bars 45-62, Op. 8. | | | | | | 2- || 2– –2–2-- |--|-2–2-H4-1. i i | -d -2- —e-----0- –2–4 :: | | | | | | | | | | | | ------|--|-- *|2–2. –62–G–C– | | | |-e — a —O –G– | | | | | $ | 6:2 –-e - || – e – G – G -e— * It may not be amiss here to quote a few words from the author's short treatise on “Modal Accompaniment of Plain Chant,” bearing upon this Subject. At page 136 (§ 134) we read: Our slavish division into equal time-por- 22 HANDBOCK TO BRAHMS (ORCHESTRAL). ferring to the work itself, but the mere fact of such extensions being dependent upon melodic traits shows that as far as the general subject is concerned they might just as easily have fallen elsewhere. The point is that had an ordinary pause been em- ployed, not only its duration would have been vague but motion in other parts would have simultaneously ceased; whereas by changing the bar-value the length of the pause is both defined and the motion continued. This alone will serve to show how Ex, 7. Pause by delay of rhythmic pulsation with continued motion. *=HHérèE=E={aeis-H==== ### ########### == *==== T *- sº, ºmºmº am ºmºs -- * =mºmº as ºsmº -º- =mºse #4. tº-zº *F. Vº v *~! º is! ################ ; *2. = --> ########## flººkſ; ridiculous it is to regard frequent changes of bar-value as an affectation on the part of the composer. 21. The expansion of a subject by means of auxiliary motives is for the time being included with the subject as a single item; which is perfectly correct as the two elements need never be separated except for purposes of greater detail. The reasons for deferring consideration of the intermediate motive are—first, that it is simpler to begin by regarding it as one with the sub- ject, and secondly, that with so many incidental matters to explain it became desirable to shorten review of the present work, where possible. The subject of the “intermediate motive” will therefore be introduced with Op. 18, the next chamber work; and we now pass on to the present third subject. Strange to say, this subject is sometimes called a “codetta.” to the first tions very frequently causes modern composers to change the bar-value ; thus showing that, in order to express their emotions with fidelity to nature they want the very freedom which Gregorian music already enjoys. OP. 8. FIRST PIANO TRIO. 23 section; which is an evident misapplication of the term, Con- sidering that at the return it joins a “codetta.” to the real coda of the movement. No doubt it is customary to round off the first section in Sonata-form by a subject usually of Cantabile character and designated on that account the “Song-group"— which it must be confessed that the present third subject is not. But that can form no reason for embarrassment here; the group in question being not even of Coda character, as we shall endeavour to show. 22. The fact is that there is no real departure from the Con- ventional third subject at all; what has happened being merely that instead of allowing it to appear in simple form, Brahms has elaborated it by means of an accessory figure—evidently with an eye to material for the Durchführung. 23. The “cantabile” of the third subject is in many Sonatas of such cooling effect that, in order to attain to the necessary warmth during Durchführung, the composer is tempted to make the latter too long. Here, on the contrary, we start with the real business of the Durchführung from the moment of crossing the double bar; yet the subject when stripped of all elaboration Ex. 8. Third subject of Op. 8 in crude form. | 1 | # I *- - - - ==========-1H------4- | #####EF=# #### Q º, Jº : | >~~~~T p i ' 2–s -----> * *... . .3T3---sº _- # ====E==Hºa ºf H2=#EE-ºf- leº *=#EEEEEE? #=#= —rs- |* #=======# ===== ====E3a–H | | su-H-2T. T. e efflº -e=E2–# falls so entirely within the usual conditions that we can only Wonder at so simple a figure having been misconstrued. 24 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 9. Figure used for elaboration of third Subject. (Bar I of Ex. 8.) * wºmmºn sº-sº l | | | -*: 4. e. .d. ×g- ſº- * | 1 | º Głº jets. 24. This figuration enters largely into the Durchführung, which is earnest and enthusiastic, leading at bar 200 to the return groups; these being an abridgement of the first section. The Coda as stated is of simple design but of highly sensuous effect, and the whole movement in spite of its outdrawn first section a fine contribution to its class. 25. Epitome. (a) Subjects. For first and third of these, see Examples I and 8. The second subject is here given as to four bars, which become eight by being followed up in sequence. Ex. 10. Second Subject, Op. 8, I. Strings ###. 1–H–- + + zºº, + (doubled II–tº–F-F- -] -] lº- -j-i I X--> Ll in 8va) §== —e- Se— o ——1– as—"—- --- r +++ •C. -a, - 2s_d is is: º Piano - (doubled in 8wa) *º-ººs (b) Key B; changing (at bar 124 or seventh of the Durch- führung) to G, returning to original key at bar 184 (I6 before return), changing to B minor at bar 2 I I (twelfth of the return), and regaining the original key at bar 252. (c) Time, allabreve; single-bar changes to # at bars 52, 54, 60, 62. These changes of bar-value occur only during the first statement of principal subject (see Ex. 6 and 7), the second statement being considerably abridged. - OP. 8. FIRST PIANO TRIO. 25 (d) Length, 292 bars, or 406 with repeat of first section. Ex. 11. Outline, Op. 8. FIRST SECTION | DURCHIFührung RETURN CODA 117 79 58 35 ,-'--> ,-----—, I II III I II III 83 26 S | 26 26 6 II. SCHERZO, ALLEGRO MOLTO. 26. A glance at the accompanying table will now show that the first section and Trio of this movement have each one subject only, that this subject is in each case slightly expanded after the repeat, that the phrasing is duple (with rare cases of extension, these being however also duple), and that the form is lyric.” IRFIYTHMICAT, TABLE. Tx. 12. Op. 8, Scherzo, First Section. | EXTENJO- POI&T ION MATERIAL BARs composed of ING To BAR. 1st part Subject 12 4 × 3 12 3 y 12 4 × 3 24 8 4 × 2 32 2nd part 2da Volta 4. 4 36 ICxpansion | of subject ſ 4 | 4 40 3 y 48 4 × 12 88 3 x 36 4 × 9 124 IReturn Subject 12 4 x 3 136 ? » 14 || 4 x 3 + 2 | 162 Bridge to Trio || 6 || 4 + 2 168 Totals. 168 168 Other items of observation concerning the symmetry of the movement will be the proportional space devoted to expansion of the subject, to return and to the graft of Trio and first section. 27. The sostenuto character of the Trio may be at once de- "...Full exposition of this subject for those who require it may be found in the author’s “How to Compose within the Lyric Form.” 26 HANDBOCK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. Ex. 13. Op. 8, Scherzo. Trio (Meno Allegro). EXTEND - PORTION MATERIAL BARS COMPOSED OF | ING TO BAR 1st part Subject 16 8 × 2 184 16 || 8 × 2 200 33 2nd part Expansion of subject 18 8 × 2 + 2 218 $ 3 34 4 × 8 + 2 252 2da Wolta, 2 2 254 Bridge to Re- <2 turn º 12 4 × 3 266 Totals. 98 266 duced from its rhythmisation in phrases of eight bars, as Com- pared with those of four in the opening section. 28. There is no simple return as there was for the first section; but as against that the thirty-four bars forming the second item given to expansion of the subject unite within themselves the conditions both of expansion and return. As a matter of fact the theme does actually return; but it is with a new instrumenta- tion which allows the excitement still to grow and to reach its climax at the bridge. This is a refinement in the observance of form which the student should note. THYTHMICAL TABLE. Ex. 14 Op. 8, Scherzo, Teturn and Coda. F. KTEN I)- PORTION AIAT). RIAL BARs composed of INg to }}A R, Return Subject 12 4 × 3 278 y y 12 4 × 3 290 5 y 8 4 × 2 298 3 3 4 4 302 Expansion 48 4 × 12 350 * > 36 || 4 × 9 386 Subject 12 4 × 3 398 3 y 12 4 × 3 410 y y 14 4 × 3 + 2 424. Bridge 4 4. 428 Totals. 162 428 Coda. - Free 36 4 × 9 464 - 2 2* 2 Totals. 38 406 * Equivalent with a to 4 rhythmically. See Ex. 5. OP. 8. FIRST PIANO TRIO. 27 29. The treatment of the first section subject is so Beethovenish Ex. 15. Op. 8, Scherzo. (Subject of first section.) a—---º-º-º-º-º-º-º-º-º-º-º-º-º--— (ºr- ====EEEEEEEEEEEEEE EEEEE # >~#–--- – + E–F– -F "Cello. Pf. that although the daintiness of the theme pervades the move- ment the logic of its expansion imparts something of a serious character. We are intellectually borne along by the moto per- petuo of the crotchet-pulsation until, at the Trio, the latter is displaced by pulsation of the bar. The climax of expansion is signalised by continued quaver motion; and if fault could be found it would be with the delay which ensues after subsidence of the quaver motion before re-entry of the theme (bars 89 to 124). The latter is however beautifully approached, so that any undue delay is well atoned for. 30. It would perhaps be going too far to assert this Trio-sub- Ex. I6. Op. 8, Scherzo (subject of Trio). | | ! ... eTºº - 1.4T. . . . . . . . . eft-É =======E=#EEEEEEEEEEEEEEEE =##=E==#–E–F#–H=HEEE * s" | – – ". effl is | ject to have been a deliberate counterpoint of the leading theme, but it certainly bears that appearance. Thus bars I 29 to I33 Ex. 17. Op. 8, Scherzo First and Second subjects combined. 2-4 —=–1-62 -— lºo e—t -O —rm – O- Violin -ºš ==EE - EEE *-E ======E # -- IT TI lſ F-— -- — = --|--Q —- - | i ** a | | | | | | | *-*. ~lehāH4}{{### 28 HANDBOOK TO BRAHMS (ORCHESTRAL). form a passage in which both subjects are combined. Apart from its contrapuntal interest this observation is amusing; for, if true, it corresponds with what we once remarked of Tchaikov- sky in his Trio, Op. 50, and shows that notwithstanding his adverse opinion of Brahms he did not scorn in 1882 to follow a plan which the alleged “composer of no inspiration” had initiated in 1859.” The coda is distinctly more florid than the movement gener- ally, its “piano-Solo’ element almost overstepping consistency. It is in fact only redeemed by its occasional reminders of the leading theme. 3 I. Epitome. (a) Subjects. See Exs. I4, 15. (b) Key B minor, with Trio in B major. (c) Time #, without change. (d) Length 466 bars, or 544 with repeats. Ex. 18. Op. 8, Scherzo. Outline. FIRST PART TRIO RETURN CODA 168 | 9S 162 38 III. ADAGIO 32. The disposition of parts in this movement is scarcely that of a trio of instruments; the thematic material being so persist- ently treated as a dialogue between the piano as a self-sufficing instrument and the two strings, taken collectively as a separate self-sufficing combination. This procedure is always interesting; and though it is not peculiar to Brahms, the steadfastness with which it is here maintained imparts such reality to the imaginary conversation that the effect seems new. * The reader for whom this question of the evolution of themes may have a special interest will find it somewhat fully dealt with in the author's analysis of the Tchaikovsky Trio, Op. 50. (See “Tehaikovsky, His Life and Works,” pp. 272 to 287). OP. 8. 29 FIRST PIANO TRIO. IR HYTHMICAL TABLE Ex. 19. Op. 8, Adagio. * EXTEND- POIRTION MATERIAL BAT&S COMPOSED OF | ING TO . BAR. Opening 1st subject 18 (4 + 2) × 3 18 x * G 6 24 * x 8 4 × 2 32 Totals. 32 32 4 + 1 Development | 2nd subject 11 4 + 2 43 Expansion 8 4 × 2 51 * x 6 || 4 + 2 57 3 y 8 4 × 2 65 Totals. 33 65 Close 1st subject 18 (4 + 2) × 3 83 3 y 7 6 + l 90 3 * 9 || 4 × 2 + 1 99 Totals. 34 99 33. In course of the movement we meet with (a) Chorale for piano; answered by meditative interludes - for strings. (b) Independent meditative interludes for strings; with piano either facet or supplying light elaborative accompaniment. (c) 'Cello cantabile; with piano accompaniment, violin tacet, the last of these being used only for statement of second sub- ject. In this the violin has no share, besides which it holds no prominence throughout the movement other than that insepar- able from an upper part. In the expansion following this 'cello Solo the phrases and their component motives become however more detached; this conventional feature being maintained until the return, which differs much in aspect but little in substance from the original statement. This variety of treatment for return groups is a great charm specially befitting an earnest movement, which is thus enabled without coda assistance to reach a perfectly satisfactory conclusion. - 34. If the plan of interspersing the chorale with string inter- ludes were pursued mechanically it would obviously lead to a Complete melody broken up by non-integral interludes—a merely perfunctory and inartistic affair. But Brahms avoids 30 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 20. Op. 8, Adagio, Piano Chorale, with string interlude. - ##,- —#-- I II —l -> I-º-º-º-H- Strings *:::: -- I º H-HE---------- EEEs-s==== - " " - |C i. I Fæ -º-º--— v Tºrº *=Tºp- First subject | P e. | | ~! #: YZ-TTI-83 ‘p. * | | #. FºEF== - p : this by making his string interlude independent just at the moment when the chorale would otherwise be expected to conclude, Ex. 21. Op. 8, Adagio, Independent string interlude. t i | | 2- : in or # # —— ====== -F-º-º: I I->]-- 3–-3- Strings | ##! ==Hä:#==E=##### ! t | f — | | C #E:=#EEEEEE:=# Piano | ##### ––14–3. #EE== ITT Tº I-Is"I. I I O H | ~l_ # — a= 3= 2– | Sº-e- - | ###### *A*H==== * | i. ——— * * .# I I 2- —CJ- ###===## #:=F 35. The filigree treatment of the same material used for the return group renders coda unnecessary, especially with a diminuº endo cadence in view. OP. 8. FIRST PIANO TRIO. 3 I Ex, 22. Op. 8, Adagio, variety of return group without change of material. ass=– – | —C —I I tº Strings *==== #EEE — = Q **** -E-E= l *I, | | | *** **E=º º tº ººm-º: | | | | - ... º -&- |- - - t g * #, —fºrd-Trg- º I---ºº-------- Piano # ºg I. d’It # Ti-º-º: *E=º º, m Tº jºid. Tº sº. # | ######, ºßHºttº: *º-º-º: mº-º-º-º: *. = x•- ~ > TI IT III f ſ - - •º. ſ * *- . - --~ —l agº f f | ſº it 2: * #=HHºF: j: *—#-ex #3 + } #t==== •-- ºw Eä #–Ez-EF * / | | | ji= | d # #--Hire: # | *†J ======lf †† = di. º: #: º #: * e. #9. Fº 36. The 'cello cantabile of the second subject serves the useful purpose of exhibiting one of the phrase-extensions recorded in Ex. 23. Op. 8, Adagio, Second Subject. y ##t=ºf e-º-FEE-->= ===Ef Ef- clo[[fº-E; H=======E=#E: l --- W * |º | |-- | t t N N- N ######## ###: Piano eº e- ### ———ºr–e-s — _ _ _ º # * | | extension | *s. | |############ —— -- N- h~. • {{-- * — — — … -- —e---4--- –––. -— * - -zº- lº. ### ######### " : , º, . ; ºr 32 HANDBOOK TO BRAHMS (ORCHESTRAL). the rhythmical table” as congenial to the Brahms style of com- position; for here, though the phrase extension is obvious the extra bar is no mere repetition, the repeated motive being in- vested with just the difference of harmony sufficient to impart a new tint, but without adding anything calculated to hide the gracefulness of the rhythmical addition. 37. The agitato consequent upon detachment of motives, which leads to the return, being managed upon the usual lines, Ex. 24. Op. 8, Adagio. Expansion (f Second Subject. ! # --- ! -- - Str. tºº ####|--|--|--|--|--|--------|--|-}: ==== ## ::= ===E========" # ===HE; QL/ TT, †-z-z----- Str Pf----> . Str. —" s's la | s. ... 12-- a. º | | Gää =::== g-º: #####P. + +H=======EH == – s" z *~~ sº # --→J.-- -------> ###EEEEEEEE? *E; *E*Ełs— ###E=#E:::Hº- Q_/ - — Q — —- 0–1–– - - - - - -m- w - - - - -a- -w- --- | "---- | ---. ad -: #t== -- 44 **,-º-º-º-º-º-º-º-º-º: eº, E: E*=”––––F–F–F–B–Eºs23-F f —ll—ſº------~~ =======t-----|z|====== F. 69 ->. : -—e * # .* •=== #*::: ~ * ~ * ~ 1 S. €ic, offers little for technical remark, though much for artistic appre- ciation, as exhibiting a judicious self-restraint, though unfor- tunately the lesson which it conveys is least likely to be accepted by those who are most in need of it. 38. Epitome. (a) Subjects. See Examples 19 and 22. (6) Key, B major. No change of key and amount even of transient modulation but slight. On the other hand much use is made of relative minor especially during the middle Section. * Ex. 19 (opening of the development). The extension in question is the “-- 1 '' indicated at the appearance of second subject. OP. 8. FIRST PIANO TRIO. 33 There is a lack of key-contrast in this trio as a result of all its movements being in B, either major or minor. See paragraph 40. (c) Time, common; without change. (d) Length ninety-nine bars, no repeats. Ex. 25. Op. 8, Adagio. Outline. FIRST SECTION MIDDLE SECTION CONCLUDING SECTION That these sections are rhythmically divisible into three, four and three groups respectively may be perceived from the Table, Ex. IQ. IV. ALLEGRO. 39. Rondo form is comparatively unfavourable to the dis- play of the Brahms individuality, and accordingly it is in these movements that we find most trace of the influence of other composers. The outline seems more or less incompatible with ideas of heroic or noble character and scarcely lends itself even to those of any superior earnestness. Hence in this movement we have a treatment not subserviently but distinctly Mendels- Sohnian; the development being of the genteel character with which that master has made us familiar, the effects mostly mono- phonic; and the piano part, without being so egregiously out of balance as that of Mendelssohn's D minor Trio, being too pro- fuse for its material and too largely given to mere accompani- ment. The objection is that the three instruments are here employed not for the production of an ideal trio, but for the glorification of what might have been essentially presented by one. As against this however there can be nothing but praise for the manner in which this lower ideal has been pursued, besides Which it is admittedly open to contend that a lighter style is desirable for finale. 4 34. HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. Ex. 26. Op. 8, Finale (Allegro). EXTEND- PORTION MATERIAL BARS COMPOSED OF ING TO BAR. * 2 × 4 tºp 1st statement | 1st subject 17 4 × 2 } + 1 17 * > 20 2 × 4 37 4 x 3 ſ 3. 16 |(2 + 2 + 4) × 2 53 x * 10 4 × 2 + 2 63 Totals. 63 63 Middle section | 2nd subject 24 || 4 × 2 87 sup) (2 × 2 + 4) × 2 4 + 1 Totals. 47 110 2 × 4 ) -- 2 2nd statement | 1st subject 18 4 × 2 } 128 2 x 8 3 x 24 4 × 2 152 Bridge to 3rd 18 4 × 4 + 2 170 subject Totals. 60 170 Middle section | 3rd subject 34 4 × 8 + 2 204 2nd subject 4 × 2 y 37 | (2 × 2 + 4) × 2 # ( + 4) × 241 4 + 1 4 × 2 Totals. 71 241 Coda Bridge 20 4 O 1st subject (2 × 2 + 4) × 2 261 3.3 36 2 × 4 4 × 7 } 309 1st subject 13 2 x 4 | x 3 4 + 1 ſ 322 Totals. | 81 322 40. In this trio Brahms seems to set the principle of contrast 1n tonalities completely at defiance, each of the four movements being in B–either major or minor. We shall certainly not set out to defend this practice; yet we must remember that the variety principle owes its origin to a period when movements were more diatonic than at present. Nowadays when the call OP. 8. FIRST PIANO TRIO. 35 made upon foreign keys in the course of every movement is so extensive the importance of the parent tonality question is not only considerably reduced, but even the motive for its observ- ance is somewhat changed. Formerly the contrast of keys was as that of tints in a design—a desideratum now entirely sup- planted by our boldness and freedom in modulation. If we now require a scheme of related keys it is not for purposes of con- trast but in order to give unity to the entire scheme. 41. Granting this we must allow that, in adhering to a B tonic, if Brahms committed a fault at all it was in adhering too closely to the unity principle. Moreover, and as usual with him, there are modifying features. Here, for instance, at the opening, so far as the mere sense of hearing is concerned the effect is that of being in G major. The desired sensuous con- trast is there; being secured by the simple process of suspending the fifth in the chord of B minor. Hence it is sometimes in the listener's interest to be deceived; though this can scarcely be said of the critics whom Brahms has thus beguiled into de- scribing this movement as opening in G major. The mistake is useful however as proving the treachery of merely superficial observation. 42. That there is no affectation of the key of G will be obvious upon examination of the subject, which is of dual character; Ex. 27. Op. 8, Finale, First subject. _---~ --T ſº --~~ d - T -T ſº -T 'Cello. ſº * |jº: — d. |..}*. ** .* |J2. ~14"–3+,-,-, -º-º-, -º-º-,-,----, *=#E - }# Eziº "Lizz-pºp.: a "Lº W.--Tº-----iſ-i-4--- &###E:#EE: E: # = - - * - - - - - Pf. tºº its second member being subsequently utilised as a separate theme. The continuation seems here to pose as a development; but this it cannot be rightly considered, because of being used under the same principle as that described in par. 7 of Op. 16 —the only difference between the two being that in this case coherence in working hides mechanics completely from view. This second member of the first subject may have even had Something to do with the evolution (for the new version) of the Second subject in D. The reader can easily form his own opin- ion hereupon by comparing them as under; but such coincidences in the Brahms works are too numerous to allow of mention except on special occasions. 36 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 28. Op. 8, Finale, Second member of First Subject. 'Cello-T.s. sº €#EEEEEEEEEEEEE —- T-- Ex. 29. Op. 8, Finale, Second Subject. -º-, -e- -——O -º- +-- E. O .*. 2-I-É? I.--FIPIJITTT = TITC-º-º-ITE- Głº-z-z-Él-HEEEH TI P- | l I [ I -h- 43. The third subject (bar I 71) may be considered either as a subject or a development of certain traits of the opening theme. Thus refinement of workmanship is often the analytical critic's embarrassment, such mutuality of relationship rendering classification difficult. Ex. 30. Op. 8, Finale, First Subject (conclusion of first period). h— ;: ==== ——º-P--- Gºłºżałł Ex. 31. Op. 8, Finale, First Subject. (Passages leading to conclusion of statement). #####EEE Hi-N-Hi #EEE {#t=#EEE #=#EHEłł # - a -- C +-i- *~~ T--T - —T Ex. 32. Op. 8, Finale, Third Subject. _- P- --> *—- ~ -> -; *=}. -Fºr-º-º-º-º-º-º-º-º-º: ###=#EEE:##### 44. Much elasticity and grace is imparted to the movement by means of phrase-extension, the occasions of which are to be ascertained from the rhythmical table The principal theme is of decidedly square-cut character; and, in the hands of a less gifted composer, it would have probably resulted in an equally square-set formal outline; whereas in this case the strength of the rectangular work is united with the grace of a varying phrase-length. This shows the importance of being able to sur- vey the whole at a glance; for, in listening to the work, whilst conscious of the pleasure derived, we can know nothing of the beautiful symmetry to which our enjoyment is largely due. OP. 8. FIRST PIANO TRIO. 37 45. But, over and above what may be ascertained by mere scrutiny of measurements, there is the variety of object for which these extensions are employed. Sometimes they have merely the effect of a written out pause. At other times the composer is purposely holding the listener in suspense (as, for example, during the two bars immediately preceding second subject); or, it may be, restraining rhythmic motion preparatory to its in- crease. In matters of this kind nothing can take the place of a close examination of the work itself; though for the general reader the main conclusion to be derived will no doubt be sufficiently clear. 46. Epitome. (a) Subjects. See Ex. 26 to 31. (b) Key, B minor, with change to B major and retention of that key from entry of 1ntroduction to third subject to com- mencement of the Coda. Much transient but no extensive modulations. (c) Time, #, without change. (d) Length, 322 bars; no repeats. Bx. 33, Op. 8, Finale. Outline. FIRST STATEMENT DEVELOPMENT RETURN I) EVELOPMENT CODA 63 47 60 71 81 I II I III II I OP. II. SERENADE IN D. (For Zzyo Flutes, two Oboes, two Clarineſs, two Bassoons, four Horns, two Trumpets, Drums and Strings.) T. ALLEGRO MOLTO. II. SCHERzo (No. 1) ALLEGRO NON TROPPO. III. ADAGIO NON TROPPo. IV. MENUETTo I AND II. W. ScHERzo (No. 2), ALLEGRO. VI. Ron Do. ALLEGRO. Arranged by the Composer for piano duet. Published by N. Simrock in 1860. - PRELIMINARY NOTE. (a) The “Period” question. I. THE Serenades are of simple character as compared either with the Trio we have just left or with the piano solo Sonatas, Op. 1, 2 and 5, critics therefore generally regarding them as a new departure. But this is doubtless also due in part to the well-worn habit of dividing a composer's output into “periods,” as a convenient method of review ; one useful enough in cases where at certain dates there is an evident change of style but scarcely applicable to the Brahms works in respect of which people are not even agreed about the position of the landmarks they desire to set up. 2. It is curious too to observe the readiness with which slight differences are caught at for this “period’’ purpose. Thus, one might suppose the simple character of the present Serenade to be sufficiently well explained by its being Brahms's first writing for wind instruments; but Erb considers 1t to mark “emancipa- tion from romantic tendency, over-maturity and display of erudition.” Fuller-Maitland calls the small movements of these OP. II. SERENADE IN D. 39 works a “series of monochromes,” a description which seems to admit that wind instruments are used in them only in a tentative manner; but even if we take it that they merely illustrate the Colles dictum of Brahms “caring comparatively little for the rapid passing from colour to colour which contributes so much to the charm of modern music” the period-theory fares no better, for Morin, another critic, draws the line, not at this work at all, but at the Sextet, Op. 18. e 3. The only Brahms “period” with any definite meaning is that which relates to his habit of giving himself up for a time to one class of composition; and it is in this way that we some- times speak of the choral period (1868–72) or of the “symphonic decade” (1877–86)—both usefully compact expressions. For practical purposes therefore all that we have to consider is that Brahms, who was now about twenty-three years of age, had already produced several works of high character, but mostly open to the reproach of outrunning the means selected for their expression. Conscious of the necessity for action upon a broader scale he had devoted four years to meditation and study the value of which he was now about to test. The creative faculty not having full play in such circumstances the works are natur- ally simple, but as to any changed views we need only recall the piano-concerto of the same period to recognise in it all the original exuberance. (b) The Serenades as a revival. 4. Treating the Serenades, Op. I I and 16, collectively, it is necessary first to observe that such productions are what were formerly called “Divertimenti”—a class somewhat midway between chamber and orchestral music; one which included also the “Cassation,” was rather freely cultivated in the eighteenth century and consisted mostly of pieces intended for performance in the open air. 5. The prudence of choosing this class of composition for a first essay in orchestral writing becomes evident when we re- member that the composition of Divertimenti was upon the wane even in Mozart's time, and that but for him this form would by now have become completely forgotten. He not only rescued it from oblivion, but his specimens of it are practically all that we know; the result being that his name is so identified with it as to cause a difficulty in even thinking of it apart from him. Naturally a revival of this kind not only justifies but calls for a Mozartean style, and therefore provides opportunity for its exercise quite unassociated with any restriction. 4O HANDBOOK TO BRAHMS (ORCHESTRAL). 6. There would appear therefore to be some want of thought on the part of those who describe the Mozartean features of these works as a retrograde step, a beneficent example of Self- restraint, self-criticism and what not. The basis of all these views is probably the laudable desire to pay court to these works from respect for Brahms's other achievements; but while respect- ing this feeling we are bound to hold that the master is best honoured by a frank exposition of whatever his works may contain. It is unquestionable that these works are inferior to his other output and that, as we shall presently show, he him- self was aware of that fact. 7. This is not however to call in question Brahms's habit of severe self-restraint; which, however motived, was a piece of real good fortune to him as a composer—if not indeed necessary to him as a defence against indiscriminate praise. Take, for in- stance, the friendly judgment of Dietrich upon these Serenades, describing them as the first results of Brahms’s industry after seclusion at Detmold and Hamburg, and followed up by an interesting account of his meeting with Brahms after their long separation. After six years of silence Brahms had brought with him a number of new and splendid compositions to which we were now introduced. These were the Serenades in A and D, the “Ave Maria,” the Funeral Hymn, some songs and the piano Concerto in D minor. We had frequent gather- ings in company with Professor Jahn (the biographer of Mozart) for the purpose of performing chamber music. How keenly we relished these musical treats | 8. Anyone familiar with Brahms will at once perceive the jumble of bracing the Serenades with the D minor Concerto and ascribe such generalisation to desire. But Brahms himself was not misled into believing the Serenades to be finished works; for in writing to Joachim (from Detmold, December 8, '58) and asking him for some special music-paper he says that he requires 1t in order finally to change the first Serenade into a symphony, for I per- ceive that, as it is, it is neither one thing nor the other and is all wrong.” 9. Even in 1860, moreover, when after much deliberation the work was about to be published many qualms still survived and were expressed to Joachim. The strictures to which both of these Serenades are subject are specially mentioned under the heading of the opening movement of Op. 16; and, though we * Ich sehe es ein dass das Work eine Zwittergestalt, nichts Rechtes ist. OP. II. SERENADE IN D. 4 I cannot also reproach them with having failed to realise the “Divertimento” character (not being sure whether Brahms in- tended them as Divertimenti) internal evidence shows that the composer's individuality would have been too strong to enable him to do this even had he so intended—his rhythmic proclivi- ties being entirely at variance with the typical mode of expression. I. ALLEGRO MOLTO. Io. Though the prominence given to elementary harmonies in this movement may help to give it something of the Diverti- mento character, modern traits intervene to destroy all eigh- teenth century allusion. It may be urged on behalf of these features that, after all, they are not really new ; but, on the con- trary, very old. That may be so; but we have at least to remember that they were in abeyance during the Divertimento period, and are therefore as inconsistent with reproductions of that form as if now introduced for the first time. II. For example, Folk-song and Gregorian music possess a freedom of rhythm not to be found in the Cassation in spite of the latter's more recent origin. The objection to such freedom is not therefore that it is new, but rather that it is too old. It is only “new” because modern musicians have travelled beyond the ideas of the rococo period and sigh for a return to Nature; and, if it appear to be new, it is only as any old fashion may appear new, if, after a long period of disuse, it is suddenly revived. 12. To take a case in point the division of the allabreve bar into three minims is a rhythm, conceivable perhaps in develop- ment, but not as part of a subject of eighteenth century Suggestion. Ex. 34. Divergent rhythm. #: ####### 42 HANDBOOK TO BRAHMS (ORCHESTRAL). We can only picture the fops and gallants of the period as being embarrassed by it, or an exquisite as waiting for it to be over before attempting to bow, or pirouette, or kiss his lady's hand. In short, the Divertimento character is not there; and this result should cause us no surprise, considering that the form was chosen not for historical but for purely technical associations. 13. Another point is that whilst these Serenades indulge much freedom of rhythm within the bar the broad outline of the pieces is of quite elementary kind—too elementary in fact to justify our giving tables of them.” The Movements being mostly of simple lyric character may generally be rhythmically sum- marised by mere division of the total number of bars by the recognised phrase-length. Such extensions or contractions as do occur have moreover not the interest of those to be found in later works; besides which the extraordinary length in several cases is quite deterrent. With maturer productions the inter- mediate motives are interwoven, but here they occupy the place which should be given to development of the subjects proper, and result both in depriving the Durchführung of all climax and in rendering the whole desultory. In this particular movement the pastoral effect is marred by changeful bar-subdivision; and, as the subjects merely suggest a development which does not happen, feeling remains in the condition appropriate to a technical exercise. I4. Epitome (a) Subjects. Ex. 35. Op. II, Allegro, First Subject. # Tj-TIL-ITI — I | I * ====EEEEEEEEEEEEEEEEEE ### #EEEE #s:#### Pi— * - G- " - ©- - Ex. 36. Op. I I, Allegro, Second Subject. —º # =#|=== === ==:::: # = QL N- S-> The general character being pastoral, pedal basses occur fre- quently. There are also instances of basso ostinato—though none remarkable. * These Serenades are the only works of which we have not judged it necessary to give Rhythmical Tables. - OP. II. SERENADE IN D. 43 (b) Key D major—one continuous movement, with free modu- lation in Durchführung causing enharmonic changes into D flat and B flat. . (c) Time, allabreve. Retained throughout, though much varied by triplet division of bar (2 d 2) and half-bar (, s ..). (d) Length, 576 bars; or 768 including the 192 for repeat of first section. Ex. 37. Op. 11, Allegro. Outline. FIRST SECTION | DURCHFüHRUNG RETURN coda 20.4 º 154 149 69 ,--~~ ,--~~ Intro. I II III I II III 4 110 65 25 60 70 19 II. SCHERZO (No. 1). Allegro mon troppo. 15. A reserve of power is here apparent in spite of the deli- cacy with which material is handled; the polyphony being like a giant at play—gambolling light-heartedly enough but failing to hide the learned presence. I6. The crotchet motion is so incessant that the tiniest quaver- group becomes a relief; besides which the length of the move- ment exceeds its interest and the contrast of the Trio is insuffi- cient. The latter however has at least the merit of offering a good defence of Brahms against the unjust charge of over-use of Syncopation. 17. Why should Brahms have been specially dubbed “Syn- Copen-Komponist,” considering the prior claim of Schumann to that title P Why, again, should either of them have to be re- proached for the use, however free, of this means of expression? This is a mystery; but it is also a question which concerns us too closely to be passed by. The flippancies we sometimes hear upon this entirely omit to notice that a whole movement may be Syncopated without necessarily suffering any alteration thereby. Syncopation in such a case merely affects the accentuation of 44 HANDBOOK TO BRAHMS (ORCHESTRAL). accompanying parts (assuming these to retain the normal beat) and need not otherwise interfere with either melody, harmony or rhythm. I8. Extreme use of syncopation would therefore tend to approach and finally to arrive at the point from which we started. This, however, presupposes that we are dealing with the thing itself, and not with the mere mode of its presentation to the eye. Thus there is no difference between (a) and (b) in the following example Ex. 38. Non-effect of Syncopation. (a) º * (b) * = y. -----grº- –- * = ºsmºs ID–T +4–––PR- T —ſ B-E-HH-C-Ea–H–-EH-e-EHF º > L- UIºTO I I N-º el/ except as to the manner of writing But such syncopation, though leaving the melody unchanged, is of the utmost service to the composer when it comes to a question of phrasing—as may be seen by comparing (a) and (b) in application. Ex. 39. Use of Syncopation. 1(a) l j (b) ) | º * * * gº-rººms -- *. -:42–~~~~|~!!--~...~~~~~II*I*TI #EEEEE=E========== == 3=#E =fiji== fºLIHP+-->=+=-º-H- º º –23.7 I E -a--- S- ſº *m. *ms Here not only the syncopations at (a) confer greater freedom, but their absence, at (b) compels us to impoverish the second emphatic utterance in order not to displace the bar-line; from which we see that, in order to be rationally applied, the term Syncopen-Komponist should be entirely reserved for the com- poser who syncopates without motive. Bar-lines are as mere niches upon a foot-rule; and to demand that turns of the musical phrase should coincide with them is like expecting the pattern of a carpet to coincide with crevices of the floor-boards. 19. This movement is in simple lyric form and subject to the common shortcoming of these early orchestral works—that of suggesting more than is realised. To those able to appreciate mere suggestion they accordingly seem to bear a message which is quite different from that conveyed to those forced entirely to rely upon what they hear. It may be natural to ardent musi- cians to give the composer credit for the full force of ideas to them apparent, but criticism can only take account of what is provided in full. 2O. Epitome. (a) Subjects. OP. II. SERENADE IN D. 45 Ex. 40. Op. 11. Scherzo No. 1. First section sº Trio HHHHHHHHH. sºmm. *ms * - sº fººmsºs sº sº- ºs Several others might be quoted, but without advantage. Men- tion may be made however of the graceful and melodious second subject of first section, which by leading to Some free modula- tion (at “poco ritenuto") and thus re-introducing the theme gives a good instance of miniature development. (b) Key. First section in D minor; Trio in B flat. (c) Time #. “Un poco ritenuto" for 20 bars preceding return of theme in first Section. Trio, “poco piu animato.” No Coda; the Da Capo being “senza replica” with close at end of first section. (d) Length 335 bars; or 363 including the repeat of first part of Section I, but without D.C. (Senza replica). Ex. 41. Op. 11, Scherzo, No. 1. Outline. FIRST SECTION TRIO |: 27 : 129 179 III. ADAGIO NON TROPPO. 21. This movement is generally accepted as the best of the work in respect both of contents and instrumentation, but to Concede this leads to no conclusion of any value. In regard to Scoring the opening by lower strings and bassoons and the wave- tremolo for second violins and 'cellos which forms the accom- paniment during an episode leading to second subject are features. But the episode in question has unfortunately all the importance of a new subject; and, though doubtless in the com- poser's mind the second theme consisted of the grade cantabile in F delivered by the horn later on, the intervention of this 46 HANDBOOK TO BRAHMS (ORCHESTRAL). important episode is fatal to the principal theme as such, which its interest and length combine to cause us to forget. Moreover, even after the horn melody we have to wait during a long fugato of more than episodial interest before the first section (unrecog- nised but happening at bar 88) is complete; and even after that there are still some interesting modulative figurations based upon the fugato before the portion which we are here obliged to regard as a sort of Durchführung begins. We are now in D flat after traversing over IOO bars in Adagio, but not even during this new portion is there any reference to our opening melody, the vocation of which as principal theme is simply thrown to the winds. 22. The Durchführung is however very beautiful in itself and while it lasts, which is only for 30 bars. This unsymmetrical dimension appears due to the composer's belated anxiety to get back to his theme, and to this having caused him so to compress matters that within this small space he has managed to give us the fugato subject combined with a new alternating figure, as well as the horn subject in a new dress. Then, wonderful to relate, but quite in keeping with the above anxiety, the principal subject reappears in B–a semitone higher than the original key; leaving nothing for it but to scramble into B flat quickly. Ex. 42. Op. II, Adagio, Syncopated Bass. |--a | • N * - I - - I - .d., 1 * -i º =########–E–F###–ºf–s:= #####EEE::=####### º --> Tº :=- ==-- * *m-. ſº All I I = -> + ==N - -I- IN II) =#s= Es-ºs-E=E=#: I Alſº * E-4--> wV ºw Nºf # =#f # *_ OP. II. SERENADE IN D. 47 Undoubtedly the syncopated bass is good, but it fails to take the place of the logical feature; and though the themes may be skilfully joined they are not evolved. Moreover, the episodes by their length and interest usurp the position due to main sub- jects, and combine with the complicated rhythm to give to the whole a want of coherence; whilst the phrasing admits of being too variously construed to render its tabular exposition in any one form advisable. 23. Epitome. (a) Subjects. Ex 43. Op. II, Adagio, First Subject and Episode. 2-> 2-S _- b–-------- - _- LZ-.2EEEETEEE-ºº: E = ===2=N====S [. I -5– E====== – #F####|N | ==SEN=== --I - -g * * C - * *-º-'z, Tw-º- S--, ++-----------, ++---> º 9 *- *::::::::::- -a, - –2-LEIF-E-El-HTTER (*############ S2–º-º-º-º- ===== -"T&IºIII –0– Ex. 44. Op. II, Adagio. Second Subject and Fugato. #F#HF:FE ====#EH Hº: y–-------- Fºº-º-F#: =#FFFFºr- | | | — - - l º 4---! — *- #2–F EHEE4: H:=#s (b) Key B flat, one continuous movement, with frequent transient modulation but only one recognised change of key— that to B mentioned in par. 22. (c) Time 4 with extension to # of one bar only. Rhythmic pulsations of crotchet value for opening theme; of quaver value for all other subjects. (d) Length 250 bars. This dimension compared with that of the slow movement of Beethoven's C minor Symphony, one of vastly greater purport, shows Beethoven, 738 quavers andante. Brahms, 1,000 quavers adagio. 48 HANDBOOK TO BRAHMS (ORCHESTRAL). # IX. 45. Op. 11, Adagio. Outline. †: FIRST SUBJECT EPISODE SECONDSUBJECT FUGATO EPISODE | DURCHFüBIRUNG CODA Gl) 3. © * &; 3S 25 15 10 16 30 ** pr: $4 t; 3 p3 49 16 15 10 *º-º-º-º-º: * 26 IV. MINUETS (1 AND 2). 24. Of traditional pattern and unpretentious in style these two pieces, cast for alternate performance with short coda to follow No. 1, may be regarded as good specimens of the form. They have a simplicity which is attractive in its way, as being conformable to antique style; but the imitation is not of a nature to cause us any danger of mistaking these for old-time produc- tions. Frequent use of the under-changing note for example would alone suffice to create a suspicion of modern Origin; besides which the rhythmic bounds of No. 1 (IO and I 5 bars) do not suggest the old-time article. The spirit of the old dance is there, however. It may not be that of the old stately court dance, being rather that of specimens with which the “suite” has made us familiar. But that is no reproach, these little move- ments being thoroughly in keeping with the only association they have in view. 26. Epitome. (a) Subjects. Ex, 46, Op. II, Minuets, Subjects. No. I No. 2 sº * | | | | | ~ | Nº. | N ſº s =E== ---a-I-P-- *-I-º-º-º-º- –9. *-*-a-ºe- - See ===# *e: == I I al/ OP. II. SERENADE IN D. 49 Reduced score: flute, two clarinets, bassoon and 'cello; with addition of viola for No. 2. (b) Key, No. 1, G major; No. 2, G minor. (c) Time, #. (d) Length, 63 bars (including 3 for “second time” bars). Add 44 for repeats. Ex. 47. Op. 11, Minuets. Outline. NO. 1 No. 2 BRIDGE CODA TO D.C. |: 10 : ; 15: || 8 |: 16 : 4 7 V. SCHERZO (No. 2), ALLEGRO. 27. This Scherzo is planned upon a much smaller scale than No. 1–and is all the better for it. Brahms here scarcely ap- pears, as the lack of development gives his individuality no chance of display; and it almost seems as if Beethoven had taken his place, so forcibly are we reminded of that composer. 28. The respective crotchet and quaver motions of the two sections form, no doubt, an intentionally marked contrast; and the slight development allowed to the conclusion of the first is not only thoroughly remindful of old-style, but is put to a charming use by rendering Coda unnecessary when occurring after the Da Capo. Regarded as in antique style, this piece is a success; even such matters as the thinness of the instrumenta- tion contributing to the illusion. 29. Epitome. (a) Subjects. Ex. 48, Op. II, Scherzo No. 2, Subjects. | Trio | 2 | -2. -º- e | | F * -a- -º- - , -e. * irst section . º .d." o: *- a re." | -2. -*. * * * -mº smºmºsºme * * ** 5O HANDBOOK TO BRAHMS (ORCHESTRAL). (b) Key, D major throughout. Only transient modulation —that into relative minor during middle portion of Trio. (c) Time, #. No departures from the strict beat. Rhythmic pulsation, that of the bar. (d) Length, 90 bars, plus 74 for repeats and 60 for D.C. Senza replica; total, 224. Ex. 49. Op. 11, Scherzo, No 2. Outline. FIRST SECTION TRIO 16 + ||: 48 :]] | ||: 8:||: 18 : VI. RONDO (ALLEGRO) 30. The length of this rondo is not inordinate upon the whole, but the period which elapses between recurrences of the principal theme is such that only two returns (at bars IO3 and 24I) are possible. In some circumstances this might be held to be suffi- cient, but here the principal subject is a mere rhythmical figure of which we soon tire—and should tire even sooner were it not for some episodial work which again does duty for development. As it is, our welcome of second subject is at the expense of the first, the form is disturbed, and the happy return of the principal theme which is so great a charm of the perfect rondo is in abey- ance. We bow to its ultimate return as inevitable but are past giving it any welcome. 31. With more variety of subject between returns the rondo spirit might have survived. But, even then, the first subject would have remained a serious handicap. Moreover, the reten- tion during the whole movement of the new theme entering at bar 64 (as shown by a first appearance in A, another at bar I 39 in C and yet another at bar 182 in D) would in any case have compromised the result. 32. It is true that after the third statement of principal theme this second subject entirely disappears, and that the elaborate Coda is exclusively given to the first subject—that is if we include under that term the episodial passages already referred OP. II. SERENADE IN D. 5 I to. To do so however is extremely difficult, seeing that they also attach to the statement of second subject, at bars 157 and following. 33. This constant use of the same auxiliary subjects is a great cause of weariness, besides which the returns themselves are not happily induced—appearing rather to pounce upon us unawares. Being no fulfilment of any gradually awakened expectation they are only mechanically conformable to rondo-form—truly a most singular reproach to have to make in the case of Brahms. 34. To sum up, we can find no worthiness in this rondo beyond that to be expected of ordinary musicianship; and even that not always tempered by the best judgment. The semiquaver moto-perpetuo accompaniment to second subject (bars 18O-222) for instance, is good, but too prolonged. Being, throughout the movement, only released from one obsession to be delivered over to another, we are entitled to say that it is the composer himself who compels us to overlook the beauty of the second subject, the adroitness of the figurations and the enthusiasm of the Coda; all of which are atoning features. But the real student, disregarding all this, looks beyond it to a virility of style which he knows will survive all else. 35. Epitome. (a) Subjects. Ex. 50. Op. II, Rondon, Subjects. First subject *= |-sms tº it is Episode f: A -e- -º- -e- -# --. -L-- - - -º- E + -e- -a_, O Aº =#EEEss==f LEEEEEE-F-º-E--Hº-2- —"—a–H l -Hº-H--------- Second subject # =<=== C-T-> --~ - *ms * * * * N 1––h. I 9 ### ========N="HEN==== C. — A–– *— —l—- [. *=-— —->=0 U. - o—y———— — — (b) Key, D major, no recognised change. (c) Time, #. No changes of movement though much variety of bar-subdivision, each successive kind of which is remarkably Sustained. In this way we have quaver-motion, triplet quaver 52 HANDBOOK TO BRAHMS (ORCHESTRAL). figurations and semiquaver motion successively employed as accompaniment to second subject; giving to the whole piece something of the aspect of a contrapuntal exercise on two, three and four notes for each rhythmical pulsation. (d) Length, 357 bars. Iºx. 51. Op. 11, Rondo. Outline. I II I II I CODA 64 38 37 101 16 101 OP. I6. SERENADE IN A. (For Piccolo, two Flutes, two Oboes, two Clarinets, two Horns, Violas, 'Cellos and Basses.) I. ALLEGRO MODERATO. II. SCHERzo VIVACE. III. ADAGIo NoN TROPPO. IV. QUASI MENUETTO. W. Ron Do ALLEGRO. Arranged by the Composer for piano duet. Published by N. Simrock in 1875. PRELIMINARY NOTE. On Brahms's early orchestral work. I. A VERSION of the present work appeared at Bonn as early as 1860, but was withdrawn by the composer. As it stands therefore this Serenade is a revision after fifteen years' experi- ence and cannot in respect of orchestration be fairly compared with Op. I I. In order of publication it has everything up to about Op. 65 behind it, and should therefore well enable us to See how far the defects of the Serenades were capable of retrievement. 2. The earlier version was scored for four horns, as compared with two in the revision, in one movement of which however the horns are silent. The subjects were probably not interfered with as they clearly belong to the same period as those of Op. II. This is strikingly supported by affinity between subjects of the two works—even in the case of movements of quite opposite character. 54 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex, 52. Affinity between Subjects of Op. II and Io. -43–4–-S——S— S— — $º — assº->sº ->ssº. -- # ### ###EEE|########| - – 3: Tº. - —G----- - Allegro of Op. 16 Adagio of Op. II 3. In comparing the two scores the first thing to observe is that, for the treatment of subjects which as we have seen are kindred, Brahms required, or thought he required, in 1860, four horns, trumpets and drums; but that in 1875 he wanted only two horns and neither trumpets nor drums. Exclusion of the violins was of course also a diminution, but that matter stands upon a different footing to explain which will be to dispose of the subject. 4. The themes are mostly of wind-instrument character and the violins if retained must have remained comparatively silent; have either usurped or doubled the wind-work; or have elabor- ated it out of character. Nothing would have been easier than elaboration of the ordinary kind, but Brahms had little respect for such means. He was never tempted to dress himself in the fine feathers which are responsible for so many fine birds of our modern collection; his appreciation being entirely reserved for ideas, and his later works showing a style of orchestral elab- oration consistent with his faith and quite his own—one which when it becomes better understood will cause a great change in the view taken of his scoring. The suppression of the violins in the present case therefore means simply that there was nothing integral for them to do. It has been described as “bold’ to adopt such a modified score, but surely it was bolder to earmark the entire orchestra for Op. I I. 5. A chamber-work must suffer by being scored for orchestra just as an orchestral work cannot be made to fit a chamber com- bination. The attempt to do either of these things means a disregard of the affinity necessary between the idea and its means of expression; and we may be sure that had Brahms not been moved by an affection for his early work his revision would have been more penetrating. As it is, we have before us a chamber-work for Orchestra; proof of which lies in the unavoid- able impression of undue length conveyed by several of the movements. The ideas not being of sufficiently genuine orches- tral character the scoring cannot be reviewed in a manner leading to any solid conclusion. OP. I6. SERENADE IN A. 55 I, ALLEGRO MODERATO. 6. Brahms, from the first, was a master in Sonata-form; but this is not to say that he was also a master in adapting either the dimensions of the form or the character of his material to the means employed. We know that he was not, and that on the contrary the discrepancy alluded to characterised his early work; including the Serenades which we are now treating. In view of the indiscriminate praise” which these works have received we are compelled to treat the matter at Some length. 7. In great works of Sonata or symphonic form, material is in inverse ratio to means; the vocation of the greater means being to amplify and glorify plain material, while that of the lesser means is to decorate and vary what has been already chosen for pliability. It is because of this that when a great Sonata for the piano embarks upon material of the nobler sort it always seems to overcharge the instrument by requiring from it a demon- stration beyond its powers. The tendency of noble material is to call for pure development, that of light material being to take refuge in variety. But the small means is incapable of giving to the logical development of a great Sonata the dignity which is its due; and this remains true notwithstanding that there are many sonatas of powerful appeal in spite of inade- quate expression. The last fact only shows that the defect of overcharging a solo instrument is, after all, one to be condoned; whereas employment of the orchestra for unsuitable work can find no manner of excuse. We will now apply these various considerations. The first subject of this Allegro occupies 16 bars, extended to I9 by echoes which cadence it as perfectly in E as might be required for close of the first section. We have then a virtual new subject—appendage, episode, extension—the name is indifferent, except that it is certainly no development. * Speaking of the instrumentation, for example, a well-known critic observes : “Here the composer actually renounces the use of the noblest and most expressive of all orchestral voices '' ; precisely as if Brahms had performed some act of heroic self-denial. The only effect is, of course, to call our attention to the fact of Op. 11 having been over-scored. Of the present movement moreover he goes on to say that “ construction shows the perfect master ’’; having evidently mere mechanical construction in hº º the disregard of all relation between dimensions and kind of Iſlaterlal. 56 HANDBOOK TO BRAHMs (ORCHESTRAL). Ex. 53, Op. 16, Allegro, Dual Character of First Subject. : 33. , T. | | Icº. •- - s: Cº. o: ~C) -C | -##–=============== 3–#Eſsº =Wi-Fºs. |*HHHHHitºriº (a) * 2 . ") 11–ll. 2 -º- -, -º- 3) #–2-5-Hº-H2–E–F#–E–F–e 4––––H leir ########### | -O--C- -O C. -O - - - -O- -C We might perhaps call it an intermediate motive were there any relation to the foregoing, but the rhythmic motion presented by it is the greatest in the entire movement—not even the Durch- führung going beyond the combination of normal with triplet crotchets. 8. The first subject is arbitrarily extended by echo passages which, altogether, occupy eleven bars before the second subject appears. Eighteen bars more are taken up by modulative ex- tensions of no interest and sixteen more by the material marked (b) in the last example: all this out of a total of seventy given to first subject. Ex. 54. Op. 16, Allegro, Echo-passages in extension of first subject. -tº-fift-º-E-Ée ſº--- a-IITÉ, Il-º-LeißII. “PLIIºT2T ################| , T- H End of subject F choes 9. As against these seventy bars only forty-eight are given to both the second and third subjects, neither of which is therefore commensurately stated, though their compactness would be no fault if it stood alone. The second subject after proceeding for Ex. 55. Op. I6, Allegro, Second Subject, -##==S-4–S.--SE-T-S-E-L-N- # =#E #E::=#EEEEEEEE tº º —G---------- a / eighteen bars comes to an interesting cadence; this being fol- lowed by a period conveniently to be regarded as still another subject, and consisting of sixteen bars, or rather eight repeated OP. I6. SERENADE IN A. 57 —the repetition being associated with melodic inflections remindful of second subject. Ex. 56. Op. 16, Allegro, Third Subject. _- --~ --~ --~ # *% * * * * *** - sº tºe. #2-#3–, -##"— 2–F#–E2-E-E2-EE==E2EEE-Fºr- Złł =={ t H+ *E*EEEEE| I Melody of second eight bars r—s | | |-> --~ | ! | -# 4–3–3 *E*=======E-8-4 #"—?—# 2– - - =#H### &#=#=#3=# zełżE=#EEE :- * | T-—T ~! | Y--> | | -— SH;-4. — — 13 2– -* He —ºbse –– #: - 5: eº-Hº-Hº-H | º H : -: #–4°-,- *>-T--a-Le- *::=#EE::"E=f: –3–3 =#E: F—-—— - - - | - 2 : *-*—s *—s- ===== II.I. | *::::::::Hº-Hi º i | «» . | | t! -ºº – u”—--2–2------- º; FH-22-ſº-L-IT: etºſ: EIFF leº-Hi -C - G - Of Io. During the echo passages attached to first subject we meet that disregard of position of the bar-ilne which is so often asso- ciated with rhythmic interest; and, though there is no such interest here, the eleven tedious bars which follow the third subject will equally well serve as an example. The subjoined divides at (a) (b) in order to show the contrast between the Brahms passage and ordinary rhythm. II. The Durchführung opens with a blank repetition of first subject followed by 2 I bars of second-rate contrapuntal work upon the extension (b) of Ex. 53. Then, being in D flat, we meet the first subject again—this time interwoven contrapuntally with the triplet figure of the extension. Having thus arrived at 58 HANDBOOK TO BRAHMS (ORCHESTRAL). 1.x. 57. Op. 16, Allegro, Displacement of bar-line. (bis, :: ***__2_º. #: (bis) (bis 2. Hæº-E|_2. ### -----E--z-y, "eº-F-ºf-F E23–E # —-s #######G=#E (b º | | EF ——i-—+----its-º-º-E –—- 2. ordinary -** *- * -" TO | ! is: rhythm a #2. Tº III. Tº TT.I.T.T.T.T. | T-EEEEEEEEEF-E ==T-E-F-I-P- bar 165 (47 of the Durchführung, which begins at bar I I9) we endure 26 bars which, for all connection with the main thought, might as well have been culled from anywhere. Their princi- pal feature seeks to justify the extension of first subject which we have described as an intrusion, and is here shown. Ex. 58. Op. 16, Allegro, Durchführung (Bars 193-4). | ,--O- -D- ~ ,” O- -O- ; :#" #–H–? E=E= (ºf 2–sis--- - *- ====== - # ri-Tº. TETILE I --Pi— 12. It is probably the effect of revision and re-revision that spontaneity is lacking. Thus at the return (bar 2 I 7) there is a feature which in later works invariably courts our admiration— the feature, that is, of shrouding re-entry of the theme by graft- ing it to the Durchführung. The intention is here, but it is not realised, and the paltriness of the effect produced by the very same device which Brahms afterwards employed so mag- nificently should show us how dangerous it is to fondle work merely because it has cost us labour. I 3. The return is perfunctory and calls for no remark; but the Coda is altogether out of proportion. One particularly warm-hearted critic actually goes so far as to call it “almost a second Durchführung’’—evidently intending this as praise. To overpraise the early works of a great man is pardonable, as it comes from a feeling of reverence; but to call a defect an excellence cannot be so regarded. OP. I6. SERENADE IN A. º 59 I4. Epitome. (a) Subjects, see Ex. 53, 55 and 56. (b) Key, A major; no recognised change though much modulation. (c) Time, allabreve, with constant minim pulsation. No quavers, the extreme subdivision of the pulsation being into triplet crotchets. Normal and triplet crotchets combined, how- ever, give eight percussions within the bar, besides an increase of agitato on account of proceeding from two parts. The fol- lowing example shows at (a) the pulsations, at (b) their normal crotchet division, at (c) their triplet-crotchet division, at (d) the two combined, and at (e) the same percussions given by a single part, but producing an effect not only different generally but less agitato in particular. Ex. 59. Op. 16, Allegro, Subdivisions of the minim pulsation. _- ~ --~ 2-> 3 3 3. 3 -——--|--|-- -- EFFE ========E=====s=====Hºº-º-º-º:#E== Fº E=EEt-E-R-E-f-tº-FEEEEEii-Ei EEł-EEEEEEEEEEE (a) (b) (c) (d) (e) - (d) Length, 372 bars, no repeats. Ex. 60. Outline of Op. 16, No. 1. FIRST SECTION | DURCHFijFIRUNG RETURN CODA 118 98 101 55 ,--"--> ,----, I II III I IT III 70 22 26 53 22 26 II. SCHERZO, VIVACE. I 5. We have now to return to the subject of the bar line, Brahms's special treatment of which has already been referred to ; and to remind the student of its essential character as a merely outward and mechanical sign of rigidly accurate time- measurement, which is the same as saying that the beat which follows it coincides generally but not necessarily with a strong 6O HANDBOOK TO BRAHMS (ORCHESTRAL). pulsation within the phrase. But it is the phrase, and sub- ordinately the motives within it, which constitute the real measure; the bar-line being really nothing more than an assist- ance to the eye and conveying nothing whatever to the mind except what may be indirectly due to such assistance. 16. The fact that the beat which immediately follows the bar- line is generally a strong pulsation so leads the ordinary performer to assume that this must necessarily be the case, that 1t is comparatively rare to find musicians reading in phrases. Composers therefore have often, as a means of securing deference to the phrase, been obliged to resort to temporary change of the bar-value. I7. But, since composers have thus to reckon with the bar- habit when it stands in their way, they are clearly justified in turning it to advantage should occasion offer. This is what Brahms has done in the present movement. I8. The idea which underlies this is not at all new. It is only the attempt to utilise the vulgar accentuation of first beats in furtherance of high artistic aims which is new, and even this has been long and intuitively applied in the notation of certain dances. An example of this is presented by conventional notation of the Gavotte as compared with its bar-measurement. Ex. 6I. Distribution of the Bar in Gavotte notation. * #######—--o-º-º-º- *—: - :=ſ=Eł-P-º-º-º-º-Ffºs-HEEEEEfºs - ==; V #EEEEEEEEE =EH === I F- * (a) Correct notation (b) Bar-measurement 19. Here undoubtedly the bar-measurement would be perfect if mechanical regulation were the only object. But, as a means of securing the accentuation of the thirds beat, the notation is made to accord with the vulgar habit by so displacing the bar- line as to make the third beat become the first. 20. A duple rhythmical figure barred in triple time subjects the performer to two influences simultaneously; for, whilst he cannot altogether resist the duple character of the figure, he is also unable to cancel his ordinary 1nclination to emphasise first beats, and this conflict between the two produces a capricious effect happening in this case to suit the composer by favouring the Scherzo character. OP. I6. SERENADE IN A. 6I 21. That the Brahms motives are duple is at once evident, but their notation in duple time would, for the reasons given, Ex. 62. Op. 16, Scherzo. Duple character of motives. O- -o-º-º- +,--- =;–ºf– # *—º- ===ºf- 3-# –2– ################H not further a desire to accentuate them alternately in a different manner. By adoption of # this end is attained; the duple figure still remaining sufficiently assertive, though engaged in frolic- some conflict with the performer's habit of first beat accentuation. Ex. 63. Op. 16, Scherzo, Conflict of duple motive with triple measure. 2:5-tº-sº —, ±--— m-- +--- $9-4== 22. But opportunity for caprice is not limited to this advan- tage; for, with conventional accent once displaced, the Composer enjoys the liberty of a wider choice of motive. This is proved by the bars immediately following the above, where the motives are really triple. Ex. 64. Op. I6, Scherzo, Mixture of duple and triple motives. 2–-ſº- sºn. -e `s- -O--> 2--P-- e-Tº- -2">e- -Q--, ++++EE-E-º-º: it—t ...T. T. E. * > | N vailing rhythmical figure. There is accordingly neither any repose at the Trio nor any refinement in the manner of effecting the return; the latter being, in fact, quite crudely managed. The Coda is written upon a tonic pedal; and being highly spirited, forms a brilliant conclusion, presenting also the novelty of upward-rushing scale passages, in triplºt quavers. But this feature is too slight to redeem the tedium caused by the use of one rhythmic figure throughout, and contrast can only be looked for as between this movement as a whole and its companions. 25. Epitome. / (a) Subjects. See Ex. 63 and 65. (6) Key, first section in C, Trio in F. Transient changes to E in first section and return; as also to C in Trio. (c) Time, #. The conflict of rhythms described in the fore- going takes place during the first section horizontally, or between motives occurring in succession. During the Trio it occurs perpendicularly, or in the combination of melody and accompaniment. (d) Length, 140 bars, or 175 with repeats. Ex. 66. Outline of Op. 16, No. 2. FIRST SECTION TIR 1 O BRIDGE RETURN CODA |: 10 : 34 || 1: 8:1: 18 : I0 42 17 OP. I6. SERENADE IN A. 63 III. ADAGIO NON TROPPO. 26. The experimental character of the early orchestral works is evidenced in many ways, but never more strongly than in the style and form of this Passacaglia movement. The appeal of coincidences is apt to vary with different listeners, but we should imagine that no escape is possible from the reminder here offered of Bach's great organ-Passacaglia. The case is so remarkable that we feel bound to refresh the reader's memory by quotation of the Bach theme before proceeding to show how Brahms appears to have taken it for his model. Ex. 67. Op, 16, Adagio, Theme-model from Bach. --- 62– L- I Gº-FEFE-FEE-EEEEEEE -H2=E= #EE =# S-55–A–E–F–EEEEEEEE-E-3 s—f #E ——- ==H -e-" I- 'I Ll I F–1–1. C | 27. The contrast between the freedom of the early pianoforte works and the stiffness of the Serenades is of course due to the latter being for orchestra, and independently of the dis- advantage under which the orchestration lies” it is largely borrowed. Thus Colles makes the observation that Op. I I “bows in turn to each classical predecessor’ in respect of orches- tration; but the subservience so alluded to is slight in comparison with the manner in which Brahms here pays homage to Bach. He not only gives a reproduction of the proud strut of the Bach theme, but the actual notes of his subject are capable of serving as a Bach counterpoint. We may even take the counterpoint of his first setting as if it were intended for the Bach theme. More than that; for we can place the whole of these things together and, with the aid of a slight free part, present them as one Setting. 28. The reader will surely agree that such an amount of coin- Cidence is not to be explained otherwise than by supposing Brahms to have taken Bach's Passacaglia as his model. More- Over the divergences which arise do little to weaken this assumption, as they are precisely those to be expected. Brahms * See par. 5. 64 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 68, Op. 16, Adagio, Combination of Brahms and Bach themes. - SS TP, __- ---. | Sº- --~ >- —H i .* ~~ ——l-,------------, +----- —Iº-- + ->- - , — — Tººl— —- Free part (d)|22–32 Siłł **E== sº-stºriº EE - ===EH =#E===###### ====Hº-3-i-. Brahms counterpoint (o)lº --- * +—#–E–5-1-55 **-i-º-; ; N w | S | | N N s X— Brahms subject (b) --To. N1." ! ---s - - | N N Aza)\-5 =*:::::::: I uſ, *== GHE: E–C–F–F–F–F–F–"—t-_s Bach subject (a) I *: === #7 Hºr F+-F. * Vº wº Vº never got far away from Sonata-form whatever might be the professed outline of his work. His lyric movement has gener- ally a miniature Durchführung and his rondo an organised first- section parade. But he never set himself a harder task than that of endeavouring to fuse Sonata and passacaglia forms, as he has done in this movement; and it is noticeable that in the only other Passacaglia written by him, the finale to the Fourth Symphony, Op. 98, the experiment was not repeated. 29. The first result of the attempt is a zig-zag course, lasting for more than half of this A minor movement, through such incongruous keys as A flat and C minor. Another is the use of phrase extension for division purposes, a device neither required by nor in keeping with pure passacaglia. Finally, there is the “Song-group,” which, in spite of its individual beauty, imparts just the kind of rhythmical stagnation we should expect from any conflict of rigid passacaglia with pliable Sonata-phrasing. 30. Though only successful whilst adhering to passacaglia- form, the experiment is always interesting. Thus, what appears to be a second subject is introduced midway between the eleventh and twelfth settings (bar 23) as if to bend the passa- Caglia into Sonata-Service; and at the fifteenth setting (bar 30) Ex. 69. Op. 16, Adagio, Second Subject. |--1 *-T ſº- - sº- **- #5–f REEEEEEEEEa. # .." 2-º-Hº- ~ - - - - —-CJ––– = -O---|- - - - -ºs--- ============== #E * - - --- - - -a- -º- -a- we have a fairly evident song-group, the desire to give character to which has resulted in a halting rhythm inconsistent with either form. The extension of both these themes beyond the limits of the passacaglia subject is another cause of obscurity, OP. I6. SERENADE IN A. 65 Ex. 70. Op. 16, Adagio, Third Subject. -º-, -º- -e- º ### #E — I I ey -H- --- -E- -a-, -º- WZTI ºf |-9, and the whole experiment's usefulness is in showing that no reconcilement is possible between passacaglia and Sonata forms. 31. There are four single-bar phrase-extensions occurring at bars I 7, 56, 67 and 74. The first of these is really beautiful and rounds off the first section of development with the effect of a solemn “Amen.” But it is difficult to regard the others other- wise than as without object—the mere arrival at a desired key being totally inadmissible as such. A purposeless phrase- extension is a fault at any time; but altogether passes forgive- ness in a Passacaglia. 32. The viola figure (bar 75, 36th setting) is merely elab- orative, and does not prevent the settings 36 to 39 (bars 75 to 82) from being identical with the settings I to 4 (bars I to 8). But here the identity ceases, on account of the next four settings being influenced by the desire to conclude in A minor. 33. The generally placid character of the movement is only disturbed by the discordant outburst heralding a new departure after first section (bar 18); and the greatest bar-subdivision con- sists of viola semiquaver accompaniment to Second, or horn, Subject. 34. Epitome. - (a) Subjects. See Ex. 69-71. (b) Key, A minor. Recognised changes to A flat and C minor. (c) Time, *. The rhythmical figure of the Passacaglia . ." is practically constant, and the whole may be construed as in phrases of two-bar length (subject to the extensions already mentioned at pars. 29 and 31). For these, four bars must be allowed; besides three for prolongation of final cadence. After deduction of phrase-extensions there remains the equiv- alent of forty-three passacaglia settings, many of which are rendered obscure, as above described; even the rhythm being but slightly in evidence for settings 15 to 20 (bars 30 to 41). But this is preparatory to the return, which from that point is gradual, until at the 28th setting (bar 57) it is boldly resumed. (d) Length 93 bars; no repeats. -o-, e -º- -º- E—i-2–E–2–3–H # # g f : 6 66 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 71. Op. 16, Adagio. Outline. FIRST SECTION MIDDLE SECTION CONCLUDING SECTION Settings 1 to 8 Settings 9 to 27 Settings 28 to 43 16 + 1* 38 + 1* 32 + 1, 1 and 3* IV. QUASI MENUETTO. 35. The term “quasi" may often be read as an apology. This applies however only to conventional movements, and not, as here, where there is bold departure from Ordinary external feature. 36. The adoption of 3 time for a minuet must not be con- founded with merely throwing two bars into one. Slaves to custom will doubtless decide that it is not allowable at all; but even they may benefit by the enquiry whether the minuet char- acter can be realised in #, and how far duple bar-subdivision affects the characteristics of a triple measure. 37. To begin with, we must not scan this movement in expecta- tion of having the minuet character emerge from the triple half- bars; for the all-sufficient reason that these half bars are merely single rhythmical pulsations. They are therefore practically. beats, proceeding at the same degree of motion as those of a stately minuet; the effect of the special notation adopted being simply to divide each of these dotted-minim beats into three crotchets. The use of ; therefore multiplies the ordinary nota- tion by three, though it also does something else very much more 1mportant. 38. The bar and a half of # being thus equivalent to the or- dinary minuet bar of #, it follows that, when subdivided into nine crotchets, it is the equivalent of the # when divided into triplet quavers. The only real distinction between the two cases is that in one the bar-line corresponds with the strong beat of the dance measure, and in the other it does not. Ex. 72, Comparison of # and # minuet notation. : A ſº 3. # *...L. ºl...f.....]. ....si —e-s-a-s--a-e'---e-e-e-º-º-º-e, -->, > , '-e-e, -s;--- * The additions (+) are for the phrase extensions. OP. I6. SERENADE IN A. 67 39. That force of custom does much to obscure this simple fact is evident from the way in which it is treated by critics who find themselves forced to give it some attention. Thus Knorr, in allusion to bars 15-18, says that Brahms here seems to have burst the bonds of the prescribed # bar by changing it into one of #.f Ex. 73. Op. 16. Quasi-Menuetto. Sample phrase in #, #. ---------, _---— — 1. *-*** ##### #4. Eº-E-F#–ºf–E–F#–E–F#–E–F–F–F–F– ###Eße # # º | | | | 1.4, 4–43. Alaº #1-#Bºsſº-º-º-Tº-"ºis-II is:###2− ei=######! ##: ####H ––– - – For our own part we cannot see that the bonds of ; are more burst in this instance than elsewhere; in proof of which we invite the reader's attention to a phrase occurring several bars before Knorr made his discovery. Rather is it the bonds of # which are burst by the use of #. The latter cannot bind in this in- stance, for the simple reason that the phrases refuse such bondage; and their freedom from the mechanics of ordinary first-beat accentuation is the result. * Ex. 74. Op. 16, Quasi-Menuetto, further phrase of #, #. NT. .. £2 •–2–tº– G#EEEE :===#E EEF-E – | F- Yv 40. Even if this were the only answer to the question— Why, if this movement is really in } should it be barred in § P it would be satisfactory, therefore But more remains; for there f Sprengt Sogar die Fessel des vorgeschriebenen # Taktes die in einem * Takt umge- Wandelt ist. * The example consists of the second half of bar 5, bar 6, and the first half of bar 7 Set in } time for illustration. 68 HANDBOOK TO BRAHMS (ORCHESTRAL). is also the power of an occasional slight deviation from strict beat in accord with certain features of the dance to be taken into account. By this means the third rhythmic pulsation is most gracefully delayed during continuation of the motion of Sub- ordinate parts—and this very much in the same way (though the conditions are different) as that explained in connection with Op. 8. An illustration of this feature occurs in the very opening bars, where the three pulsations are made up of two # bars. Ex, 75. Op. I6, Quasi-Menuetto, First Subject. 3 | 3 ' | I 2 –*— I 2 —*— # FCETI I H T] |----- 3 =Ef —l = | ;3-#H#H#H###2H Hºa–HE ——T —T ſº I a º C2 —! }#EEEEEEEEEEEEEEEEEEEEEEEEEEEEE | €########## H-FF E #E wife He pe === | * > --I- -e- -a- 41. The difference between capriciously barring a # movement in # and doing so in refinement of triple rhythm is thus clear, though we shall not go so far as to defend the doubling of the pulsation length as presented by the Trio. It may certainly Ex. 76, Op. 16, Quasi-Menuetto, Trio-Subject. # | | | | #t====TFF:FEE}=====#EEPE I I T T y | I L. I | º- iſ l— V [. # f B — f [. C- [. J i-- L. FTE --- --- -7- J # º be pleaded that the instrumentation is charming,” that the general effect is of a gracefulness rarely attained and that the return is most happily effected; but these important features have no bearing upon the question whether the minuet pulsation will bear such augmentation. 42. Epitome. (a) Subjects. See Ex. 75, 76. (ö) Key D, Trio in F sharp minor. (c) Time, #, no change. (d) Length, I 32 bars, or 185 with repeats. * The violas have a continuous tremolo whilst fragments of the opening subject added to it form an accompaniment to the oboe melody. OP. I6. SERENADE IN A. 69 Ex. 77. Op. 16, Quasi menuetto. outline. FIRST SECTION T.R.I.O RETURN COT). A |: 9 : ]: 23 : |: 24 : 37 32 4 V. RONDO (ALLEGRO). 43. This movement is of painfully orthodox character— nothing but a few novelties of phrase-extension distinguishing it from mere rank-and-file specimens of the form. It is “good,” something in the same sense as a demure child. It dutifully approaches sonata-form, is trim and prim in all its episodes and guides its modulations by time-honoured precept. 44. We of this wayward age, on the other hand, may not quite make it a virtue to fly in the face of holy tradition; but we cer- tainly have a special love for those heroic sinners who reach their ends independently of its observance. What is genuinely old is matter for reverence apart; and imitations or reproduc- tions require to be very happily conceived if they are to court admiration, or even attention. It cannot be said that the present Rondo fulfils that condition. 45. The movement starts with a “call ” to attention for the first subject—a feature so insignificant in itself that the listener Speedily forgets it. Long afterwards, however (at bar 142) he has to wake up to the necessity of accepting it as important. Ex. 78, Op. 16, Rondo. The “call” (a) at opening and at bar I42; (b) first use for development at bar I52. - --~ -e- a- :*: # ========n=== :=== == {#t===#E2Ef-º- ==#E F– ~~)--T= (b) The three subjects which intervene are entirely out of sympathy with this motive. The first is of the dual character indicated by (a) (b) in the example; and its treatment, which is mostly of student character, results in six appearances, either of formal or episodial character. 7O HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 79. Op. 16, Rondo, First Subject. (a) ! (b) Tºº-º-2- – HEE -CJ- - * -, * *s ### == H I. In A as first statement, at bars 2, II and 3 I. . In E as episode commencing at bar I.22 and leading to the return. 2 Ex. 80. Op. I6, Rondo, Episode. l == 2#================== ########E=#EHE *—" #2 * ~" # => → ; * ~ * ! ~. - --" | | g In A at bar I 44 for the return. In A at bar 273 corresponding in point of form to the Original reappearance at bar 3 I. In A for Coda, where it commences, as in Ex. So, trans- posed into A. 6. In D (in augmentation) at bar 202 (Ex. 83). Ex 81. Op. 16, Rondo augmentation of first subject. -# | * - " -es # EEE-HE: T ~& ———— —--- | L • p e—-- CJ º l - t | | etc. 44 – 25 — —ºnº . - | l | *— }; #EEEE?-E==EEEEEE: SººHºffa +z=#2 s−4 p Y--" º pºl – ºp -2" `--—— | 46. To this subject the second offers no effective contrast, its rhythm being the same. Our only reasons for accepting it as a second subject at all is that, otherwise, the first-theme repetitions would reach an absurd number; and also that probably the canon shown in the example is relied upon for variety. OP. I6. SERENADE IN A. 71 Ex. 82. Op. 16, Rondo, Second Subject Q. A 47. The third subject is stated in the dominant at bar 84, then in F sharp minor at bar 168, and finally in the tonic at bar 32O. It consists of a phrase of seven bars (4 + 3) and certainly there- fore offers a slight novelty of phrase-Construction. Ex. 83. Op. 16, Rondo, Third Subject. | | | O—f- *=E=====Hº- ==EE--- ===#EEEEEEEE T y Tºss- 5 - Y-T 48. Returning now to the subject of the opening bars and of their revival at bar 142 (Ex. 78), iogical treatment of the feature even when it does occur is of the poorest possible description, consisting merely of a modulative sequence following upon four bars of the first subject in C sharp. The use of the “call-pas- Ex. 84, Op. 16, Rondo. Modulative sequence. N 24-Tº. N !---.Sh. N |_ – ####H##########E ="#–E"Hº-j-FRE::= =Rººftº–H & #; • • ###: TITTāo. r##### —# -- ~ := 2 * =s Lº #s: " ". | —— ** --" *s #S. -##–4–s—s. += ### ### Q — ge. s. As *. be " i | es" Sage” as a means of phrase extension Scarcely deserves mention under this heading, and we look in vain for any material of sufficient interest to account for nearly four hundred bars. 49. Epitome. (a) Subjects. See Ex. 79-83. (6) Key, A, no change 72 HANDBOOK TO BRAHMS (ORCHESTRAL). (c) Time, #, no change. (d) Length, 396 bars, no repeats. IX. 85. Op. 16, Rondo. Outline. FIRST SECTION SECONID SECTION TEIII-D SECTION I II III episode I III episode I II III coda, 53 30 38 20 26 34 71 18 29 38 39 S-N-7 *-------' S--~" 141 131 124 CONCLUDING NOTE. 50. We can neither confirm any of the foregoing adverse opinions upon the Serenades nor confront them with those of opposite character, on account of the very spare criticism which these works have called forth. Even Brahms's immediate friends had little if anything to say about them; and Max Bruch, writing in 1864, though he has a wealth of praise for other of Brahms's compositions, dismisses these by calling them “early works.” The faithful Joachim, however, though we have evidence that he was aware of necessity for the work's amend- ment, encourages Brahms, in 1858, by praising the Andante of Op. I I. It was only upon Occasions when Brahms expressly sought his advice that he would venture upon such expressions as “badly orchestrated "–“too difficult for the violins”—“ dis- agreeable false relation”—and so forth. At other times he would amiably attribute his impressions to outside causes, such as Brahms's fast playing and the bad piano at Göttingen.f 5 I. The critic with whom our review is most in agreement is the composer himself. We have already seen (Op. I I, pars. 8, 9) something of his dissatisfaction with these works; but even after * An dem Andante Deiner Serenade habe ich mich eben wieder sehr erbaut. (Letters V, 207.) f Du hattest den letzten Satz so ruschlig auf dem schlechten Klavier gespielt, dass ich in Göttingen nicht daraus IS lug werden konnte. (Joachim Correspondence, V, 209.) OP. I6. SERENADE IN A. - 73 Op. I I had been finally arranged and was about to be per- formed at Hanover under Joachim's direction, in 1860, there was still considerable hesitation and further interchange of views; similar conferences also preceding the publication of Op. 16 in 1875. 52. Frau v. Herzogenberg mentions having enjoyed the A Serenade when “spending Sunday in her own way” in March, 1881, Knorr gives an analysis which can Scarcely be said either to praise or blame. Kalbeck's analysis is of greater detail. Colles thinks that From this experiment Brahms must have learnt a good deal of the art of orchestration, although its actual matter is of slight importance, and Fuller-Maitland describes Op. 16 as Not of great importance for the general musical public. OP. I 8. FIRST STRING SEXTET IN B FLAT. (For two Violins, two Violas and two Väolon cellos.) I. ALLEGRO MA NoN TROPPo. II. TEMA CON VARIAzlone (ANDANTE MA MODERATO). III. SCHERzo, ALLEGRO MoDTO. IV. RoNDo, Poco ALLEGRETTo E GRAZIoso. Published by N. Simrock in 1862. Arrangement for Piano (four hands) by the Composer. PRELIMINARY NOTE. I. THIS genial work took five years to travel from the com- poser's studio to a London audience, and was produced as a “novelty” in Moscow five years after that; when Tchaikovsky in making it the subject of a tirade against Brahms and all his works provided an excuse for others to doubt his merit. Even to this date a professed love of his compositions is eyed some- what askance; as may easily be seen by Fuller-Maitland, in his recent work, deeming it necessary to render an account of his enthusiasm. How to explain this lack of appreciation, by some, of beauties which seem obvious to others, is a difficult matter; but there are facts bearing upon it which it may help us to consider. 2. Tchaikovsky's was the case of a man of independent genius prevented by the strength of his own individuality from appre- ciating the standpoint of a nature opposed to his own; and the bulk of criticism, though not armed with any such excuse, also OP. I 8. FIRST STRING SEXTET IN B FLAT. 75 proceeds from adopting a mistaken point of view. Its authors, by insisting upon their own standard of judgment, impose limi- tations upon the composer; and condemn, without understanding it, whatever may lie beyond their own horizons. This is always the great obstacle to the progress of any really new composer's reputation. 3. Brahms, unlike Wagner, was not given to defending himself by literary means; and lacking this powerful weapon could make but slow progress in general estimation. The propaganda which was specially necessary in his case he did nothing to establish. 4. Indifference to everything but integral value strikes his admirers as heroic, but it works quite differently as towards the public at large, whose principal desire is to be spared all trouble. Had the preceding works been less intense, the fame of this sextet would have spread more rapidly, its general attractive- ness being, in fact, a stronger bid for popularity than Brahms was supposed capable of making. He had, however, already formed the intention of settling permanently at Vienna when at Winterthür in 1862. There the work was written, and its transparency is doubtless partly due to the necessity of con- verting the Viennese. They, at all events, proved sincerity by receiving it with a warm welcome, and why it should ever have encountered any other must remain a marvel to those who study it. * 5. This being the first string work, we have to provide the reader with a few guiding principles, all the more necessary on account of having to deal first with a sextet; because when once the familiar combination of the quartet is exceeded, the danger appears of sacrificing some element of true chamber music. A natural result of increase of means is to bring with it the power, and therefore the temptation to treat combinations as units instead of allowing all conversations to remain those of indi- vidual voices. The evil lies in the consequent reaction upon ideas, which run great risk of turning out to be of quasi-orches- tral character and therefore inconsistent with the true chamber- music ideal of evolving effects from equal and integral Contributions by all instruments engaged. 6. The student will decide for himself in course of our review whether, or to what extent, this applies to the work before us; but falling short of the chamber-music ideal implies no reproach to the contents of any work. All musical ideas have a natural 76 HANDBOOK TO BRAHMS (ORCHESTRAL). destination; and, if suffered to reach it, these produce their maxi- mum effect. If we transplant them we do not touch their integral value but we deprive them of the advantage of a suitable means of presentation. There are some combinations which are peculiarly liable to tempt a composer astray upon these points, and the sextet is one of them. 7. It is comparatively easy to observe whether in any given work orchestral or chamber treatment has been misapplied; the distribution of interest being, with the orchestral idea, a question of “scoring.” Pure chamber-music is not scored in the ordinary sense of that term; because, if its material be of the right kind, we have no option but to give to each instrument its very own, whereas the act of orchestral scoring implies the exercise of a choice of colour. These principles are for general guidance, however, without special reference to any one work, and are here stated on account of Op. 18 being the first chamber-work of first-rate importance. I. ALLEGRO NON TROPPO. 8. The student should first rhythmise the entire movement by aid of the summary, taking particular care to locate all phrase- extensions. The study of Brahms cannot be dissociated from the special study of rhythm, and upon that subject we shall now therefore lay particular stress. 9. The first ten bars for example offer an interesting case of phrase-extension, given in the table as 2 x 3 + 4; or, three two- bar phrases followed by one of four. It has been already men- tioned that the fact of different readings of a musical sentence being possible does not diminish the usefulness of studying the results of any one in particular. Any reading to be justifiable must offer the means of being explained, and it is the explana- tion, not the reading, by which the student benefits. If he examine the first subject he will either see that the period natur- ally divided in the manner stated or be obliged to exercise some thought in construing it differently. OP. I 8. 77 FIRST STRING SEXTET IN B FLAT. Tº HYTHMICAL TABLE Ex. 86. Op. 18, Allegro, First Section and Durchführung. PORTION MATER IAI, BARS PHRASES EXTEND- ING TO 1st section 1st subject . (2 X 3 + 4) 3 . x > 12 2 × 4 + 4 42 3 × 18 4 × 4 + 2 60 Intermediate 24 ſ 2 × 2 + 4 | motive | 2 × 4 } 84 | 4 × 2 ) 2nd subject | 18 | | * * *l o 102 I\CI SUl OTCC " *-d - J l 4 + 1 ſ Bridge 5 5 107 3rd subject 15 4 × 4 – 1 ) 32 14 4 x 3 + 2 : 140 Bridge 4 4. | Totals. 140 140 Durchführung | 1st subject 33 4 × 8 + 1 173 3rd subject 18 4 × 4 + 2 191 * 16 (2 × 2 + 4) 2 9. 2 * 6 4. + 2 213 Bridge 20 | 8 × 2 + 4 233 Totals. 93 233 Ex. 87, Op. 18, Allegro, First Subject. Vla. I | •. -- | ! • | | * * *s, *. ––2 C — _0_` * -e- -º-º-; —& †: =~!—e. .p. ~--f #EE::::###################### Tº Lºſ L. S.T.I.'ſ ITIT_T_l. TIS.g. 2. T ºf CE–T-III-2.p.ſ.º. C 1 - ... - LT.LII - *E*E*E -—— H-E- Hº-f t- f ! --,---- Fº *E - E *- - -ms- 'Cello 1-----__ID. -----' C. T-___- 'Cello 2 EILTI I ſ I I 4– T @#E #EF ==E====== -I-it-- –––– H +*Ff====f------fº –––– E-4-5–— s–1-e---º-T -2-3- - C - -º- -23. -(-)- 78 HANDBOOK TO BRAHMS (ORCHESTRAL). IO. Rhythmical dissection has a very distinct influence upon performance, and that it should be even necessary to urge this shows how the advantages of rhythmical study are commonly disregarded, for it would certainly not be requisite to impress upon an actor the need of studying the rhythm of his lines. Can we even imagine him relying upon his ordinary capacity to read as a means of interpretation ? We cannot do so; yet this is what the rank-and-file of musicians do every day. With a facile reading of notation and technical equipment they consider themselves prepared to render anything. II. The musician's intuition naturally comes to his aid, and is often marvellously acute, but we shall have no difficulty in showing that it is insufficient. Here, for instance, if the violins who enter at the tenth bar do not know that their first bar is the mere taper-end of a phrase they are certain to begin too loud. I2. In the case of the solo performer the obligation to rhythmise is absolute. How, otherwise, can he be sure that his expression accords with the composer's intention ? When two phrases overlap, for instance, the performance should make this clear; but is it at all likely to be clear if the performer himself is unaware of the fact 2 We know that even within the com- poser's intention there is room for differences of interpretation which are merely temperamental and might be indulged in by OP. I 8. FIRST STRING SEXTET IN B FLAT. 79 the composer himself according to his mood. There is no room, however, for any interpretation which ever so slightly distorts the rhythmic outline. 13. As to the conductor, without keen knowledge of the rhythm of what he conducts he does not even exist. The score is allotted to him only in the second place for details of instru- mentation; its first object being to give him a survey of rhyth- mical bearings. Players from individual parts have no such means of observation and are therefore exempt. The guiding rhythm may of course appear in any of their parts for a time; but in general the most assertive parts are least employed and the busiest those most engaged with rhythmical subdivisions. It has been the fashion to refer to the percussion instruments as “rhythmical,” but all instruments are rhythmical, the responsi– bility for their rhythm being focussed upon the conductor. 14. We come now to the bearing of this upon the subject, not only of rhythm in general but of that of chamber music in par- ticular. If in the orchestra subservience to the conductor is absolute and all rhythmical waywardness of the individual forbidden—if, in orchestral music though everything in the way of musical device is permitted to the composer, anything of the nature of rhythmical cross purpose (unless upon such a broad scale as to make its intention obvious independently of con- text) is commonly regarded as an exception—these are restric- tions peculiar to the orchestra, where individuality is princi- pally a question of timbre. But it is individuality of the parts themselves which is the life and soul of chamber music, the en- semble of which is not produced by word of command but by a mutual sympathy. Obedience to a leader there may be, but it is precisely because of its being purely deferential that it results in a greater delicacy of expression than is consistent with subordination. Hence, the road lying open for rhythmical refinements of quite a special Order, chamber music acquires a Sort of confidential character altogether opposed to that of the music of pageantry which has to attract the crowd. I5. This digression was necessary in order to dispose once for all of objections to the prominence here accorded to the study of rhythm, and we return to our ten opening bars the rhythm of which is allowed to occur three times in succession. This at once introduces us to a leading trait of Brahms's cham- ber-music, which consists of pursuing a phrase-formation long enough to give a cacheſ to the movement but not long enough to result in a mechanical outline. The genus being thus fixed 8O HANDBOOK TO BRAHMS (ORCHESTRAL). we proceed by induction for the next twelve bars (2 × 4 + 4) which, though they continue to breathe an atmosphere of first subject, gradually prepare us for the second; as the student may perceive by comparing the latter with the figure now adopted. Ex. 88, Op. 18, Allegro, Figure in preparation for Second Subject. C-4 O-3 - O- 2–3–2–C–F–F–C–F#–s TU- +E =FE-F- # H- it. stſ etc. 16. That there should be room for this proceeding between the first and second subjects is proof in itself of a broad outline, but much more happens before the second subject appears, Ob- servation of which is calculated to open our eyes considerably as to Brahms's method of composition. We afterwards dis- cover that in all this he is not merely bridging from first to second subject but collecting materials for his Durchführung; and something of the pains displayed in this endeavour is re- vealed by the fact that the counterpoint used to accompany the first subject rhythm (bar 47) in this portion reappears later as an accompaniment to the third subject. No one knew better Ex. 89. Op. 18, Allegro, Counterpoint upon rhythm of First Subject. — — — —- -, *, ***...* a...F.T. --~~~ | ############# *}. sº-º-º-º: s *E*-* -------- ~-----> 1 -O- | | -O- -s | ps. | 1s. ! --- Gift-H - E=E –––– F= HE • I 5:-º-º-º-º: *=#E}= *E*E=EE p ºw º T T —F-— than he that the sympathy between counterpoints and subjects, when these are each employed independently, is too subtle to court any but scientific observation. This counterpoint does not recur until practically the middle of the Durchführung; so that he must have had considerable faith in thus casting his bread upon the waters. Unity was ever a first consideration with him, however, and no expenditure of pains too great to secure it. 17. This working abuts upon an intermediate motive of such importance that some have regarded it as a second subject, and it certainly must be confessed to have greater independence OP. I S. FIRST STRING SEXTET IN B FLAT. 8 I than is usually associated with an auxiliary. Moreover, though fully instrumented, it is preceded by an episode very lightly scored, so that here is an instance of dissection in which the Ex 90. Op. 18, Allegro, Intermediate motive. Ž=###EEHºº::==#====#| H== | ### # =############ f 4 | N ul - - C_2 * | ti-s-24– t-----> #2: # (19- f = __:52 " — *- - - – lº #3 ### E=HE :=E= #E #2= –––––– *::="# : FFFF- ### Pi—H. p-4 pizz. −. | fi- | student is free to make his own choice. This motive also affords an instance of instrumentation of orchestral character in which Small combinations are treated as units (see par. 5). 18. The boldness of this auxiliary secures a contrast for the second subject, which is delivered by the 'cello to an accom- paniment in triplet quaver motion. This brings us to mention Ex. 91. Op. 18. Allegro, Second Subject. Violin, with Viola 8ve lower _---- ~~ --~~ 2–s --~ the feature of graduated increase of motion as a Brahms char- acteristic, represented in this instance by normal quaver accom- paniment of the first subject, triplet quaver accompaniment of the second and semiquaver bar-subdivision at climax of the Durchführung. 19. A short bridge passage at close of the second subject in- troduces us to the third; which is of disjointed and agitato character, as was rendered inevitable by the cantabile style of the opening theme. The student will notice from the table that the first period of this subject concludes with a minus quantity 7 82 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 92. Op. 18, Allegro, Third Subject. 2- 2- -- —is ##############H #E3:3: ##########: # |- - H H- 3. - *-*. "----- le •. O S}{-5–EEF-EEEEEEE 5 ===E-E====Es *E*E=EEEEEE # = º H-s—t-----—tº-E-F-----E C- r \,- O- • S--> - C - N--O- O | | >- | >~ | | | to indicate the overlapping of two phrases. Cases of this kind are generally liable to different modes of dissection; what is important being that the student should intelligently select his own. - 20. From this point the motion gradually subsides both in order to favour the repeat and to offer a placid point of depar- ture for the Durchführung, which naturally opens with remin- iscences of the first subject. After this almost the first mani- festation we meet is the counterpoint already quoted as Serving for accompaniment to the first-subject rhythm now doing the same duty for the third subject, and showing (to use a col- loquial expression) that Brahms must have been keeping this up his sleeve during the first section. Now also the student Ex 93. Op. 18, Allegro, Treatment of third subject in Durchführung. - -- Jº IT- —— T- F- -s- -ºº-j-e- -º-ºh, -º-c- i-s . . | ** * -º-, **====#######,Cº-º-º: Eže-ºff =#2. I -> - T -- - - ========E===EEEEE======H.H. i-——''" – O-E. C– • * ~! third subject ſe g_2: -O- - - #e. £e. -". *— Ełe-º-º-E*-f-a-f-f-f-Hº-Fºr-F-F-FF #E–E– G#. #e •== H-i- #EEEEEEEEEEE :== l ---, --- - ---- 1–mº m = Viola | | | f | ſ pizz. F . d F #4 C #4. -- ==== + -] J H-Hºe • *— -e—- —R —-O * O CJ - *s ############ *** | * || 2 || | | | | | | | Tr ** ***** -------- –––––––– ~ will be able to contrast the instrumentation with that of the intermediate motive and to see clearly the difference between treating combinations as units and handling each part individually. OP. I 8. FIRST STRING SEXTET IN B FLAT. 83 21. The material just quoted figures largely in the Durch- führung and leads to the climax in semiquaver-motion already mentioned, when the score exhibits three degrees of motion simultaneously; the approach to the return groups being effected Ex. 94. Op. 18, Allegro, Three degrees of motion. -*— ºr— ---- | ! | | b l | ſº-º-º-º-º-H- * g_g tº ºr T - - - - - - - I (º-EbsLºs O-Hi-O ( ) - + º —— *m e # ========== ii. 2 TL. T. -—E—s G} § ==== I etc. very much in the same gradual manner as the climax was reached. . 22. The rhythm of the remainder of the movement offers no new feature beyond a shortening of the treatment of first sub- ject, which is usual. The actual moment of return is rendered IRFIYTHMICAL TABLE. ICx. 95, Op. 18, Allegro, Teturn and Coda. | | PORTION MAT1...R. 1AL BARs | consistiNg of | * ING TO | Return | 1st subject 17 2 × 8 + 1 250 > y y 3 1S 2 × 9 268 x 3 3 y 18 4 × 4 + 2 286 Int, motive 8 2 × 2 + 4 294 3 y 3 y 8 2 × 4 302 3 y 3 x 8 4 × 2 310 O º ſ 2 × 2 O 2nd subject 18 l 4 + 1 } * 328 Bridge 5 333 3rd subject 15 4 × 4 – 1 348 3 y X 3 14 4. X 3 + 2 362 Totals. - 129 362 Coda, h 1st subject. S 2 × 4 370 > x > y 16 4 × 4 386 3rd subject 12 4 × 3 . 398 Totals. l º 30 398 very effective by the use of powerful syncopations in three parts against unison delivery of the theme by the other three, thus 84 HANDBOOK TO BRAHMS (ORCHESTRAL), giving a highly agitato character to the original quaver motion. This new treatment of the first subject goes hand in hand with shortening of the space allotted to it, and really amounts to avoidance of literal repetition until the second subject is reached. The conclusion is in diminuendo until the “poco piu Ex. 95. Op. 18, Allegro, Treatment of First Subject at return. N | | l ! | -- } * * * *T* * * **T* –F–F–Fºx–3–7–5-3- #########EE E*-ETEETE: EEEEEEEEEEE It I R_/ sº S- ** S- —º _- --~ ###==#EEEE QL _- --~ | | ! | -- sº-º-º: -—-4–4 2. =i-e- |&#EEEEEEEE moderato” of the last twelve bars, these being given to the third subject. Altogether, it is a bright movement, of perfect form, with every desirable contrast of material. It is not so polyphonic as Brahms is usually, but from the popular stand- point this is far from being a defect. To us the monophonic feature seems to have been the cause of the instrumentation being here and there not quite of chamber character, though this may also have been partly due to a want of sufficient habit In writing for strings alone. None of the points mentioned for the reader's instruction are sufficiently serious to be counted as defects, and we may quite sincerely echo the words of Florence May : This is a work to which neither if nor but can be applied, for it is with- out a flaw. 23. Epitome. (a) Subjects. See Ex. 87, 90, 92. (b) Key, B flat, no recognised change. (c) Time, #, no change. (d) Length, 398 bars, or 538 with repeat of first section. OP. I 8. FIRST STRING SEXTET IN B FLAT. 85 Iºx. 97. Op. 18, Allegro. Outline. FIRST SECTION | DURCHFüEIRUNG T.ETURN CODA 140 93 129 36 I II III I II III 84 23 33 77 23 29 II. AND ANTE MA MODERATO. 24. This movement is a theme with variations, the sixteen- bar theme of which is formed of twice 2 × 4, extended how- ever to 32 bars by repeat of each period. Similar repeats occur in each variation except the last, where an equivalent is pro- vided by sixteen-bar Coda. They are all indicated by double- bar, except in the theme and Var. 4, where the periods are re- scored. The whole movement is thus outlined as II 2 two-bar phrases or 28 eight-bar periods. Extremes surely meet when a master so identified with rhythmic flexibility writes under such rigid conditions. 25. The theme manifests that abiding love of folk-song which, as part of the composer's character, powerfully influenced his mode of expression. The result was that when he chose professedly to write in Volkslied style his melodies strike us as traditional. They produce upon us the singular effect of appearing original without being new—of being too fresh not to be new and too natural not to be old. It is not so much the phrases as their happy conjunction which does this—a proof that originality does not lie in eccentricity of note succession, as So many suppose. 26. It is difficult to convey an adequate idea of this move- ment on account of its extremely simple outline. Fuller-Mait- land's wish for “some means by which exact quality can be conveyed short of a performance by ideal musicians” can be brought nearer to fulfilment when sonata traits help to vivify the account than when nothing appears but an interminable Series of two-bar phrases. The reason why there is no mono- tony is that the phrases are all individually satisfactory when lending themselves to transient modulation, because of the 86 HANDBOOK TO BRAHMS (ORCHESTRAL). theme-structure allowing this to be done without involving any melodic change. It would be different if this proceeded by con- demning the melody to the diatonics of a single key. Quite contrary to that, the melody itself modulates without any ex- ternal aid. If sung it would convey an expression evidently susceptible of enrichment by various harmonies, but just as evidently independent of any of them. 27. Harmony when thus employed is at its best; having to do with a melody which gives it every opportunity, as we shall See, opportunity not only of responding to melodic suggestion but of itself making suggestions which the melody appears to fulfil. Thus it is not the melody which suggests the transient modulations through A and D majors; but their use is a gain to it at the cadence, though these are but two instances out of Ex. 98. Op. 18, Andante. Theme. Melodic gº Scale-formation .# --- #E H +- # =####2 ––H Rhythmic FF-j- =#| +-e—f-e T ==} 2-bar phrase º —T —T Yº-T formation sº sº |--S - sº cº-5-º —-cºs—sº- 1– iss: Actual *E= ## --- =# - HE II ºl-ºriºs. melody *ESH-E-F#-FENE FCº-Hºº-º-º-º-º-Hi 5-–-Is-s-s-------- ..IN C - -O- -O- raj. H * minor | C major F major | | | | | | l | ge zºº —& e' -- I-3––1 - 23--1-2. J-e-à | L T t wº —63 ...? --J-3--4-a--|- ww. mº, le=#| * = := *s- #EEE # | | 1 T-T- i ſ —H--- --—e— D Return to dominant ZT-TTTTTTTTTTTTTTTIC - © U. j=#EEEEEE|E: †† e- w I-4T tº T.ITT III] | —-— *~" Y-T *—" 9.----'ºſ----Sn−I- -ILº-Tº-Tº: E -ā-HEiji == - ** e jºiº-E-II # |## ==#EEEE|{{=: Q_ - * * \º - Cº- *s º -0. º l !--- –––– | - -º- 3-º-Tai-TI. Tsin-TIE IT Cº. T Tº I |&#E=#######EßF##### | | pºſſ-, | | c majºr | | T Amº l | OP. I 8. FIRST STRING SEXTET IN B FLAT. 87 Return to tonic =*-*#===Fa =#EEEEE|| T-----T EEEEEEEEEE-SEEEZE **####### #=#| - ! ---— --º-,-4–4–rº efflæH=#| - | W. D major | D minor | many. The fact is, as the student can see from the example, that each two-bar phrase takes us into a different key, such is the solidity of build of this truly remarkable theme. Whence comes its peculiar quality P In the answer to this question lies a most useful lesson, for the answer is—“the scale.” The crude material of the two periods which form this melody is as under : First period. Six bars tonic Scale-ascent, two bars grade- ascent to dominant. Second period. Six bars dominant Scale-ascent, two bars grade-descent to tonic. Ex 99. Oo. 18, Andante. Material of theme. | | | a—— -* -s - - - IITL-ITI-III II - IT-lil T &=E=######### —zº - - | 2--> He e. |-- - – ##############| y=Fr–FF=== 28. This leads us perforce to consideration of the variation- “form,” as it is called, in spite of the best variations merely repeating their themes's outline. Under the head of variations we do not include those which merely elaborate the actual theme- notes. These are not variations at all in the musicianly sense; but figurations, generally of the most paltry kind. The first 88 HANDBOOK TO BRAHMS (ORCHESTRAL). business of a variation is to vary, but such ignoble stuff varies nothing. It is no argument to say that some celebrated men have been caught by the fashion of giving Schoolgirls material for a cheap display, as it is simply a human weakness to be influenced by custom. Wagner in allusion to the fact that none are exempt makes the following observation : The language of Bach stands to the language of Mozart, and finally to that of Beethoven in the same relation as did the Egyptian Sphinx to Grecian sculpture; and in the same way as the Sphinx with human face seems to strive to quit its animal body, so does the noble human figure of Bach seem to strive to quit its ancient periwig.” Thus, even in spite of custom, the old writers sought to infuse some plan into their variation-Scheme, and recourse to the old five orders of counterpoint was specially favoured. Brahms has here done precisely the same. Up to Variation 3 he pro- ceeds by subdividing the original pulsation just as Albrechts- berger, Cherubini and other theorists of that school proceed after “note against note” to so many and then so many more “notes against one.” Moreover, and as if to prevent our making any mistake, he comes to a lull with his fourth variation just as the old contrapuntists came to a lull with their fourth order, where they used nothing but syncopations. Finally, his fifth variation may be fairly taken as representing their fifth order of “florid” counterpoint. 29. What Brahms has done and what the old pedants could not do is to make each variation represent the theme in a dif- ferent mood. His increase of motion attains to absolute wild- ness by the third variation followed by a calm in the lovely cantabile of Variation 4. His fifth or florid variations seems to make merry at the thought of nearing home, by indulging in a dance in which first and second violas take melody and musette respectively, with other instruments gambolling round about them. We are helped to feel that rest-time is now at hand when the theme reappears with a new and gentle instrumentation and seems to linger at its own cadence as if in loving reluctance to depart. Truly these are beautiful effects—produced too by the exercise of qualities for which Brahms is often held to blame. —–-" * “Judaism in Music,” p. 36 of present author's translation. OP. 18. FIRST STRING SEXTET IN B FLAT. Ex. 100. Op. 18, Andante. Variations I to 6 (openings). Var. I ==== ==== TT T. J. T. var. 3 e - C - º : º sº --- *:::::::::#=3 –4-g- =#EEEfit- , ---- *- al-Pi—tº TsIg-a-Tº- ºr HTºº-º-º: —- 2– *= s—e-e—e-g—s—u—a- *_- | | -s: - &T N | | | . t - | re-iāl s-rººf ººl. 5T #s t H :====3 =*I sºlºsses : E:P= SSSSI # Var, 4 t -- - - - i —l * * - *- :-} ºr ººº-º-º-º: ZCIn –––– N}--———F—--—-N- E-3–2– @##EEEEEEEEHF:=#EES:#E Q º * | *T2. w-H- —#. *E**** ſº | h sº. sºme --~ --- **k- — V *... º. º. * -- ~~~ GłH= E+=####:=# ". —l P. —I I |--J–––||{(\}-º-º: *-* -mº sºm. H=== :=======9: L • C- -CJ- | | • Cº- -º- # * #: g Var. 6 * * * * *-*-*= = m.º. ºº mºsºm-º. T T * º-º-º-STFC, H-5–===-–#===== SE; 9––#-s-- HEEE ++++++ *. s. * Vº | # = --z-zº —l | -Z—º-º-º-Y-Is-ºſ- º - TI-IIIT- º- ºf E::::HG=SE:####F#| J D U ( . I-e. s Tis s-s= | | s’ s #s. -sº | | | 30. Epitome. (a) Theme. Ex. 98. Variation openings. Ex. IOO. QO HANDBOOK TO BRAHMS (ORCHESTRAL). (b) Key D minor, except variations four and five which are major. (c) Time #, no change. (d) Length 160 bars, or with repeats 224.” III. SCHERZO. 3 I. The ardour and frolic of this movement are due, not as might appear to its freedom of modulation or gaiety of melody but to its rhythmic outline. Had this been of square-cut order nothing could have saved it from being commonplace; but, as it is, an evergrowing vivacity and excitement is successfully coupled with refinement. It is with rhythm as with those melo- dies which Wagner tells us we catch we know not why and con- tinue to “tra-la” without knowing in the least why. We do not know that the outline charms us and would certainly, if ques- tioned, give it no credit for our pleasure. But let us inquire. 32. A persistent feature is two-bar extension of the four-bar phrase; not happening capriciously but receiving identical treatment at corresponding points of the two sections. For example: T.HYTHMICAL TAIBLE. IEx. 101. Op. 18, Scherzo PORTION MATERIAL BARs composed of * ING TO 1st section Subject 12 2 × 4 + 4 12 Development and & 4 × 6 + 2 ) 43+ return 4 ſ Trio Subject 10 4 × 2 + 2 54+ Development, and 30 4 × 6 + 2 pse return 4 ſ 85+ D.C., ltepetition of - sº-º -- 1st section Coda, Trio subject 24 4. } 2 × 4 109 4 × 3 ſ * The Coda though of fifteen bars is really sixteen taking the final pause into account, the missing bar being made good by the alternative ending to Variation 5. The 160 bars mentioned above may therefore be taken as 8 x 20, the 20 periods being 4 for theme and Variation 4, and 2 for each of the others. + Extra bar for 2da, Volta. OP. I 8. FIRST STRING SEXTET IN B FLAT. QI seven four-bar phrases (with two-bar extension of the penulti- mate) comprise the development and return alike of first section and trio. 33. But why this identity for only the second parts of the sections P Because, in the first place, the general design of the movement is an ever growing animato, excluding the use of a placid trio-contrast. Such continuity in a lyric movement is un- usual and at variance with demarcation of the sections, leaving only change of rhythm available for the latter purpose. The change is therefore well accounted for in any event, but if we examine it we shall find that it reveals another trait of sym- metry. Compare for example the two opening rhythms: First section : 2 × 4 + 4. Trio : -- 4 × 2 + 2. and the relation is at once perceivable. A strong build of this description has a marvellous influence upon the life of a com- position precisely because, like the melodies which Wagner men- tions, it has an attraction for which we cannot account. Ex. IO2. Op. 18, Scherzo Subjects. | | First -L--→–T-- |-I–– H-H = ––– section –5–––––– Esº- --Frºg--—s - # }H====EEEE-F-º-º-º-Fº-º-º- QL/ -0- a § & tº Dr S- tº -- | tr | F#–Eº |-e I I-A- a I &l-T Trio 6-9–E–E–F–F–F–F–F–2–7– ==### e.) I |--—ſ E=::=: –F–C- 34. Epitome. (a) Subjects. See Ex. IO2. (b) Key F, no change. (c) Time #, no change. (d) Length IOO bars, or 230 with repeats. Ex. 103. Op. 38, Scherzo. Outline. FIRST SECTION TRI O D.C. CODA |: 12 :: 30 : ||: 10 :: 30 : I2, 30 24 92 HANDBOOK TO BRAHMS (ORCHESTRAL). zº. .* ſº a 7 IV. RONDO. Poco allegretto e grazioso. 35. The opening subject of this rondo gives it a Haydnish character which Brahms's consistency confirms, but the working is so essentially his own that in spite of reminders the effects are neVV. Ex. 104. Op. 18, Rondo, First Subject. -- br t —4 --D-I T | 1- I I Il Hººf * - -4 § ~ | [. f Laº T l -] _º I lºll Aº tºº. #EEEEEEEHHHHä —t —º i —I-I- i– y —V7 --!– as , amiamsº - sm. -º- s—-- *-m-, * *-ºsm * * H---- •++++---------------> • J. *=" _- # ==SEH= -*-*~s == t===s-tº--El Q.” amº C etc. 36. There are two subjects, to each of which an intermediate motive is attached. As usual these motives have the dual object of amplifying their themes and of providing development material, the latter being much required in a lengthy movement approximating to Sonata-form. The ingenuity of this method is in the possibility it offers of elevating motives to the rank of subjects and giving them auxiliaries in their turn; and its effect is not confined to mere increase of material, because this in- crease, being in a sort of chain, is far more suitable than any other for rondo purposes. Ex. IOS. Op. 18, Rondo, First intermediate motive, *—e—r–ºf––– 1 . . . * . . . . Iſºl ſº -e-, -º- ºr -sº CJ––– T-- * — ºr— — — C —-r- * — ” — G##Eii sa-He 2– łsz-E #EE; –9–E– P- f-ETE fT. 1– r—— t * 37. The first subject opens with twice sixteen bars of three- part harmony; melody of the first sixteen being given by 'cello, and of the second by violin. We have then the first intermedi- ate motive, return of first subject and an episode in faintly marked three-bar phrases as preparation for the Second subject OP. I 8. FIRST STRING SEXTET IN B FLAT. 93 Ex. Iq6. Op. 18, Rondo, Second Subject. \ | | | 2- --~ ==# sa #. :Fºss-Hºss ====SE E– jº #H#3=###########". - F Tº gº + " ' º #sº #2-3- +: :----- ſºrs 3-, ºr | V | | | W —— * 8ve lower ................................ : which is in that rhythm. Here also the rhythm is not marked with the strength we should expect at introduction of the three- bar phrase, but the composer's intention is rendered evident by a sequence formed from this theme, in which the rhythm is un- mistakable (bar 90). Ex, I07. Op. 18. Rondo, Second Subject-development. | | H | L__-- _--> -ss- __--__ |-> N-- == º Žiž ==C-C- ###### ######" := * , §2–"H===##-F#-F#-E: =##rs: #:-º-º-º-E —— " V, - F —— Vº º - 38. The three-bar rhythm of the second subject is not shared by its intermediate motive, which is duple. This causes the Second subject groups to be duple and triple alternately, whereas first subject development as well as Durchführung and coda are all duple exclusively. For the former the first inter- Ex. IO8, Op. 18, Rondo, Second intermediate motive. == tº * | = | º --—--—s.--F-G------S-H-------->}}...t-i-F T-II iT-N i–F LITE- 3 dº...III-Tºibºº-Tºº. ;: == F–s ======= Le TºIII? *::: #### FFº: -- a-C- :::::::ffff:EE:#EEEE:#E:::::::::::::Eº =“-ºf-stºfºsſ-ºf- e ‘’ ~e?. -e--" 69- .e.- T -25. m= tº Lº , TFTF, - ######### 94 HANDBOOK TO BRAHMS (ORCHESTRAL). mediate motive is utilised as material, but as mentioned (para- graph 36) it is now provided with its own auxiliary. Ex. I09, Op. 18, Rondo, Third intermediate motive. - • © >2-> >,-\ = -s sº p- - - F ‘s’ p. etc. REIYTHMICAL TATBLE. Ex. 110. Op. 18, Scherzo (opening section). PORTION MATERIAL BARS PHRASES EXTEND- ING TO 1st section 1st subject 32 (4 × 4) 2 32 Int. motive 1 8 4 × 2 40 1st subject 16 4 × 4 56 Bridge 15 3 x 5 71 Totals. 71 71 Sub-section 2nd subject 3 × 2 77 Int. motive 2 12 4 × 3 89 2nd subject 12 3 × 4 101 Int. motive 2 13 4 x 3 + 1 114 2nd subject 6 3 × 2 120 4. 4 + 1 125 Bridge { 17 4 × 3 137 Totals. 66 137 2nd section 1st subject 16 4 × 4 153 Int, motive 1 10 4 × 2 + 2 163 1st subject 16 4 × 4 179 Totals. 42 179 The bridge passages are always in the rhythm of the section they approach, as may be observed from the rhythmical tables. The practical student is also invited to observe : I. The diminished extent of statement given to the prin- cipal subject at all returns except the last; when just before the Coda, it is allowed free expansion. 2. The close similarity in outline of the two sub-sections, notwithstanding that in other respects they widely differ. 3. Use of the first intermediate motive in diminution to promote the animato of the Coda. OP. I 8. FIRST STRING SEXTET IN B FLAT. IREIYTHMICAL TABLE. Ex. 111. Op. 18, Rondo (concluding sections). PORTION MATERIAI, B.ARS PHRASES EXTEND- 1NG TO Durchführung Int. notive (a) 12 4 × 3 191 3 y > 3 (c) 16 4 × 4 207 * 3 3, 5 (a) 28 4 × 7 235 ,, , , (c) 8 4 × 2 243 ,, , , (a) 22 4 × 5 + 2 265 Bridge 12 4 × 3 277 Totals. 98 277 3rd section 1st subject 16 4 × 4 293 Int. motive (a) () 4 × 4 + 2 303 1st subject 4 4 307 Bridge 15 3 x 5 322 Totals. 45 322 Sub-section Int. motive (b) 12 4 × 3 334 2nd subject 12 3 × 4 346 Int. motive (b) 13 4 x 3 + 1 359 2nd subject ($ 3 × 2 365 Bridge 23 4 + 1 370 4 × 4 + 2 388 Totals. 66 388 4th section 1st subject 16 4 × 4 404 Int. motive (a) 10 4 × 2 + 2 414 1st subject 36 4 × 9 450 Int, motive (a) 17 4 × 4 + 1 467 Coda, piu * 3 is y y y 40 4 × 10 l animato l Pause bar 508 Totals. 120 508 39. Epitome. (a) Subjects. See Exs. IO4-6 and 108-9. (b) Key B flat, no change. (c) Time #, no change. Ex. 112. Op. 18, Tondo Outline. 56 15 49 17 42 98 30 15 43 93 79 41 š, §, .# § š, § e I E II . . I £ £ I | # II | # I 3 ſº PC 5 E Q Q C OP. 25. FIRST PIANO QUARTET IN G MINOR. (For Piano, Violin, Viola and Väoloncello.) Dedicated to Baron Reinhard von Dalwigk. I. ALLEGRO. II. INTERMEZZO. ALLEGRO MA NoN TRoPPo. III. ANDANTE con MOTo. IV. RONDO ALLA ZINGARESE. PRESTO. Arrangement for Piano (four hands) by the Composer. Published by N. Simrock in 1863. I. ALLEGRO. I. THIS work is supposed to have been composed long be- fore the date of its publication, but it is probably only to the present movement that this view applies. At all events it is this one which contains most evidence of an early origin, though not sufficient to justify its being classed with the early works. Besides that, the mere act of publication in 1863, and therefore at thirty years of age, when Brahms was already established in Vienna and had every reason to desire to make a good impres- sion, is sufficient to show that he claimed no indulgence on its behalf. 2. The allegro's freedom of outline contrasts strangely with the symmetry of the corresponding movement of Op. 18, and even Brahms's intimate friends were reluctant to include it in the praise given to the whole work. Thus, Deiters: We frequently hear Brahms with whom thought and fancy ever worked together in active union accused of being obscure. Such an accusation can only come from those who are ignorant of such works as this quartet —above all of its middle movements. OP. 25. FIRST PIANO QUARTET IN G MINOR. 97 Elsewhere the same writer specially alludes to the allegro's “redundance of melodic contents,” which means of course that there is too much thematic material for the structure. Joachim, whose intimacy with Brahms enabled him to express himself with entire candour, expressly says that the movement gives the impression of the composer having exercised later powers upon early material;” and he then goes on to describe the five-bar and six-bar extension of the first idea as an irregularity. But although he is right the same dimensions might have been regu- lar enough had the music itself not lacked evidence of its own phrasing. 3. Thus we find Joachim considering as two five-bar phrases that which we feel unable to construe otherwise than as 4 × 2 + 2 ; and the important question is not as to “who is right?” but as to “why should there be a difference of view P” It is not as if these phrases occurred during the Durchführung where the phrasing is likely to become vague in consequence of a continuous flow, and where it may be therefore permissible to count mechanically by the prevailing phrase-length. 4. But Joachim also finds the broad four-bar phrasing of the first subject unsymmetrical as compared with the rhythm of the first idea. We, on the other hand, regard the entire open- ing as introductory and the real movement as commencing at bar 27; because it is only in this way that the outcome of an analysis becomes satisfactory. 5. To construe otherwise would be to admit an almost ab- surd disproportion between the first statement and the return groups; besides which, even after allowing this deduction we have to suppose that the composer intended his return groups and Coda combined as a counterpoise to his first statement. * In a letter to Brahms written from Hanover and dated October 15, 1861, Joachim says: “Am wenigsten lieb bleibt mir der erste Satz des G. moll-Quartetts. Es scheint mir in der Erfindung unverhältnismässig weit den kommenden Sätzen machzustehen, und manche Unregelmässig- keit in dem rhythmischen Bau kommt mir nicht durch characteristik geboten vor, die sie allein rechtfertigen könnte.” And so on, at con- siderable length (see Vol. I of the Brahms-Joachim Correspondence, p. 306). Trom other passages in the Joachim Correspondence it is also discernible that Joachim’s opinion, although agreeing completely with our own, was arrived at by an entirely different process—a concordance which goes to prove the relation between beauty as demonstrated by analysis and as affecting the emotions. 8 98 HANDBOOK TO BRAHMS (ORCHESTRAL). Unfortunately, however, the return groups, instead of artistic- ally reducing the entire first statement's material, omit the im- portant first intermediate motive altogether; so that our best efforts to bring the whole into line are only partially successful. RHYTHMICAL TABLE. Ex. 113. Op. 25, Allegro. First section. * X ..a PORTION MATERIAL BARs | consist ING of | **** (i)+ ING TO _'. º __-- 22. # Introduction ſist subject 20 (4 × 2) 2 + 2 20 y 3 x y 6 4 + 2 Q6 1st subject 14 4 x 3 + 2 40 5 y 3 y 9 4 × 2 + 1 49 . Int. motive 1 (4 × 2 + 1 \ - 3 * 3 y 29 | 4 × 5 78 1st section 2nd subject 14 4 × 3 + 2 92 Int. motive 2 8 4 + 2 100 º t 4 + 2 3rd subject 13 4 + 3 113 Int. motive 3 17 (4 + 3) 2 + 3 130 Totals. . 130 130 6. The Durchführung is given entirely to material deduced from the first subject; and, in common with the coda, is in strictly duple rhythm. Special solidity of construction for these departments is an almost constant feature with Brahms, and one in respect of which he differs from most composers; who display a more servile strictness during their first statements and seem to avenge it by taking extra licence during what is called the “working out.” 7. The thematic material consists of three subjects with their attendant motives. The latter are not however on this occasion for use as Durchführung material, and do not even fuse with their principals sufficiently to enable us to pass subconsciously from one to the other; being on the contrary so defined that the first intermediate motive resembles a second subject—and is no doubt so accepted by most listeners on a first hearing. OP. 25. FIRST PIANO QUARTET IN G MINOR. 99 T.HYTHMICAL TABLE. Ex. 114. Op. 25, Allegro, Durchführung to Coda. PORTION MATERIAL BARS | COMPOSED OF EXTEND. ING TO Durchführung | 1st subject 22 (4 x 2 + 3) 2. 152 2 3 3 y 18 4 × 4 + 2 170 3 3 2 3 9 4 X 2 + 1 179 3 x y J 17 4 × 4 + 1 196 -, * ~ * * x 3 3 x 26 4 × 6 + 2 222 * \ | \k . 3 x 3 x 14 4 x 3 + 2 236 ºf -, *, s 3 x 3 x 18 (4 + 2) 3 254 - . º 3 y 3 y 4. 4. 258 Totals. 134 264 Return 1st subject 16 4 × 4 280 2nd subject 15 4 x 3 + 3 295 Int. motive 2 8 4 × 2 303 3rd subject 6 4 + 2 3 × 3 × 7 4 + 3 316 Int. motive 3 16 3 × 4 + 4 332 Totals. 68 332 Coda, 1st subject 10 4 × 2 + 2 342 3 y 3 x 18 4 × 4 + 2 360 3 x 3 x 12 4 × 3 1 zºN 373 Totals. 41 373 8. The first subject remains essentially the same whether we construe the first twenty-six bars as introductory or not. But Ex. II5. Op. 25, Allegro, First Subject. Str. (8ves) ... --~ | | _- .s.l. ſ: ––– --> *—S ~ –9-b––ºs- He Frº !----|--|-- Tºd- H- T b-º-º- II' T : Hº-2–C–s +G+s G— + +====s=#, ––– e-º-o-º: sh—ſº-- #e Iºlº, I jº. Tºº-ºº: -º- **** O- | * #sº |- | | | LTRs | y ºr r"F "F** * r * : * * * * r " ' " || | | " ---. === –-T Pf. (8ves) obscurity results in either case; for if not introductory the first section is of unconscionable length, and if introductory the first idea is inadequately stated. 9. The first intermediate motive is not only an intrusion but has such a highly misleading rhythmical affinity with the second subject as to cause even some critics to insist upon its being the IOO HANDBOOK TO BRAHMS (ORCHESTRAL). real second subject and the latter merely a “tributary’; evi- dently thus overlooking the consequent absurdity of admitting Ex. II6, Op. 25, Allegro, First intermediate motive. _---— 2- -b–-2 e fle I º: O --- º, * F- I- – º –J.Tºº T Đa Tiº tºº. Tº 'Cello. #: |- L f 22- ==#: ====# 8ves |-- **s |- T - - d Tºe. le. Tº scº- He i. 14. T_s. 4tº... –––ſº- | T- = 2* }.g. | T-s- G###EE===Hºº:::H Pf |S-35°–e sº- E-e-- G-- cº-T- diºs f r—- t I U. J ITT #Eº-º: º p | H.H"; ... .º. | | º- ºr it: ! i -O- b– •-t- ... • #2 b-HE EZEEEZEF H-6 + _--> --> | He | | - | | - two intermediates between first and second subjects. The in- advertence is useful however, as enabling composer-students to note how largely a successful use of dual subjects depends upon their members being so fused and collectively contrasted with companion themes as to leave no doubt of identity. IO. As against this the real Second subject and its attendant motive are both very Compact; and being treated at similar length and with one instrumentation for first section and return, contribute very greatly to cohesion of the movement. Ex, I (7. Op. 25, Allegro. Second Subject. Vln., Vla. –LTITTTTTT ! - -2. | | T] ſ -N- ...” -º-- – # – Hø s (B-"—25 IZII-II:#2 -tº-e O-2s – º –- t Az-e-r-z-e-º-º-º-º-º-º-º-º: Pf. R. H. | - (3- | (9 | + ; - ſº- - P. • Q- -O- — — — — — — -P - ºl i- - - --- Cello, pizz. ------ |------ *~ 4. *. +- | | Tº 2- * fº. ºff-s––– e--—º—--ſº – H w – = -]N– # - *—h *–1-º-º: a-º-F Pf, L.H. * = r = * : * = - || – –––. --— — mºmmºnmamm- ***ms- lmsmansmism m OP. 25. FIRST PIANO QUARTET IN G MINOR. IOI - f * | - - #:== ! -:-F-I-2=. : !—— ###### | =====#:=#Eff, ==7 o: 2-º- a/ | ". | |--|--—— t * Pº-ji : F-ºh = = z* = 2-7 || ||F|| ||F. 5 = + E EEE E etc. - *-- *A. ea e- G#. H==N===N=E=N==N====N===N=====s====s= - #Es f 2– Tº *—s º *=====FF —º- | I - T - || – || – :-ºn--- | F. F i = F : * : * | * | II. The same observation may be made respecting third subject and its attendant motive; but their instrumentation is so changed for the return that their contribution to unity is only saved by the keys being respectively dominant and tonic. This contrasts somewhat sharply with the return of second sub- ject; which, being in E flat, or a semitone higher than its first statement, loses part of its structural significance. Ex. II.8. Op. 25, Allegro, Second intermediate motive. - -C- 12. The attendant motive of the third subject is rhythmic- ally favourable to entry upon either Durchführung or coda; and these (especially the Durchführung) are the sections which cause us to forget the unfavourable outset. Fortunately the return is too compact to renew our perplexities, so that a happier outcome is secured than was augured by the opening. & I O2 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. II9. Op. 25, Allegro, Third Subject. Viola melody, Pf. double notes *- N- l | -- ## 1+: • - _- { 's-3.j | ſ =---— G# Tº TøT.I.T. ---ºf-2––a– º: is: I 3. A passing technical interest is offered by the written-out rallentando, and pause, leading to the use of bars which are not rhythmically integral. The rallentando possesses no peculiarity Ex. [20. Op. 25, Allegro, Third intermediate motive. Pf. sº- -- - — N | N | |_ –— N T _- d wº -ā- zzº-º-I-2 ---gi ºz-º- LT&T *Twº *e a 44 #Eß= #E=::=# 2–- +==f #EEt-#4.2–2– #~2 s=235° s–H-a-P #EEEEEE-F tº Z t ſ | H -42—a. *N AY. V lin. .0 [2 l V}n. e e G#E===####G#- - A ---> t—— A —- -E==NZ-FEEF: - Vla. 1. -HT Vla. Ceilo & ~. | ©i-Eº - E-E--. OP. 25. FIRST PIANO QUARTET IN G MINOR. IO3 l — N | i----> || | ... --~~ #: —gº – C. s:—f- TI-i- *— £5; £2 –– #| --|-- }- 2–F#–E–47°------ º n , ſº T i - Vln. .am m= m G# #F #: # fº-fºr-T-I-III-III--N- TI #######E etc. — . . ſ: | Vla a TS | e - ge - – id- TI : E=E===#EE T- Ha- Yº ſº -p " jº- r ~— w } s: | yº z beyond that of being written out; but the pause presents that of a continued motion of subordinate parts. (See also Ex. I 19 of Op. 8.) Ex. I2I. Op. 25, Allegro, Extension in lieu of rallentando. -ſºa-C- C-a-O- -º-a-L - -10 a-ſº- -- mº —Fºr e-º-º-o-º-º-º-o-º-º-º-º- ;II, EEA-AT-CE T I T 1-tºe-t s: e=E-----------. G# sº:#FF El--- * E- Hº E- ſ... I E- I # ==P->==-º-º-tº-ba-zit-ji==Et wº-Hº-º-º- - *- 2 -e) - -a- Ex. 122. Op. 25, Allegro, Extension in lieu of pause. | Phrase | | Extension | LL b–4–== T-- —--I-3–- 4-r s 4-2 1–2 | 1--- –9—Re-- –4–E– H-E-- !---—— I T I–– ––––e5–cº–H–2–4"–4–4– e-o-H-C- ==#EEłse=#E * / N-" *- T-—T | | | 1- - * ~ * *~ * * 6); p * Lºº. ——62– + —e—s–1–0, es--- I–e T © I --- ==ºffº # Lº–T-A-R-A-e-J-º-º-º-º-T-I-O-R-A-T-S- #EEEEEºfºº ======== === #####t= -F- .L.TTTTTTTILITTTT -L- QT' S-2 | H H -0--~~ -O--> -º- T- —T | ; | I4. If we compare the first statement groups with those of the return, commencing at the point where they divide—the one to introduce the superfluous first intermediate motive and the other to pass on to the legitimate second subject we shall be Struck by the coherence resulting to the latter by the same figur- IO4 HANDBOOK TO BRAHMS (ORCHESTRAL). ation which had embellished the first subject forming an ac- companiment to the second. - - I5. The enthusiasm thus improved upon in the return is spoiled in the first statement by introduction of the incongruous first intermediate motive; the general impression produced being that these two portions were written at different times and this motive probably only retained for the sake of old association. For actual research the student should take bars 39 and 277 as starting points from which to compare the first statement and return. 16. Epitome. (a) Subjects. See Examples II 5–2O. (6) Key, G minor; changing to D for second subject; return- ing to G minor; passing through A minor and G major during the Durchführung, and finally returning to G minor six bars before the return. (c) Time, common; without change. (d) Length, 373 bars. The first section is naturally unre- peated as it is already twice the length of the return groups. Ex. 123. Outline of Op. 25, Allegro FIRST SECTION | DURCHIFüHRUNG RETURN CODA 130 6S 2–’-> 134 ,-º-, 41 I II III I II III 78 22 30 16 23 29 II. INTERMEZZO. Allegro ma non troppo. 17. It is customary to describe in terms of ecstasy the lyric movements now to follow; but however aptly such glowing accounts may reflect the characteristics of the music they do not convey that information of the composer's methods which OP. 25. FIRST PIANO QUARTET IN G MINOR. IO5 it is our especial object to provide. To put it otherwise, we are not here to rhapsodise about beauty but to endeavour to explain how it results; and though, for example, it may be perfectly true that the note of the present movement is yearning weakness, as of a wounded fairy, it will be far better for the student to arrive at that conclusion independently, and still better for him to qualify for explaining to others how such effects are produced. 18. The student should here bear in mind the provision for non-counting of incomplete initial bars; the object of which is T.EIYTHMICAL TAJ3LE. -e JEx. 124. Op. 25, Intermezzo. PORTION MATERIAL BARS COMPOSED OF EXTEND- ING TO 1st section 1st subject (a) 17 1 + (4 × 4) 17 3 y > y 3 - I7 4 × 4 + 1 34 2nd subject (a) 18 4 × 4 + 2 52 1st subject (a) 2 4 × 5 + 1 . 73 & 4 × 5 + 1 2nd subject (a) 31 4 × 2 + 2 } 104 1st subject (a) 12 4 × 3 116 Totals. 116 116 Trio 1st subject (b) I5 1 + (5 × 2) + 4 131 3 x > y 3 y 15 1 + (5 × 2) + 4 || 146 2 * 2 4. mid subject (b) 1 º x 1) 4 } 167 1st subject (b) 25 5 × 5 192 , Total 8. 76 192 Da Capo Repetition of 1st l 116 308 section ſ 3 Coda, 1st subject (b) 13 { X •) 321 Totals. 129 321 to ensure commencing the rhythmic summary with the first strong pulsation of the opening phrase. Now in this case it curiously happens that the whole of the first bar forms an initial weak pulsation; which accounts for its standing alone in the table, at the beginning both of first section and trio. The Open- ing of the Coda presents a still more exceptional case, for there no less than three bars transpire before we encounter the first strong rhythmic pulsation. The feature however is merely a IO6 HANDBOOK TO BRAHMS (ORCHESTRAL). difference in appearance and not in essence from the customary incomplete initial bar. As a rule, to extend the initial may add a refinement to the working up of detail, by the faculty it gives of holding the integral phrase-commencement in suspense; but that is all. It is therefore interesting to observe what now happens. Ex. 125. Op. 25, Intermezzo, First subject. | Phrase – lº. º N —-i- ––––S —— —— S--— = - #=====#= E*=== # == i-sā G •=== ==C-F *-*-a-...- :-º-º-º-º-º: -º-º-º-º-º-º-º-º-º- *** *-*-e-e: *-*-* **** *-*-a- e. e-e- Strings alone | |N --~ N –9–5–4–4–4–4–º-. ====== 16-5 p––a–0–1. ==E: º —1— — — — — == * - -j------aſ-a-w-a-- e.V. *-*-*- e-º-º-º-º-º- *-*-* *-*-e- *-*-*- — \ms —— —— —— —— 19. Here the first five quavers of the 'cello part which precede the initial notes of the melody merely give the tempo; and the same may be said of the piano part in the trio initial bar, of which the Coda entry with its three weak bars is merely an amplification. Ex. 126. Op. 25, Intermezzo. Trio, First Subject. | Five-bar phrase ———ºt + —— - Be —T *— N | |- | | 2s –- - - - - i–H–E tifi-JEC’Es==Liº-Tº-LIE+5 2–3–T Q); 2:5-º-fº-º-º-º-º-º: #sº - sº 5– *:::= ––cº-º-o-T-Fs—F -º-o-º-º-H ſ ====Fººt- : | † – º * —— ? •. -- L. | |- -s es" \s - | –– ~ --~ P -sº —— —— | -- _ſ_ * .d. he—l-º'- | *T - ſº - ſ. II?:5-º-º-º-T > ==== F_i ==w-º-º-º-I-"--N---wi- ––F ######### *— # === 2–4 ---- F–2-i- * F-, -w Str. yº L g -º- a -*- – -*- si_* ºf +12 p T –9.2—o- * ==== H [- E [T I OP. 25. FIRST PIANO QUARTET IN G MINOR. Io? 20. So elementary a matter would end here but for the Brahms habit of deriving inspiration from traits generally disregarded —one which prevents those accustomed to analyse his works from ever setting anything down as trifling without exact know- ledge of the use to which it is put. The plaintive dreaminess of this movement, for example, is principally due to this full initial bar; for, after having been lured into waiting for the rhythmic impetus of first subject we find it natural (at bars 34 and 73) to do the same for that of the second. Besides this the Ex. 127. Op. 25, Intermezzo. First section, second subject. 2--> _--— -- —º- sº amº 52T - —Nº. -ji== sº ,--> ################## # w * Lo - I- L– §1–2–~e-1-----, v---us º composer elsewhere avails himself of the same elasticity to create a feeling of suspense at will, and to prolong it according to the importance of what is to follow. It is thus that, when the return of the first subject is due, we find homage paid to it in extra bars (5 I-2 and IO3-4); and also that the trio-Subject becomes one of five bars by simply drawing the extra bar into Service as part of the phrase. It is impossible not to extend admiration to works which not only bear this close scrutiny but which actually require it for their full appreciation. A lyric movement is generally one of little technical pretension, its cate- gory being one from which we expect no novelty of feature; but here are novel features too numerous to permit us even to describe them all. 21. Another of these occurs in connection with the trio five-bar rhythm, which would have appeared mechanical if either had Ex. I28. Op. 25, Intermezzo. Trio, First and Second Subjects. First subject Phrase 2 + | | | N -> -> _--~ #EN.N HEEº ***= Eººs=#EEEEEEEE 5–FN-F"-EE======E=====E==EEE-Z Eº-Ee-s==e=#EEEEEE —e e-G l—P- J.-- r— I-L---L--P--|--—t—— FF- -O \ wº etc. Second subject Phrase I | 2 + 2 + | | | -jºb:5- =#2 #14s #2-s F-ILT #e- sº-º:I ºs- --F—— gº ### º############# * -º ºr # ––9- &= -º º-º-º: JO8 HANDBOOK TO BRAHMS (ORCHESTRAL). been persisted in or suddenly dropped. The second subject is accordingly, though phrased in five, made to sympathise with the duple rhythm to which it must return. This is done by using a phrase-length of 2 + 2 + 1 ; instead of 2 + 3, as was the case with the first subject—the fact of neither of these subjects pos- sessing much attraction in themselves only serving to exalt the power of good workmanship. Brahms's themes are not gener- ally beautiful in the conventional sense, but become lovable by the treatment they receive—a fact which sufficiently explains why his works require such study for their full appreciation that first hearings convey only first impressions. 22. Epitome. - (a) Subjects. See Ex. 125 to 128. (6) Key, C minor. Trio, A flat major, Coda, C major. (c) Time, 3, no change. (d) Length, 321 bars (including D.C. printed in full), no repeats. * Ex. 129. Op. 25, Intermezzo. Outline. FIRST SECTION TRIO D.C. CODA 116 76 116 13 III. AND ANTE CON MOTO. 23. This movement consists of two song-groups divided by an intermezzo, the three sections being approximately of equal length. It might therefore be described as in “ternary form,” but the expression is better avoided as not always interpreted in the same sense. The frequency of extensions and overlappings of the phrase results in a first idea of its outline being best obtained by considering it apart from all modification. Thus the full rhythmical summary presents a rather complicated ap- pearance at first sight, but not when compared with a statement of normal phrase-lengths. OP. 25. FIRST PIANO QUARTET IN G MINOR. IOO REIYTHMICAL TABLE. Ex. 130. Op. 25, Andante con moto. PORTION MATERIAL BARS consist ING or | ****NP- ING TO 1st section 1st subject 16 || 4 x 3 + 1 \ 16 * 4 – 1 2nd subject 10 4 × 2 + 2 26 1st subject 17 4 × 2 + 2 43 º : 4 – 1 + 4 2nd subject 16 4 × 4 59 Bridge 15 2 + (4 + 1) 2 + 3 74 Totals. 74 74 Middle sootion | Subject 33 || 2 × 16 + 1 107 Bridge 11 4 × 2 4 – 1 118 Subject 15 2 × 7 - 1 133 Bridge 18 4 × 3 + 6 151 Totals. 77 151 Return Preliminary state- Iment of 1st sub- 16 4 × 4 167 ject in C major 1st subject 16 4 × 4 183 2nd subject 10 4 × 2 + 2 193 1st subject 24 4 × 2 + 2 4. 217 4 × 2 + 2 Coda, x 2 * 3 18 4 × 3 ; : , ; } | * Totals. 84 235 24. No one could divine from the placid opening theme of this movement the wealth of exuberance to follow. At entry Ex. 131. Op. 25, Intermezzo. Normal plurase-lengths. ~n kn -- -O- —- E * = P | S Vla, a + · · = H . ºr a Fis *==== D. S TE-Iſ-ºf-º-LTTE-ITENETITLE: 5-III-XIII.5.I.T. Isſºil- &= === ###### =#### ########E: == =# r— * * * * * * ---|--|- —l : — = Fº ; ::Pizz O TJ Pf. 4 4-—————— gº — JT-I-S-L --- ( HE =========S-E-----— ==== -->2 ------ # ji=== *-*** # ###. *E*===::#; ! | - ––––––. s—o g *–2–º *—E-g s—"— sº Z-2–======= e=; = ===Hº- ; : E=#Eº. Rºe #### -O- V. := 12 % ºf wº % V. º w % *Collo + R.H. doubles with added octaves. II 2 HANDBOOK TO BRAHMS (ORCHESTRAL). - Vln. | -- Nºs- * -- - - t We have already” had occasion to deal with this subject in connection with the Funeral March of the German Requiem, where Brahms (instead of being obliged, like Beethoven, Handel and Chopin in their funeral marches, to harp upon one note in the melody for fear of disturbing that equality of foot-tread which is the essence of the rhythm in such a case) secured free- dom for his upper part by employment of the three-beat bar; which compels the strong fread to come to the assistance of the weak beat twice out of three times. For (as, in marching each alternate beat is a strong or weak tread as the case may be) it is clear that if we take, say, six such triads or beats we shall have, in common time, the strong tread always corresponding with the musical accent; whereas in triple time we shall some- times have the strong tread helping the weak beat and some- times the strong beat helping the weak tread. Here, for ex- Ex. I35. March in triple time. A A A Tº TeiLº TzTºº Lº-TETE- E-z-1---z--1-F-2-1– V V 1 2 3 4 5 6 ample (strong treads being crotchets) we find in duple time (the upper accents) strong beats and treads coinciding; but in triple time (the lower accents) we have, at “4,” the strong beat of the { 3) triple bar assisting the weak tread, and, at “3’ and “5,” the * Vol. I, p. 172. OP. 25. FIRST PIANO QUARTET IN G MINOR. II 3 weak beats of the triple bar reducing the weight of the strong tread. These influences combined result in that “neutrality of beat” which is especially desirable for the purpose of a mournful procession, but which is in some degree a constant feature of the march at any tempo. 28. We are thus enabled to see why it is in this movement that the phrase-length for the middle section is suddenly cut down to two bars. March-tread being essentially duple, the triple measure is naturally a disturbing Influence—too much so for practical purposes unless adjusted at frequent intervals. Hence the rise and fall of the melody constituting the phrase- length as mentioned. 29. The middle section, which is in C major, employs, in sub- siding, a motive easily mistaken for a subject, but which is merely a bridge-passage. Being used (bars IO7 to I 18) to join two instrumentations of the subject and then (bars I 33 to I 5 I) for the return its resemblance to a formal subject is increased. As to the use made of this “bridge,” it certainly gives effect to # Ex. I36. Op. 25, Andante. Intermediate motive of middle section. _- --~ sºme __-———— — . eº le. ... T 2–2 — HEEEEEEEE ***EEE — Tā’ī, I l + E–––a–H 4 ---—H·-·-- Biº-EEEEEEEEEEEEH = E− QL/ - Cº- (28 w- - ---, e. Bee-ee-ee. *::::::::::: =::::=::::= GºHº i-- Hº--- -kºm- ====== =======f-c-e-a-si-E--- —. ----> *-F p - —A —s —- #Essº --sº-Hº-E Gº-EEE 9-p—-i---—T- fºLI&I-II*- the new instrumentation (from bar I 19) and might have made a Splendid return (from the sſorzando, bar I.44) but for the delay which, for some obscure reason, is allowed to take place. Although devoted to first subject, this intermezzo is not the return proper; for, not only is it in the key of C (instead of being in E flat), but the sixteen bars occupied are altogether O I I4 HANDBOOK TO BRAHMS (ORCHESTRAL). outside the scheme; which, without them, accurately corresponds with that of the first statement. 30. The Coda is so gentle and unpretentious that the novelty of what may be called its “rhythmical diminuendo’ is generally overlooked. After twelve bars given to four-bar phrases the phrase-length is gradually reduced, becoming three and two Ex. I37. Op 25, Conclusion of Andante. | be ~ 3 _--~ _--> | | G##Ef=Eg=#EEEEEEZł=# S-P bi-E P H-E E fº + |- + ==== === TITT. fº-º-º-º-º-º-º-E----->==== #EEEEE*H S-Zp. p pºi-º-º: -º-º: sº º ºm. º-s, C O L - O- - sº -º-, -āj- : *- -º- is -0. 6–2 2 | | 1 zº, H-b=2#. + 2 | | ©; #EE + E. before the final pause bar; which, being aided by falling parts, forms a conclusion of exquisite refinement. This, by the way, is one of the movements described by “Blätter für Theater, Musik und Kunst,” upon the occasion of the first performance of this quartet at Vienna, as “gloomy, obscure and ill- developed.” 31. Epitome. (a) Subjects. See Examples I32, 133 and I34. (b) Key, E flat major, changing twice to C major. (c) Time, #, without change. (d) Length, 235 bars; no repeats. Ex. 138. Op. 25, Outline of Andante. FIRST SECTION MIDDLE SECTION RETURN AND CODA 74 77 84. OP. 25. FIRST PIANO QUARTET IN G MINOR. II 5 IV. RONDO ALLA ZING ARESE. (Presto.) 32. The rhythm of this movement is as rigid as that of the Op. 18 Andante, in reviewing which we sufficiently treated the matter. Both are also folk-tune movements; with the difference, however, that this is a dance, whereas the Andante was a song movement—besides which the present being a gipsy rondo is brought within the “national” category. 33. As gesture has the greater need of variety we have here five distinct melodies, the alternation of which the critic of the Vienna “BJätter” ventured to call an “offence against the laws of style.” Let us glance, therefore, at the general arrangement. Out of a total of 463 bars, 238 are occupied by material which excludes the first three subjects. What is here called “middle section ” is therefore eminently remindful of sonata form. As for any merely mechanical alternation, its effect is so entirely relieved by the portion here styled “Quasi Cadenza” as to ren- der further explanation of the peculiarities of that section unnecessary. Either free and unbarred; or, if barred, un- phrased; or, if phrased, of erratic character; its intention is too obvious for comment. 34. Furthermore, the portion here named “first section ” is rounded off by its own Codetta, by means of which the free work- ing which follows it acquires the character of a Durchführung— and this in spite of the dance-motion which is everywhere well sustained. The first sign of caprice to which the enthusiasm of the “middle-section” leads is an irregularity in the recurrence of subjects and consequent postponement of the first subject until after the climax of the “Quasi Cadenza.” After the out- burst of the latter has been expended, and therefore in entire accord with every recognised standard of formal beauty, the principal theme returns; being then moreover furnished with an exultant Codetta, than which there could be no more appro- priate counterpoise to the placid ending of the first section. Truly, for his own sake, the Vienna critic should have been more discriminate. - 35. The next feature is an almost exclusive adoption of three- bar rhythm, exception to which occurs during the free section only, where we have eight four-bar phrases (excluding repeats) II6 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 139. Op. 25, Rondo. Order of subjects. Codetta. 4, 5 3 4, 2 Quasi-cadenza work l Codetta, given to a new theme (No. 5) of cantabile character, and natur- ally heightening the effect; though, 1t must be confessed, more by a timely appearance than by any individual merit. But it would be hard to deny Brahms the privilege of being some- times what the rhapsodical musician is always—an opportunist. IREHYTHMICAL TABLE. Ex. 140. Op. 25, Finale. Rondo alla Zingarese. PORTION MATETRIAL BAIRS CONS1STING OF EXTEND- ING TO 1st section* 1st subject 30 3 × 10 30 2nd ,, 36 3 × 12 66 1st 3 y 13 3 × 4 + 1 79 3rd , , 12 || |: 3 x 4 : 91 y 3 x 3 24 3 × 8 115 1st , , 8 3 × 10 145 Codetta, 3 * j, , 9 3 × 3 154 Middle section* || 4th 18 |: 3 x 2: |: 3 x 4: 172 5th. y 16 4 × 4 188 3 y 3 y 17 ||:(4 × 2) + 1 + (4 × 2): 205 3rd ,, 24 3 × 8 229 y • 2 3 S 3 × 2 + 2 237 4th 3 x 18 3 × 6 255 2nd , 37 3 × 12 + 1 292 Quasi Cadenza | Subjects 3, 4, 5 || 69 See special Ex. ,361 Return 1st subject 21 3 × 7 382 Coda, 3 y • y 22 3 × 7 -- GN 404 * Use of these terms is explained in the text. OP. 25. FIRST PIANO QUARTET IN G MINOR. II 7 36. The three subjects affording material for the first section have, in spite of their contrasts, a distinct affinity which, whether happening intentionally or otherwise, renders the variety of the middle section most welcome. The fourth subject, with which Ex. 141. Op. 25, Finale, First Subject. > I-> I-> I-> +b== z*-i-I--------1-2–1== =#2–zº =#=#E -*. t======== =====#s-size #E J" -* -s "a -w- º ETº Tº * =========== º ;I. T. E.I.T. TºIſ-/-. Tº TºTºIIIº-º-º-º- €5–H E=Ef (f=f ###: f ——º-H-I-- =\;=EF- -º-F---- immimimimms ** =mm im-m-m- Ex. I42, Op. 25, Finale, Second Subject. =s* --~~~ { -sº sº ! | º | | *- __º-ºr __- - - - e- - _s = -s. --- *— =#EHF-FFEEE 3'-º-H #E=#E=====#####EEEEE-E==# J-—— := - I -, -s: "T s—º - #: -g- * , ñº. N - Cº- ‘N i 2INTºa T. 4.2 — — I-- I . TTT |ºf====HE ====F7F: 5––s- # * ! Ex. I43. Op. 25, Finale, Third Subject. m ====m _------ ======== Ż-Hº-3–EiE-FEEEE pº *Tº-Tº-TII*T*Is I *EE ==== :::::::H Fººtººººº-º-º: + fºr tº: - --- s | - — t t - :-I-2 —I-A ––––a–T-º--—e— 3)3·h−E======#EEEE 2—f-E E-F @#=====####EE --------- --------- * F- — k- the middle section commences, is “meno presto,” and still in three-bar rhythm; but with its phrases very pointedly marked off, as if to call attention to the rhythmic change about to follow. This accrues with the fifth subject, which later on provides material for the barred portion of the “quasi Cadenza,” but that is all. Its formal recognition is therefore but slight. II.8 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 144. Op. 25, Finale, Fourth Subject ===== mas W* #== Þe # —-F5– — fly---|-a-º-3-f-º-º-º-2 #-tº- —–2–2, l Str. (Piano doubles) |G########## O C. s—º-—1–2– ‘s. 2– * sº Ex. I45. Op. 25, Finale, Fifth Subject. *Cello (upper notes) and Viola ##H==== --~Hºº-º- ===== ====E E2-E +E _T_º|TºI. #=== =#EE; ——d-e- =========== J" l Pt. : : ; 3. ; : : #8. | eji=#: T E T # E-----F 2– 3. fºr – - = - - - - - - - — sº –––H--º- - - - - ſetHHHHHHHHH 63 - -3 | II. T. --- || -- + º- * ! s -, -e- g: d - := - 37. The “quasi Cadenza” is distinguished by boldness, orig- inality and freedom. It is bold in emulating for a quartet the kind of Cadenza usually written out for a concerto; it is original in choosing a rondo, of all movements, for such a strange ex- periment; and it is free by reserving for this section specialities of the piano part, new counterpoints and new rhythms. The preponderance of duple rhythm (coupled with total exclusion of subjects I and 2) considerably helps the contrast of the return besides contributing to the separate unity of this section and making its object clear. 38. Epitome. (a) Subjects. See Ex. I4I-I44. (6) Key, G minor, changing to G major for bars 155 to 255 (subjects 4, 5, 3, 4). (c) Time, #, without change—the bar being practically of merely beat-value within the three-bar phrase. Note that the bar subdivisions which are duple during the triple phrase become triple during the duple phrase (bars 173 to 205). OP. 25. I IQ FIRST PIANO QUARTET IN G MINOR. Ex. 146. Op. 25, Quasi-cadenza section of Rondo. RHYTHMICAL TABLE. Dissection of this item in Ex. 140. EXTEN D- MATERIAL BARS REIYTHM ING TO Pause on dominant chord of minor 1 . free 293 9th ; with sequence of short falling scale passages ending with a on dom. “Meno presto " on motive taken 8 3 × 3 – 1 301 from 5th subject modulating to B major (overlap). “Poco piu presto * on 3rd sub- 11 2 × 5 + 1 3}2 ject, concluding with falling scale of F sharp minor ending on dom. 3 On subject 4. 21 2 × 3 333 4 × 3 - On subject 3. 20 4 × 5 353 Sequence of short rising scale pas- S 4 × 2 361 sages ending with 1st subject. 69 (d) Length, 404 bars; or 463 with repeats. Ex. 147. Op. 25, Rondo. Outline. I II I III I CODETTA | MIDIDLE QUASI I CODA SECTION | CADENZA 30 36 13 36 30 9 138 69 21 23 OP. 26. SECOND PIANO QUARTET IN A MAJOR. (For Piano, Violin, Viola and Violomcello. Dedicated Zo Dr. Elisabeth Rösing.) I. ALLEGRO NON TROPPO. II. POCO ADAGIO. III. SCHERzo (Poco ALLEGRO). IV. FINALE (ALLEGRO). Published by N. Simrock in 1863. Arrangement for Piano (four hands) by the Composer. I. ALLEGRO NON TROPPO. I. ON this occasion we begin with a problem. Cases of phrase-extension or overlapping are extremely few in this move- ment. The extra bar” is necessitated by the repeat and the four barst merely an alternative ending for first section. Such rhythmic peculiarities as do occur are therefore within the phrase —or even within the bar; which is the same thing as saying that they relate merely to subdivisions. Yet the rhythmic interest 1s of absorbing character. Why is this 2 2. Something of the answer appears in the very first phrase, with the classic trait of foreshadowing the character of an entire movement by its opening bars. The plan is to evolve the de- sired characteristics by cultivation of the rhythmic basis of this phrase, which in spite of simplicity, becomes therefore an object of interest. Brahms is often supposed to have gone out of his way to make rhythm a speciality, but all his extravagance con- sisted of recognising its natural claims. A composer who does this finds rhythmic refinements easy precisely as a student who OP. 26. I 2 I SECOND PIANO QUARTET IN A MAJOR. IRHYTHMICAL TABLE. Ex. 148. Op. 26, Allegro non troppo. EXTEND- PORTION MATER.I.A.L. BARS N. consistING of is a ro First Section | 1st subject 36 (2, 2, 4) 4 + 4 || 36 1st int. motive 16 4 × 4 52 2nd subject 33 (4, 2, 2) 4 84 3 y 3 * 10 2 X 5 94 2nd int. motive 11 4 × 3 – 1 105 3rd subject 18 (2, 2, 4) 2 + 1 Extra bar” 1 124 Totals 124 124 Durchführung Extra barst 4 128 º 3rd subject 16 2 × 8 144 1st subject 36 2 × 18 180 3 y 3 y 10 2 × 5 190 2nd int. motive 7 4 × 2 – 1 197 3rd subject 16 (2, 2, 4) 2 213 Totals 89 213 Tècturn 1st subject 37 (2, 2, 4) 4 + 5 250 1st int. motive 16 4 × 4 266 2nd subject 32 (4, 2, 2) 4 298 5 3 9 3 10 2 X 5 308 2nd int. motive 11 4 × 3 – 1 319 3rd subject 25 4 × 6 + 1 344 Totals 131 344 Codia 1st subject 20 2 × 364 3 y x 3 16 (2, 2, 4) 2 380 Totals 36 380 Ex. I49, Op. 26, Allegro, First Subject. 3 Pf. 2-S 3. —, K–O — –4=-----is Y- ©####### * --~i=-- --- Y- | 3 3 * does so finds their discovery and appreciation a pleasure. Thus We See at Once that at the introduction of the first intermediate I 22 HANDBOOK TO BRAHMS (ORCHESTRAL). t N -##–E–N–– --> _N N_* —-e— —#: Tºº-ºº: * * *-* =e - -E-N II ---a –-N–– ––– * * ––– ####### ########## * / # =#=+===-|-- 'Cello 2--> 2.Ée-fi,. # * e. * * -s. | ] eiß:########### SE:#E====E====F-2E====EHE=E=EE :=Hºº-º-º: H5+----, 4–5 F---4----- wº 4 v IV motive (bar 37) the original phrase-formation 2 + 2 + 4 yields to a succession of four-bar phrases, but that these four-bar phrases are sympathetically subdivided—that is to say they are composed of 1 + 1 + 2, an exact reproduction of the rhythmic proportions of the opening. Fx. 150, Op. 26, Allegro. First intermediate motive ~ 4 , | , - . Tº # . ###### −4°±-º-º: # :=#2— @Hºº-ºº: =#4'-tº- #####Ef Zºº_L ===#Ef *—–2–3–1 ; º feet. Frººf- º | | O- -- e- ſ ~! | | | | #==*= I-4-- ########## | e =#####: *:::::=Hºº::= p’. #2; "| E. S. s | y | 7 i o ; 3. This prepares us for a similar construction of the second subject; and in each case although the four-bar phrase, as such, Ex.- 151 Op. 26, Allegro. Second Subject (first four bars}. -*. sº 1. ! ... a. º. a | | | P. ſº. ! . . *:: º --, -ºs.º ... | #: a gº-º-, z_*-* ::="H. : EEF ºz-Sºº-º-º-º: Tº E.E::=#EEE +++:EHE” E ==#E-º-º-º: Et-Eſ-º-º-º-º-º-º: Fº 2-E- #### -- T ~ sº sº 3. ##EE::= --------I I l. sº '. Tº. T Gº-º-º- ~! T&T. *º --- i––– __2_ ſº T L | eºs fºr:#EEE #2-ºf-º-EE ==HE -- - sº- -C- * -O- , 69**- --- - C . | " 's- | z. | fºr a | | | I | I | 2 | OP. 26. SECOND PIANO QUARTET IN A MAJOR. I 23 is sufficiently assertive, its subdivision as stated remains clear. This clearness is an essential; for without it not only the lis- tener would miss the effect resulting from symmetry of design but even the analyst would be impeded in his examination. Such clearness, moreover, is absolutely necessary to give strength to the new subject as basis for a new departure. 4. The new departure here is most interesting, but for its right understanding we must first cast an eye to the Durch- führung, in which free use of the two-bar phrase is in keeping with the desired increase of excitement. Obviously the logical introduction of this section requires that the listener should be already initiated to a succession of these short phrases; but to this the first phrase-formation (2 + 2 + 4) was unfavourable, on account of ending with a four-bar flow. The second phrase- formation (I + I + 2), by ending with a two-bar phrase, opens the door for a succession of the latter; and accordingly we find that, whereas the first eight bars of first subject consists of 2 + 2 + 4, those of second subject consist of 4 + 2 + 2. Fur- Ex I52. Op. 26, Allegro, Second Subject (second four bars). .** 12 º, 2--> . L–S t ––––––– S->’ -O- 2 thermore, and as if to prevent all doubt as to the intention, the statement of this theme is rounded off by a succession of two- bar phrases (bars 81 to 94) previous to introduction of the second intermediate motive. 5. Next, as to the reason why this induction of the listener should have been confided to the second subject instead of to the third; considering that to some it may appear that the latter, occurring just before the Durchführung, would have been the more appropriate intermediary. Had this course been chosen not only the contrast offered by the Durchführung would have necessarily suffered, but the approach to first subject, both at return and Coda, would have been impeded by collision of the two-bar with the four-bar phrase. 6. As to the construction of second intermediate motive little need be said, such motives being generally in the rhythm of the subjects which they introduce; but the third subject, beyond I24 HANDBOOK TO BRAHMS (ORCHESTRAL). Fx. 153. Op. 26, Allegro, Second intermediate motive. ! | –––a1–h1––– —l -. | —C — -” – # == #EEE → IIHTs-ɺ-wrºt]-º-Tai- =º:#EEEEºi=#EE:E=== -msmºs -ººm sº -º-º-º: Pºº-F—º #sºrs: F3–C–F–G--- — O— I * / P- —s—e- Str. alone se- G}=====E={ *— –9–––F– - =======E=#= **, I 5 Ts pia-- * ~ performing the perfunctory duty of conducting us back to the original rhythm, is of practically no service. . It adds nothing melodically to the movement by inflections which have already occurred, it contributes nothing of harmonic interest and even its instrumentation is the weakest feature of the movement. Whether, as in other cases, this lack of individual interest may have been designed to heighten effects to follow is of course a question, but even this intention is not well fulfilled; and the fulsomeness of statement which this poor subject receives at the return (bars 320-344) not only seems evidence of conscious Weak- ness but impoverishes the Coda. The result is that the latter Ex. I54, Op. 26, Allegro, Third Subject. sº ==Riº Yºs ==z_ ######## ### - #– -----------|--|--|z|==-|--|-->== ########### is merely normal. On the other hand, the Durchführung by turning the entire accumulation of material to good account is a retrieving feature. 7. Epitome. (a) Subjects. See Ex. I49-154. (b) Key, A major, changing to C major at entry of Durch- führung, which during its course passes through C minor and returns to C major. The modulations involved provide Some highly interesting progressions. (c) Time, 3, without change. The rhythm throughout is re- OP. 26. SECOND PIANO QUARTET IN A MAJOR. I25 markably free from expansions and contractions, but at each introduction of third subject the phrases are overlapped. (d) Length, 380 bars; or 499 with repeat of first section. Ex. 155. Op. 26, Allegro. Outline. FIRST SECTION | DURCHFijBIRUNG Rl'TURN CODA 124 89 131 36 2–~ 2–’-> I II III I II III 52 53 19 53 53 25 Tii. POCO ADAGIO. 8. In his “Oper und Drama” Wagner tells us that Rossini, having arrived in Paris after writing “William Tell,” knew very well why “he called upon Auber to make him an ‘extra gracious compliment.’” Doubtless Brahms also knew very well why he made the structure of this piece of extra gracious sim- plicity. It was, in our view, that obviousness of general out- line might atone for vagueness of phrase formation—might prevent us from losing our way whilst travelling along an other- wise misty road. Well might Huneker say” that Brahms's con- tribution to the technics of rhythm was enormous, for although he is always teaching us rhythm he rarely gives us the same lesson twice; and here, for the first time, we have it proved that material, the vagueness of which would otherwise have rendered it futile can, by being held within strong rhythmic delimitations, be made to convey a lesson of romantic tenderness. 9. Two sections; two subjects; the sections so far equal in length that a slight shortening of the second (even that taking place obviously in favour of the Coda) is the only cause of * “Mezzotints in Modern Music,” p. 7. 126 HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. Ex. 156. Op. 26, Poco Adagio. EXTEND- PORTION MATERIAL bans | cossisting of ,sa is 1st section 1st subject (3 + 2) 2 J 14 2 × 2 14 33 ; 3 ſ 3 + 2 *- 1 9 l 3 + 2 23 3 + 2) 2 2nd subject ſ 4 × 2 Totals. 57 - 57 Free section | Free working 28 4 × 7 85 forming coun- terpoise to Coda Totals. 28 85 2nd section | 1st subject ſ (3 + 2) 2 14 l 2 × 2 99 3 y 3 2 ſ 3 + 2 - 1 9 l 3 + 2 | 108 ( 4 × 2 2nd subject 18 2 × 2 126 3 + 2 + 1 Totals. : 41 126 Coda, 1st subject 10 (3 + 2) 2 136 8 2 × 2 + 4 || 144 11 4 × 3 – 1 || 155 Totals. | 29 | 155 difference; with a free section to balance the Coda and mark the half of our journey : this is the elementary plan the bracing effect of which is to enable us to confront rhythmic complication in detail with abiding knowledge of its relation to the whole. IO. With the strings muted the piano-part becomes governing factor of the first subject, and its sustained notes during the strings' anticipations of the next beat produce a pleasant and mysterious effect. The rise of the piano above the strings helps us to decide the subdivision of the phrase, besides preparing us for the two-bar phrases leading to the nine-bar episode marked in the summary. After this episode we are to have the first subject again with a new instrumentation; so that its duple rhythm serves not only to divide the two settings but also as OP. 26. SECOND PIANO QUARTET IN A MAJOR. I 27 EX. I 57. Op. 26, Poco Adagio, First Subject. Str & . # —-2 i S_S S => Tº sº-J 2- —s".--> # #EE --- *:::::::Hºàº; —s===S-I--- -->======== (º-tº-º-º-e 2–E=E="-j-º-º-º-º-º-º-º-z-z-z-H-C-C-E------- r:----—- H==EEF-E-º-º-r-s Ewin-E-F-º- I f. `- gº ~ Tº- *~! Y-T Str. Šs `--— —’ _--——— | ~ | | * = t |- ! -º- -a- ſº. #~. g -##–t *_s_*. *—s—J —t— ſº- *— ############# ——e --———e – e –P-----e-I- Esſºrs E- - s - s T- a trait of unity—the coming second subject being entirely duple. In the latter the figure which most characterises the first Ex. I58, Op. 26, Poco Adagio, Second Subject. Pf. 8vo, with 8ves. * _--— — . # | N T*- _----- _---~ =####–H3+-----is-Hi-ERºs—T-->s-- *m. #! #######EEF==== s I. --lº – º – 4 –G–C–24 — g—al- * - G -O- 3. | E-A- c_r ~ *-ºs-rººmsº .*. s—f e –2-3 ºf . :*::== ‘ée): i; –32-e--e 2–3–2–E–2–3– Ełs-É–E–F–5-Ha-ºe-Ec-2– GºłºżH= E: E - Fºsº =### º † º: – * - --- e-º" varº Str. in 8ves _- _- sº _- *~ _- --~ _- sº 1 # *==== *S----- =>–1–2----------—e ==== ====== EEE-------E. –––f * , –3–3°–3–F–F–G–C–F–B–F–32–s ..l. Pf. Tº s N ... ... • * : *-*.*.*, * :-------------------- Öğ. * =##### Ees f – tº: – =######5. #### *::::::: --- |--|--|-- - |--|--|- t— |--|-- | - e- --> Wººd subject not only reappears as counterpoint but is also combined with the new accompaniment thus originating the combination of normal with triplet quavers which is so largely used through- out the movement. II. Undivided five-bar phrases are rare at any tempo and are almost inconceivable in extremely slow measure. In the same degree as the movement is slow, the demarcation into 3 + 2 or 2 + 3, as the case may be, becomes vague; until, in an Adagio, it may almost be said to be effaced. The result is I 28 HANDBOOK TO BRAHMS (ORCHESTRAL). that there would be equal authority for construing in either way, but for the fact that the free section is duple. This shows the intended subdivision to have been 3 + 2—the duple sub- division being placed last as preparation for the new departure, and the refined expression of the movement thus resting upon the faintness of phrase-demarcation, justified by firmness of the general bearings. - 12. Rhythmic vagueness however 1s not all which strength of outline is called upon to make good, as varieties of instru- mentation and figuration given to recurrences of the same theme would be altogether excessive in the absence of any compen- sating feature. There is the distinction between Brahms's colouring and ordinary changes of the kind; as the tints do not appear to have been arbitrarily chosen, but necessitated. The result of insufficient attention to this difference is that he is often praised and blamed with equal injustice. Here, for example, the piano passages are elaborate without there being any act or purpose of the kind; the elaboration being absolutely re- quired in order to continue what the 'cello has just delivered. The other strings are silent whilst the 'cello's individuality is asserted by contraction of the interval used in the first figure and have, as it were, no right to appear, otherwise than to assist its expansion. This is “instrumentation ” in the true sense of obedience to the demands of material, and the two nine-bar episodes upon this first subject must always stand as illustra- tions of the use of colour in entire subservience to the require- ments of thought. I 3. Epitome. (a) Subjects. See Ex. I 57 and I 58. (6) Key, E, with change to F minor on return of second subject, E being resumed for Coda. (c) Time, common, no change. (d) Length, I 55 bars, no repeats. Ex. 159. Op. 26, Poco Adagio. Outline. FIRST SECTION FREE SECTION SECOND SECTION CODA 57 28 41 29 ,-º-, 2-&-> I II I II 41 16 23 18 OP. 26. SECOND PIANO QUARTET IN A MAJOR. I29 III. SCHERZO. (Poco Allegro.) 14. This is a highly matter-of-fact movement as the following description will testify. It has two subjects each of which opens with four-bar and closes with two-bar phrases. There is only one intermediate motive; and this, being in two-bar phrases, en- ables us to see the reason for diminishing the phrase-length for close of the first subject statement, viz., in order to provide a connecting link between these two items of material. Thus towards end of the section when a connecting link is no longer required the two-bar phrase entirely disappears. THYTHMICAL TABLE. Ex. 160. Op. 26, Scherzo (first section), AIRS ONSISTING O EXTEND- PORTION MATERIAI, BAR CON ING OF ING TO 1st section 1st subject 4 × 5 24 (1st part) 2 × 2 } 24 Int. motive 9 2 × 4 + 1 33 * 4 × 4 2nd subject 21 2 × 2 + 1 1 Extra for ‘‘ 2nd time ’’ 55 1st section e ſ 4 × 2 py (2nd part) 1st subject 18 l? × 5 73 Int, motive 8 2 × 2 + 4 81 3 y 5 * 19 2 × 9 + 1 100 1st subject 9 4 × 2 + 1 109 (approach to) x 3 3 y 10 4 × 2 + 2 119 º 4 × 4 Return 1st subject 20 2 × 2 139 Int. motive 9 2 x 4 + 1 . 148 2nd subject 17 4 × 4 + 1 165 1st subject 26 4 × 6 + 2 191 3 y x 3 21 4 × 5-H1 212 1 Extra 213 Totals. 213 213 IO I 30 HANDBOOK TO BRAHMS (ORCHESTRAL). 15. The close of the second subject in shortened phrase is due to a different cause. This is partly revealed by the final one-bar extension shown in the table as preceding the repeat of first part of the section. 16. The general scheme may be described as one in which the phrasing of the first subject shortens as it concludes, thus Ex. I61. Op. 26, Scherzo. First Subject. *- _s=== -###–sºre- =-s—I-F-A-I- * ###########EEE s I- ~ is ! leading to an intermediate motive conceived in the spirit of the shortened phrases and therefore of more agitated character. In the composer's plan this motive becomes an auxiliary of the first subject exclusively, following it at every recurrence; and, Ex. I62. Op. 26, Scherzo. Intermediate motive. after the repeat furnishing principal material for a free section. The second subject being of the conventional cantabile order does nothing to add to the interest of this simple plan, which, Ex. I63. Op. 26, Scherzo. Second Subject. _-——— --~ () —--— -ſe." Tº le. wºr: * > -º sº * *- : * *—-—-—h ——-F—e— #: *= =EH =#EEEE=#= *L el/ [ITI T-E-F-F-1 TTIII considering the length of the movement, may therefore be con- sidered as somewhat overworked. This would certainly be the result in the majority of such cases; but here we feel, on the one hand, that the working is too coherent to allow anything to be spared, and, on the other, that more compactness would have added to the charm. 17. The trio-section opens with twenty-one bars of canon, unworthy of the rest of the movement. The second trio-subject OP. 26. SECOND PIANO QUARTET IN A MAJOR. I3 I Ex, I64, Op. 26, Scherzo. Trio, First subject. | approximates in character to the opening subject; and this, moreover, by no means adds to the general effect. The fact is evident that Brahms, having in the first section succumbed to the often-felt temptation of over-working light material, was not unwilling to compensate for this by dispensing with Coda. Ex. 165. Op. 26, Scherzo Trio, Second subject. —— ~~~~ t -º-, -e- T- -e- —e-r-º-º-e-r-E-F-É–1–f-e-º-H-fºe— ########### -º-r- – i motive It is of course natural for a composer to think that, because his own labour is lightened by this omission, strain upon the lis- tener's attention will be correspondingly eased; but weariness is only increased by repeating the first section D.C. without abridgement, whereas a shortened form of it rounded off by a good Coda is the best means of justifying any excess of previous dimension. - 18. The second trio-subject differs from the first-section open- ing in proceeding more largely by grades; thus giving rise to the motive bracketed above, which is made a feature. A rhythmic vagueness here (as in Op. 16, see par. 20) results from I32 HANDBOOK TO BRAHMS (ORCHESTRAL). the use of a duple motive in triple time; and the phrase-forma- tion 3 x 3 + 2, elsewhere described as a “rhythmic diminu- endo,” may be traced to the same cause. - THYTHMICAL TABLE. IX. 166. Op. 26, Scherzo (Trio). EXTEND- PORTION MATERIAL BARS | CONSISTING OF ING TO Trio (1st part) 1st subject 13 4 x 3 + 1 8 4 × 2 234 3 * 3 3 X sº 2nd subject 12 ſ 4 × 2 246 \ 2 × 2 2 Extra, 248 Trio (2nd part | 2nd subject 24 4 × 6 272 3 x , , 11 3 x 3 + 2 283 ,, return 1st subject 13 4 x 3 + 1 296 3 y * x 14 4 X 3 + 2 310 2nd subject 8 4 × 2 318 3 y 3 y 11 3 × 3 + 2 320 Totals. 116 329 I9. Epitome. (a) Subjects. See Ex. I61–165. (b) Key, A major. Trio in D minor—passing to D major at last entry of first subject. Extensive transient modulations in middle portion of both sections. (c) Time, #, without change. (d) Length, 329 bars, or 628 with repeats and D.C. Ex. 167. Op. 26, Soherzo. Outline. FIRST SECTION TRIO D.C. 213 116 ,----'--> ,--> l: 54 :] 159 || 1 |: 32:1 83 213 IV. FINALE (ALLEGRO). 20. The critical listener to this movement is liable to appear ungrateful for the pleasure he receives; for after enjoying it he proceeds to the discovery that joviality expressed in hundreds of two-bar phrases, though exhilarating while it lasts, is scarcely entitled to a lasting praise. It does not take him long more- OP. 26. SECOND PIANO QUARTET IN A MAJOR. I33 IRFIYTHMICAL TABLE. Ex. 168. Op. 26, Finale. EXTEND- PORTION MATERIAL BARS CONSISTING OF - ING TO 1st section 1st subject 32 2 x 16 32 te Q 1st Int. motive 16 º, X 8) 52 3 y 3 y 5 3 4. 2 X 2 ſ 1st subject 8 2 × 4 2nd Int. motive | 24 2 X 12 84 2nd subject 21 2 × 10 + 1 105 3 y 3 y 10 2 X 5 115 3rd Int. Imotive 26 2 x 13 141 general pause 1. Tºxtra, l 204 3rd subject 62 2 × 31ſ ed Totals. 204 204 2nd section 1st subject 16 2 × 8 220 1st Int. Inotive 16 2 × 8 236 3 x 3 y 5 § 6 2 × 3 242 1st subject 40 2 × 20 282 » 3 × 9 3 X 3 291 1st Int. motive 27 2 × 13 + 1 324 > , , , 5 x 6 2 × 3 *- O e 2 2 2nd subject 1 × 10 + 1) 355 x y 3 × 10 2 X 5 3rd Int. motive 26 2 x 13 381 general pause I Extra, 3rd subject 60 2 x 30 } 442 Totals. 238 442 Coda, Free 24 2 × 12 466 e 52 × 26 1st subject 1. 519 Totals. 77 519 over to find out that recurrences of the principal theme are pur- posely kept far apart in order that painful obsession by the two-bar phrase may be diminished, and that this is done only too well; the distance being such that we become indifferent as to whether the theme return or no. We thus lose the rondo sense by forfeiting pleasurable expectation of the theme's return. But that is not all; for, as one fault invariably makes many, Ex. I69, Op. 26, Finale. First subject. -> > . I 34 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. I70. Op. 26, Finale. Second subject. St 2-—S _--~ ---~ T. t d | | ## ======4====4=4=4. EßEEEEEEEEEEEEEEEE EHººd:EEEEHEEEEE ####### ####Eää ſ *_2=s_> \-22 is 2F. º º | g ##=======Pº-º: #he - -º-º-º- –2.É.-- €º-EE ======########## Pf.-P. #2.----------------------------|--|--|--|--|-- : I Jºe P. 5* *_F # |- i. relief from the terrible persistency of the two-bar phrase has been also sought in the multiplication of intermediate motives. These motives, as in reality so many subjects, not only tend to a distracting redundancy of material but are not always of appropriate character. 2I. This is true not only of immediate motives but also of principal subjects; of which the second, for instance, seems to be in some sort a reflex of the paltry canon of the scherzo. Whether these considerations have influenced other judgments we are unaware; but they cause us to agree that “had Brahms revised this quartet in later years, as he did the first trio, he would have modified this last movement.” Ex. I7I. Op. 26, Finale, Third subject. _--> --~ * 3–2= -- *---------- | #= =### ####### ITIE-ITI Twiſſ-III tº ºmº Ef-#5- Hº-Hº-5- C — Q-M3 —— - & | | ~~–––a. . . . .” --- | Gº-F############## S-' 22. The third subject provides a welcome feeling of repose, but the intermediate motives one and all do nothing to relieve the incessant two-bar procession. Ex. I72. Op. 26, Finale. First intermediate motive. – º–H– Tin- sº-Éɺ:*I]---Tº-s-I--- †HHHHHºFEEEEEE::::::::=======#EE ~i=–1—-—P- I —t-J-F–F–F– Fer wº, * Colles.—Brahms, “ Music of the Masters ” Series, p. 40. OP. 26. SECOND PIANO QUARTET IN A MAJOR. I 35 Ex. I73. Op. 26, Finale, Second intermediate motive. N. Sas r P- -0 *- Y. LO. -*- -O- -G w | - -º- — -i ſº- - - - -g- > -ſº • -O- •G- ## =#===#E::=====E======f-e= + L | U. i-E---—E– F-i-FF I | || I —L–!--! Ex. I74. Op. 26, Finale. Third Intermediate motive. #EEEEE=E=EH ##### == ######E -O- -W- - * 23. To this accumulation of material must be added several counterpoints which occur in course of the instrumentation and which are really counter-subjects. One of the principal of these occurs at the second entry of first subject in second section and leads, from C major as starting-point to transient modulations through flat keys, with enharmonic return. Ex. I75, Op. 26, Finale. Countersubject. Pf. in Octaves | Strings in octaves 3–E–C-------FEE-º-o-o-º-F-F-2-E- EEº-º-º-º- —F. –F#–H-E-f |- === *--~~2– *F± IºI. ====EEEEE--E=EEEEEE s:#== --~~~f~~~ ºffs •=. E | -āj-e- s "J" H 24. A feature of the movement is the curious selection of keys in which the subjects are set, the effect of which is to make it the principal business of the intermediate motives to revive interest in the parent tonality. Thus the second subject appears first in C, and then in F (bars IO5 and 355), as does also the third subject (at bars 143 and 383); but the principal theme is always in A, with only one instance of use of the minor. 25. The entire movement being given to the material de- scribed, the only freshening influence is the Coda; by the animato of which new life is infused into the first subject, and an exuberant termination secured. This expedient, added to 136 HANDBOOK TO BRAHMS (ORCHESTRAL). those already referred to (such as the wide separation of first subjects, the variety of intermediate motives and contrapuntal counter-subjects), tends to show that the composer realised the necessity of relief from the mechanical effect of the constantly recurring two-bar phrase; relying upon his own powers to pro- vide it. The task was one impossible of an absolute fulfilment; but the brilliancy of instrumentation, the interesting dialogue and the entrain of logical development combine to reduce objection to a minimum. 26. Epitome. - (a) Subjects, see Ex. I69 to 17 I. Intermediate motives, see Ex. I 72 to 174. Counter-subject, see Ex. 175. (ö) Key, A major, changing to minor. (c) Time, allabreve; without change. (d) Length, 519 bars; no repeats. Ex. 176. Op. 26, Finale. Outline. FIRST SECTION SECONID SECTION CODA 204 238 I I II III I II III 84 58 62 120 58 60 77 OP. 34. PIANO QUINTET IN F MINOR. (For Piano, two Violins, Viola and Violoncello.) Dedicated to Princess Anna, of Hesse. I. ALLEGRO NON TROPPO. II. ANDANTE, UN Poco ADAGIo. III. SCHERzo ALLEGRO. IV FINALE (A) Poco so STENUTo ; (B) ALLEGRO NON TROPPO. Published by O. Rieter-Biedermann in 1865. Arrangement for Two Pianos, by the Composer, published (as Op. 34 bis) by O. Rieter-Biedermann in 1872. I. ALLEGRO NON TROPPO. I. IN the last movement discussed our hearing-sense was directly addressed : in this it is but the bearer of a message to our inner perceptions. It was expressly the lack of what he called “sound-charm * which at first prevented Joachim from enjoying this fine work, and in view of others probably experi- encing the same feeling we shall give his comments close attention. 2. He begins by instancing the “rhythmical displacements” following the opening; the instrumentation of which, he says, is too thin, and not sufficiently energetic to support the idea. From the “sound-charm" point of view this criticism is un- doubtedly correct; and, as it will hence appear conclusive to the majority—who are either unaware of, or at all events rarely employ any other—an illustration may be useful. 3. The high value of Joachim's criticism as a rule converts this into a good instance of the kind of error which is due to ( ( * “I Clangreiz.” Joachim Correspondence, II, p. 9. 138 HANDBOOK TO BRAHMS (ORCHESTRAL). force of habit. It was, for example, the mere habit of relying upon a normal bar-value which caused these innocent broaden- ings of the phrase to appear as serious “rhythmical displace- ments”; whereas they are in fact nothing of the kind, and only wear the appearance because of Brahms not having chosen to recognise them in the notation. The case might be compared to that of a man who, saying that he is angry, fails to convey his idea for want of gesticulation; Brahms, in broadening his phrase, having appeared vague Only through neglecting to change his bar-value. 4. In order to illustrate this, if Joachim’s “rhythmical dis- placements” had been conventially barred the result would have been simply two bars of ; instead of three of common time. They merely amount therefore to a momentary expansion of the phrase—and one which happens most appropriately immedi- Ex. I77. Broadening of C into #. Original passage. | C IDIFILTT a—tº * gº =#EEEEEEEºs=E=====# \SA I L ſº wº I a—ſº.-- -z-z-H * / s g L p •r *T*T*T*. Pf. i -- -- -— — --- tº. 3 ===", i.e.: = = YE-i ill- -º-tr—º-º-º: --- ** |-r_f = i ſº Pº TT Gºśe + O + -- I. sp- I_s | i º re + I "E" wº T L | | Str. . | :*: _º. -i. ==b.5–ºe- . . . + F 2. s Eº-f **===== ==Ex-C-Hºº-º-º-º-º-º- -*s------2– *T*L*, Triº Lºſ IITL'ſ L. r | | * -4--- C T CJ aſ ºr |e 'Eb H O + P-3–e - L-E & [… * lſ. | | ſ - ately after introduction of the first subject because of the clear warning thus given of Something important to follow. 5. A disadvantage much suffered by works of extreme im- portance is that their intention is rarely realised at first, and often has very long to wait for its appreciations. Joachim’s OP. 34. PIANO QUARTET IN F MINOR, I 39 Ex. 178. The same, with notation in #. Str. |- sº . | =#E=== H+f — tº's ºn f •º –––––I---4-----— 2 f s lſ Pf. i -— -— -— a e== §tºes == === — — =-1 i-T—sº-" -(J- I e X &_ _º -----—º-º-º-º-º-Hº- ——t &#EEEEF: C + ***E=EH II …I. G ſº I F ‘s- | | Str. ! . . . –––5–2- iſ - * -4*. --- #: : – fe 2 f 3. – 3–- -- =” == 2. Fºi===- ºf: =Fºr FFF- Fºr -Fºr- | | tº º ºſ- | | *22 | | t | | i | = -F = º --- = + =. | g -º- || 6- s - | 6)#b-B-HE G== #7–5 ––– *—–H |G: p––E J a f G E ==# | | etc. first and unfavourable impressions of this work date from 1863, but those of 1867 show his view to have completely changed; for he then speaks with rapture of his quartet party having played the work with Dietrich; whilst, of the very movement with which he had previously found such serious fault, he exclaims: How lovely it is . It belongs to the most beautiful and full of meaning of any that I know.” 6. It may be inferred from this that the subjects do not in themselves present much melodic attraction; nor can they be expected to do so if we admit their invention to have been principally dependent upon design. To revert to Joachim's own expression, Brahms did not value a subject by its “sound- charm” but by its suitability for the treatment to which he destined it—a standard of judgment which incidentally helps us to understand his apparent indifference to timbre. The work moreover displays this indifference in another way, for it was first a quintet for strings alone and then a Sonata for two pianos, in which form it still holds rank as an original work. * “Wie herrlich ist der erste Satz, zu dem schöusten, tiefsten gehört er, das ich kenne.”—Correspondence II, p. 40. I4O HANDBOOK TO BRAHMs (ORCHESTRAL). 7. The subjects must be examined by the light thrown upon their mutual relation in the rhythmical table, as this largely helps to explain their individual traits. Thus, the first subject by the nature of its announcement has been likened to the open- ing of Beethoven's C minor Symphony; which however it out- THYTHMICAL TABLE. Ex. 179. Op. 34, Allegro non troppo. - ExtEND- PORTION MATERIAL BARS CONSISTING OF * ING TO 1st section 1st subject 4 2 × 2 4 2 3 > y 3 13 x 2* 7 > y 3 y 4 2 × 2 11 3 x 3 * 7 2 x 2 + 3 18 3 y x 3 4 2 × 2 22 Int. motive 10 2 × 5 32 2nd subject 24 2 × 12 6 y y 3 x 17 2 × 8 + 1 73 3rd subject 22 2 x 11 95 y 3 x 3 5 Extra for 2da, Volta | 100 Totals. 100 100 Durchführung 1st subject 26 2 × 13 126 free 13 2 × 5 + 1 + 2 139 2nd subject 15 2 × 7 -- 1 154 3 x 3 5 16 2 × 8 170 Totals. 70 170 Return 1st subject 3 13 × 2* 173 × 2 2 x 4. 2 × 2 177 3 3 2 3 7 2 × 2 + 3 184 2 x º 4. 2 × 2 188 Int, motive 10 2 X 5 198 2nd subject 14 2 X 7 212 free 10 2 X 5 222 2nd subject 17 2 × 8 + 1 239 3rd subject 26 2 x 13 265 Totals. 95 265 Coda. - 22 4 + (3 × 2) ) poco sostenuto ſ 1st subject 2 + 3 } 287 (2 x 2) + 3 ] | 13 × 2* Tempo I y 3 5 ſº 17 { 2 x 3 + 1 } 304 (2 + 1) 2 + 1 º' Totals. 39 304 * Virtually two bars of ; as mentioned in par. 4. Gºals h OP. 34. PIANO QUARTET IN F MINOR. I4 I wardly resembles only by a bold unison, the prophetic inner meaning being the real feature of affinity. By comparing the rhythmical statement of the opening with that of the return the student will moreover perceive the first four bars to be really an introduction. That its vigour is of the restless kind is quickly Ex. I80. Op, 34, Allegro non troppo. First subject. _- .* < …--> wit. GN & | * | *- -O. * -G- -62- -C- rº- shown by the broadenings of Ex. I77 and I78, and further on by the hasty entry of the intermediate motive which occupies the very bar (23) normally due to cadence of the first theme; whilst the intermediate motive itself, by hovering round the dominant, also tells of the weightiness of the coming work. In Ex. I81. Op. 34, Allegro non troppo, Intermediate motive, ######EEEE i I l— tº ºmºmºmºsºmº, º ºss -—C—2–1– –––– P--—l s wº * = \ P- this motive we have the logical precursor of the real Second Sub- ject (bar 33), which is stated in C sharp minor—a choice of key giving ground for remark on account of some exaggerated notions as to its irregularity. The student is invited to reflect that the rise of a semitone, if considered as a mere expression of earnestness, allows of C sharp being here regarded integrally as C, and therefore as the dominant of the parent key. Moreover, even if a literal acceptance of C sharp be insisted on, the relation is far from remote, seeing that the dominant of that key is the enharmonic equivalent of our relative major. The Opinion that both of these considerations were in Brahms's mind will receive support from our examination of second and third subjects. 8. The second is a dual subject, the first member of which features the notes of its chord (C sharp minor) very much in the same way as the intermediate motive did the dominant of the key. It is, however, the second member which goes to show Ex. 183. Op. 34, Allegro non troppo. Second subject (a). ^ -º-º: #=: ####### Tie-i-Hºº-ºº: ####:= - ###### =##### Hº-Hº-Hº- mºss ºf smºsºmsºmºsºs –- — C- –s--—1– I42 HANDBOOK TO BRAHMS (ORCHESTRAL). that Brahms had the semitonic upraising of his theme in mind; for, having stated it in C sharp, he immediately proceeds to Ex. I&3. Op. 34, Allegro non troppo. Second subject (b). Viola nº _l —— - - l T]T__; g =#EEEE - Ełł. = # =# —"-_---→ ~-a---- º I º-ſ, CJ g—-4– -e?. -eſ-2- e^2- 22:2. Vlns. | | | | Pf. (8ves) @## #=#EEEE::::= ------—ſ -fº' iT-i-in-º-º-º-º-º-º-º-º-º- **-s-s-s-s-s-º-º-º-º-º- sº L F+,+, :::=::::::::= O- # =; 'Cello || –– A ‘9 ––– º Si- t- tº tº H2-1652— #23. G | ! **ºn . 2-VTE:T --,-,-,-ºe - - -------------, Gä Fº **=Eß +===== #: ITI * L. F- + t sIAIRIETTAI's ==EI* ——E. • –”-F-º-º-º- 4–1-e-º-F-2– | | —— º --! S- #, 3h. | Bis | I#7 - -N--—D— #EEEEEEEEE e 2: 3. 2-º-F-z- # --_--___-- | .4*g Tºº 11 --~~~~~~~|~~~~~~~I* ~5: TT G# ###### *T*T* E # 9––– —l-º-º: | = repeat it practically in D. And the view that he had also en- harmonic equivalents in mind is supported by his third subject; which by adopting the enharmonic key of D flat (bar 74) renders the conclusion of his first section with natural return to the opening announcement quite an easy matter. Ex. 184, Op. 34, Allegro non troppo, Third subject. > --~~ T--~ -* 9. We are aware of the danger of ascribing to composers inten- tions of which there is no direct intimation, but this is liable OP. 34. PIANO QUARTET IN F MINOR. I43 Gºkl to be reduced almost to vanishing point in cases where minute examination brings corroborative features to light. It may be mentioned therefore that in this case the following Durch- führung gives ample evidence that Brahms had set out to use what may be called the “frontier position" of the F minor key for all that it was worth. Thus, at the very outset, C flat, as seventh of D flat dominant chord, becomes third in G major (B), the relative minor of which (E) becomes seventh of F sharp dominant chord. }This F sharp speedily becomes third in E flat minor (G flat), giving access to the relative major, G flat, which as F sharp acts in turn as dominant to B minor. The sojourn in this key is very transient, however, and the third of its dom- inant (A sharp) has now to serve as tonic in B flat minor. Con- sidering that all this takes place within about forty bars, or little more than half of this short Durchführung (the remainder being of like nature), the student should easily form his opinion. He will probably find, as we do, that the principal beauty of this section, and certainly its special charm for the cultivated musi- cian, lies in the wonderful grace with which the various keys are taken and left; the effect being not to weaken the consciousness of transition but to convert it into pleasure. Yet there is nothing showy or demonstrative about the whole process, the strong feature of which is that it admits no note without a meaning, in which respect it becomes a rather hard nut for those to crack who deny all intellectuality to the tonal language. IO. The extreme regularity of the return groups enables us to pass at Once to the Coda, which, as usual, is entirely devoted to first subject. It opens “poco Sostenuto" with a tonic pedal, and is of Such purely contrapuntal character that but for the indica- tions afforded by percussions of the pedal-note and by the various thematic entries its phrasing must have remained a mys- tery. How far this neutral effect may have been the composer's intention the student must judge for himself; bearing in mind that at all events the suspension of rhythmic demarcation during the “poco Sostenuto" adds considerably to the effect of the out- burst at the “Tempo primo” with which the movement concludes. II. Epitome. (a) Subjects. See Ex. 180 to 184. (b) Key, F minor, changing to C sharp and F sharp minor. (c) Time, common, without recognised change; for descrip- tion of § effects see par. 4 and Ex. 177 and 178. (d) Length, 3O4 bars, or 394 with repeat of first section. I44 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 185. Op. 34, Allegro non troppo. Outline. FIRST SECTION DURCHFüHRUNG RETURN Copa 100 70 95 30 ,-----'------> ,-------> I II III I II III 32 41 27 28 41 26 II. ANDANTE, UN POCO ADAGIO. I2. This lyric movement is built upon a single subject—One which must for ever stand as model for the combination of melodic with rhythmic interest. Here the principal rhythm is Ex, I86. Op. 34, Andante. Subject. -------, tºtº ºn tº ---ms- sm ! W111. l |_ ! | |-- | -º-o: | I.D. 5 :===Elº- =a+---THFE-T rºofie:HE:HE:######### Vl — — —l-O-O e-l ——s-s s—l _º tºº 3. * - sº -O- = ~~ OP. 34. PIANO QUINTET IN F MINOR. I45 shown in the upper pianoforte part, in following which the closing modification for phrasing purposes must be observed ; the opening rhythm being permanent but the divergence at the fourth bar of the phrase taking various forms throughout the piece with much effect. - 13. The theme, by being systematically delivered in double notes, carries with it its own harmonisation; and is thus suffi- ciently independent of help to allow the other instruments to pursue their own rhythm. The characteristic of the latter is that it differs from and sympathises with the theme so equally that it has a double influence and therefore a power of suggestion capable of being variously and aptly applied. It is represented in Ex. 186 by the violin,” viola and piano-bass parts, the 'cello being held in reserve for the broader demarcations. That so simple a plan should result in this exquisite movement shows once more the marvellous power of consistency in design, but there are also other reasons for Brahms's success. I4. Though upon a single theme the piece contains no less than three intermediate motives; very different from one another in detail and pursuing very different vocations but all subordin- RHYTHMIC.A.L. TABLE. Ex. 187. Op. 34, Andante, un poco Adagio. EXTEND- PORTION MATERIAI, B.A.R.S | CONSISTING OF ING TO 1st statement (Subject 16 4 × 4 16 y y 6 4 + 2 22 | 1st motive 12 4 × 3 34 Middle section 2nd motive 20 4 × 5 54 Subject 12 (4 + 2) 2 (36 (Subordinate rhythm only) * , y 3 * x 8 4 × 2 74 Subject 16 4 × 4 90 Roturn ſ ) 14 4 × 3 + 2 104 | 3rd motive 13 4 × 3 + . 117 Codla. | 1st motive 8 4 × 2 125 \ Cadence 1 l 126 Totals. 126 126 ate to the main theme in the same graceful sense. That they are not all equally prominent goes without saying and it is the first of these motives which figures most largely in the composition on * The second violin is “tacet.” for the time being, and is least active of all the parts, being principally used for amplification. II I46 HANDBOOK TO BRAHMS (ORCHESTRAL). account of reappearing for Coda (at bar I 18). This being in Ex, I88, Op. 34, Andante. First intermediate motive, v_ \- N - * —º-------—a--—t-* * : *—- ;IIT-a-p-º-º-º: }--I- a 9 °: : E &######## *H =::::::===# -H- -r-- 1 -r-, • F- mºs - - - - " . Hº- 5 sº º is is sº diminuendo partly, but not wholly, accounts for its gentle char- acter. Evidently the reason for the placidity of this motive is that to the Second is assigned, if not the vocation of Durch- führung proper, at all events the maximum of motion and of variety in bar-subdivisions. This second motive is therefore that Ex. IS9, Op. 34, Andante. Second internmediate motive. Vln. Pf. Pf. | I- I- |-> -> > *s- 4 *, — } s | - G - | M > -pºiá T# – lº Tººl -] ===-|-a=s=-º-º-º-º: * -ºš –2-º-º-º-º-E-G C-4–2– ---O -*—- ſº - – - – -– ~~~~ —"—a-Tºº-º-º-º-º-t-t-e-a-E-s *— +- G- ----------gi--- *Tº ºf SS ºf Cºcº Cº. º. ºf Vln. WIa. ~ ºf T*U –. tº mºnº gº! *ts smºs t - 4– º & —ſº • | G# # =: H +- - ==E====E= #. —->—->-— --> → l * * * **** * * * f Pf. 'Cello. (pizz.) | --~ | # =======E, == #5–5– T.I.T.T.T., TzTºji Iſſ". TI * / is G sº —T - *-* * *-* = . which takes us most away from the key and for a moment seems to hazard a sacrifice of the beautiful “oneness” of the movement. Then it is, however, that the subordinate rhythm of the theme is put to one of the uses mentioned in par, I 3; for, appearing with- out its melody (at the “tempo primo,” bar 55) it induces our first mood by sheer power of Suggestion. Had the subject itself at once appeared the effect must have been rankly inartistic, but the result of our being lulled by its subordinate rhythm for twenty bars (in only two of which even the faintest suggestion OP. 34. PIANO QUINTET IN F MINOR. I47 of the coming melody can be said to occur) makes the reappear- ance of the theme so different a matter that in the whole range of the classics it would be difficuſe to find a return made with greater grace—even leaving the refreshing novelty of means out of account. I5. The point for the student is tº \t whilst the various auxi- liary motives in no wise interfere wººth the prominence of the subject the vocation of each is well defined. Those of the first and second have already been pointed out, whilst that of the third may be said to be to play the same part to the return group as the first did to the main statement; and, as it thus Ex. I90. Op. 34, Andante. Third motive. - *- N As | | ſº. d. . . . .s. .. . | -C. |-- - Erb.5––. i.E. III: E! -*EH ######## * * *-* - - - - - - - L. T. – H-Pºl-O -1 *ITIS. Tº T1:- ºp==524–5, 3. ºf: l H-º T Cº-º- a V Fº–Hººs-H, bee-H+–s-e-r-i-E----— naturally delays the return of the first motive for Coda, it par- takes of the same gentle character. 16. Epitome. (a) Subject. See Ex. 186. Intermediate motives Ex. 188 to IQO. (b) Key, A flat, changing to E. (c) Time #, without change. (d) Length, 126 bars, no repeats. Ex. 191. Op. 34, Andante. Outline. STATEMENT MIDDL.E SECTION RETURN CODA 34 40 43% 9 III. SCHERZO, ALLEGRO. 17. A feature of this Scherzo is the frequent employment of the two-bar phrase in the dual capacity of being either an inde- pendent phrase or a component of one of four bars. A peculiar * The “ third intermediate motive ’’ increases this Return by 13 bars. It would also be feasible, however, to account this motive part of the Coda, in which case the figures for Return and Coda would be 30 and 22 respectively. I48 HANDBOOK TO BRAHMS (ORCHESTRAL). vivacity would result from this under any circumstances; but the vivacity in this case receives considerable increase, due to the whimsical character thus given to overlappings of the phrase. 18. Another fantastic element is the frequency of change from § to #; which, happening without any disturbance of the rhythmic pulsations, affects only the inner distribution of the bar-value. The piquancy of this effect has apparently been culti- vated; because, happening Occasionally at moments when only one two-bar component of the four-bar phrase has yet trans- pired, we should otherwise have to believe in a very remarkable coincidence. During the Trio, moreover, it even takes place at the fourth bar; where of course it is unexpected. Now, to make all this clear. RHYTHMICAI, TABLE. Ex. 192. Op. 34, Scherzo. First section. - EXTEND- MATERIAL BARS CONSISTING OF ING TO Initial 2 2 2 1st subject 10 2 x 5 in 6/8 12 2nd subject 10 2 × 5 ,, 2/4 22 3rd subject 16 2 × 8, 6/8 38 1st subject 18 2 × 9 , 6/8 56 2nd subject 10 2 × 5,, 2/4 66 Fugato on do. 9 2 × 4 + 1 in 2/4 109 * y > * 34 2 x 17 in 2/4 | 3rd subject 16 2 x 8 , , 6/8 125 1st subject 32 2 × 16 , , 6/8 157 2nd subject 36 2 × 18, 2/4 193 193 | 193 19. The first section is unusually rich in thematic material; having no less than three distinct subjects, two of which are fairly developed—one moreover giving rise to an interesting fugato. But the third subject is an exception to this treatment, for reasons soon to appear. No. 1, being highly syncopated, relies at its first p? appearance upon 'cello pizz. to provide the beat, and does not proceed far before giving us an instance of both the overlapping and change of tempo above mentioned. It may be well to exhibit these somewhat vividly in juxtaposi- OP. 34. PIANO QUINTET IN F MINOR. I49 Ex. 193. Op, 34, Scherzo. First subject. | Initial | | composite four-bar phrase N -b [. - I -N--—---- E5i.T - TTETI-3TE TII }*. -N-4-----Yºº-º- # +---- E. -N #F#F= ==E== º Vln. Vla. #TS = *Je. |- -9- \-º |- º | N- I –––––. . ſée) - I –––. I Lº– ©; f E*E*=E; 'cello - - - - - - - - - - - - - - - - - - - - - - - - * Vº º Vº Vº wº º w i ===>== ==N. ---- | Biº-E=#EEEEEEEEEf -*-ī- - I # ~~ * / —z-g * —–1–G––– ---,-4 _*: *- -&- Hº-s: | Pf. X. |N •=d YEINTºº Tal &II* T &LE- ©#EE #: # === –4—#ves—e-º-º-º- * * ~ * -O- •- W . ; : - ;-- tion in order that the frolic of the second subject's premature entry as well as the identity of rhythmic pulsation between 3 and # may be the better understood. Ex. 194. Op. 34. Second subject. | 2-N Q -*-eſ-e. /~ | _o_p__*...*-*=-ji. E-º-º: 2:.. --— #####2 tis HääEF; —fº-b_ + # Second subject | 20. In both first and second subjects the two-bar element is stronger than the four, but in the third subject the four-bar de- marcation is of the two the more distinctly assertive. The voca- tion of this third subject is evidently to approach the Trio in style and thus give unity to the entire movement by avoiding all Trio-contrast except that of comparative calm. By admitting this view we also account for the two-fold appearance of this theme during the first section. Each of its appearances is with I 50 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. I95. Op. 34. Third subject. m= | | J. | H– | -º-º: #::= #3:2::Fis ###– ########## | \m | the full boldness of march character and each is confined to the barest statement; both of these features being at all events con- sistent with the above suggestion. 2 I. Although the Trio has only one subject it manages by introducing an intermediate motive to provide opportunity for a change to # in imitation of the first section. In the subject THYTHMICAI, TABLE. Ex. 196. Op. 34, Trio. 1. XTEND- MATER IAL BAIRS CONSISTING OF ING TO Initial I 1 19ſ, Subject 28 4 × 7 in 6/8 222 3 y 3 ., 6/8 4 { 1 , , 2/4 } 226 Intermediate \ ſ 4 × 3, 2/4 ) Motive ſ 16 | 3 ,, 2/4 } 242 1 , 6/8 ) Subject 16 4 × 4 258 Neutral bars - joining by D.C. § 3 3 261 to initial | Totals. 68 | | 261 itself however it is natural to find the four-bar influence pre- ponderating, as broadening of the rhythmic outline is con- stantly in evidence where calmness is the object in view. Ex. I97 Op 34. Trio-subject º : -T : - * * sºr : sºmºmº f # –6; P- . T F- : E – : : -C. # – # wº© f : º --- sºms” f ––. OP. 34. PIANO QUINTET IN F MINOR. I 5 I The intermediate motive, having only a formal vocation need Ex. I98, Op. 34, Trio. Intermediate motive. Vinº. — . . in 8ves ba. Pf. and ### - Fº º 'cello (p=4====f-gº === - Piano - - - - - :#; ; ; ; ; ; ; ; H = H = ! —- – | -- i -- only be quoted in brief; and the high development of the first section justifies the D.C. by rendering Coda unnecessary. 22. Epitome. (a) Subjects. See Ex. 193-5, 197 and 198. (6) Key, C minor. Trio in C major. During first section the third subject (for relation of which to Trio see text) is also stated in C major; though without recognised change of key. (c) Time, 3, with frequent changes to # (see par. I 8). (d) Length, 261 bars. No repeats except D.C., including which the length is 454 bars. Ex. 109. Op. 34, Scherzo. Outline. FIRST SECTION TIR [O D.V. CAPO I 12 I 18 I 32 II 10 II 53* II 36|| 68 193 III 16 III 16 38 87 68 The above exhibits the reason for there being no repeat of first section. It also shows the Trio-subject as taking the turn in rotation, which would otherwise have been occupied by third Subject (to which it is related), and as exactly balancing the two previous subjects in point of length. '* Including the Fugato. See par. 19 : also the Rhythmical Table, Ex. 192. I 52 HANDBOOK TO BRAHMS (ORCHESTRAL). IV. FINALE. Poco so szemuzo (Introduction). Allegro non tropºpo. Presto non droppo. 23. This extraordinary movement seems to have so far eluded analysis that no one seems inclined to name its form. This is not to say that there is any lack of information about it, but merely that none venture to say exactly what it is. “It is Schu- mannesque” in regard to its opening; it is “better than a rondo" for a finale; it has a “Coda recalling the Scherzo”; it has “no Coda"; and its final presto “combines the functions both of Coda and development.” These are only a few criticisms, but they will serve to show that although the movement begets admiration on all sides it receives no baptism. 24. There is good reason for this. A piece which hovers between forms, partly fulfilling the conditions of each, identi- fies itself with none. From the opening of the Allegro we might fairly expect a lyric form; for it is a dual subject, both members of which are twice given; the whole being rounded off with a cadence-like working on tonic pedal. But then an intermediate motive supervenes, leading to a second subject which shows no sign of close. Surely this must be intended for a sonata move- ment, therefore. Yet, if that be so, what can be the meaning of a third subject with such extraordinary development 2 If the matter of this development were not so new and so totally devoid of relation to all the foregoing we might still perhaps cling to the old landmarks; but with the appearance of a fourth subject in capricious vein all thought of that must go. At last, however, there is a ray of light in the reappearance of the theme; though it seems like catching at a straw to indulge the idea of such a gigantic rondo. Still, forlorn as it is, this hope is quickly forbidden us; for the subordinate subjects are now developed at even greater length than in the first statement—to so great length in fact that return is out of question. And to crown our OP. 34. PIANO QUINTET IN F MINOR. I 53 embarrassment a placid intermezzo now ushers in a presto of highly strenuous order—one to which all the glories of the Durchführung which ought to have been seem suddenly to have shifted. 25. It is the merest common-sense to conclude that had not such features been successful they would have been condemned as hazardous experiments. But success has hardened the ground upon which they stand, and through them we learn more of the real nature of form than would be possible from a composition in which traditions were precisely observed. The task of probing this matter being difficult we shall have to utilise every means of simplification. 26. The first of these will be the reduction of the rhythm to its lowest common denominator, the two-bar phrase. Not only is its flow rarely disturbed by extension or otherwise, but here, as in the scherzo, it is for the most part a component of larger phrases. The two-bar phrase therefore figures in our rhythmic summary as multiplicand, and in this case it will accordingly be from the multiplier that the larger rhythm must be sought. Thus an item such as 2 × 4 sufficiently indicates the eight-bar phrase made up of four times 2 ; whilst 2 × 2 + 2 as safely describes six bars consisting of a composite four-bar phrase extended by two. 27. The semitonic rise to which we referred in the opening movement (par. 8) now reappears in full demonstration of the neutrality of the semitone to which we could then but faintly allude, and as causing the key to remain vague until entry of Ex 200. Op. 34, Finale. Introduction. Vln. _-—————— --~ | Th:5–==f i-I-T-- ====< ----— ----He #EEEEEEEEE===#===##### * ( . C Vla. 25 H ---. H mº º 11 _-—————' .2. be: etc. | @## -ba =====E, ==Far ==H e;======#====E=== the dominant minor ninth on C at bar 13. From this point, and with a slight agitato resulting from triplet Crotchets of accom- paniment, we are borne on to bar 29, where the grade-rise is resumed. That the rise should now be sometimes of a full tone I 54 HANDBOOK TO BRAHMS (ORCHESTRAL). indicates that caution is about to be renounced, and thus, at bar 41, with our triplet motion faintly preserved, we cadence dim. On the dominant p. The expression may appear strange, RHYTHMICAL TABLE. Ex. 201. Op. 34, Finale, Introduction. | EXTEND- MATERIAL BARs consistise of is, to Semitonic l * 12 (2 + 2) 3 Q progression ſ | (2 + 2) 12 Cantabile 16 2 x 8 28 Diatonic l s 13 2 × 6 + 1 * progression ſ + 41 Totals 41 41 but the very blankness of this introduction is its perfection; in that it attempts no statement, while showing a demeanour betokening great things to come. Ex. 202. Op. 34, Finale. First subject (a). fe Nis *- *- *- º H - - —------—- *-*t .* *-* ºf - |*— |-- --------- | | is : 3-b: ####### ###2 4: #2:43: Rºbert fººtºg- G#. ==SE= =#: ###### ####: E # : | "Cello. Bis | Vla 28. The first member of the Allegro opening–subject duly accentuates chord notes, & la Brahms, and is accompanied in semiquaver motion by piano. But the second member is of totally different rhythmic character and is answerable for much of the fulsomeness of treatment later on. It is the fondling of this rhythm during the return which reduces the attention given to the fourth subject in that section; and, even as it is, the return (which is generally the shorter) exceeds the first statement by sixteen bars. Whilst completely acknowledging success in this instance however we must still hold that the custom of preferring to expatiate in opening and abridge on return is the better. OP. 34. PIANO QUINTET IN F MINOR. I 55 Ex 203. Op. 34, Finale. First subject (b). _-————— *Hºº-ºº::===###: jºb-e-tº-p-º-º-º-ºe-Jºº-º-º-º-FEEE=f-f-pre- cºlo #=*E*###-F#: ===EH = —r- === *=== --~ "lº-tºº-ºº-ºº:####4– ©; :5T.I. #E EäH:#: ##### sºmº =&p=s=== H=== EFE-º-º- #-F#- -s– [*Tºº FTL*Tºº FTL"TH F Pºlº T. Ts ºf `-- ~~~ smºs `--———— —T IRHYTHMICAL TABLE. Ex. 204. Op. 34, Finale. First bection. EXTEND- M.VTERIAL B.AIRS CONSISTING OF ING TO 1st subject (a) 8 2 × 4 49 } 3 (b) 4 2 × 2 53 (a) 12 3 × 6 65 (b) (; 2 × 3 71 y 3 9 2 × 3 + 3 80 Int. motive 8 2 × 4 88 Bridge 6 2 × 2 + 2 94 2nd subject 14 2 × 6 + 2 108 3 y 16 9 × 8 124 3rd subject 37 2 x 18 + 1 161 4th subject 22 2 × 10 + 2 183 Totals 142 183 29. It may now help to form the student's judgment if we contrast regular with irregular features. The former are pre- sented by the second and third subjects as well as by the inter- mediate motive, all of which are treated in the usual way. On the other side we have the treatment of fragments of the first Ex. 205. Op. 34. Second subject. __–––––. *-m-m-, sº memºs ssºs ºmºsºmatºmº Vln. sº l | zºº. | | —h--—A—r—a —#s — — cº-º-ºr—s — sm- tº sº ########t=Ei-º-Hº-E::= Ağ)--P–C–F–G–Hº-e #EEEEE|Hº:- a/ 2. # 5- :=E-F# } | V. 'Cello 8ve lower. Piano G pedal sustains. I 56 HANDBOCK TO BRAHMS (ORCHESTRAL). Ex. 206. Op. 34. Third subject. N .: -- -- ... ... ==b-fi ===N=#2-#-1-#2–23–1–----ºf sº- -º-º- * #======#: Q Hºsłº ====#E f *::=====Hi-F#–E–F#–E–F#–E– *::::: *** - I -- “L- F. etc. |- --" Li -" | Ex. 207, Op. 34, Internmediate motive. ~ - -O- *s - bh- -º-o- --sss = Isreſs- * * * * * * - –9-ko–As EEM-e-Es- Twº-TTTE EE, O – TET (3-tº-SES-Fe-5-ºf-º-º-º-º-E-F#–E–F Q * * -s- ss. etc subject following that of its second member, and particularly the amplification of this department in the return; the practical abandonment of fourth subject; and the introduction of a sep- arate concluding movement. We can only hope to turn this enquiry to good account by an explanation of these facts; but that, fortunately, does not lie very far to seek. It seems, for instance, fairly clear that Brahms's abundance of material brought him to the return (bar 183) without need of Durch- führung. This would render it natural to give some over- RHYTHMICAL TABLE. Ex. 208. Op. 34, Finale. Second section. - EXTEND- MATERIAL BARS CONSISTING OF ING TO 1st subject (a) 8 2 × 4 191 * 5 (b) 20 2 × 10 211 3 * 12 2 × 6 223 * > 6 2 × 3 229 4th subject 9 2 × 4 + 1 238 Int. motive 8 2 × 4 246 Bridge 6 2 × 2 + 2 252 2nd subject 14, 2 × 6 + 2 266 9 3 16 2 x 8 282 3rd subject 39 2 x 18 + 3 321 Intermezzo I6 2 × 8 l 341 Cadence 4. 2 x 2 ſ J Totals | 158 341 weight to the return, and equally natural to be so far still sensible of the difference between Durchführung and mere development as to desire relief in a final outburst. Whether these formal modifications were in contemplation from the first we cannot know, though from them we easily learn that coherence is ever a form in itself. OP. 34. PIANO QUINTET IN F MINOR. I 57 30. The affinity between the first subject in # and that of the final presto in § is best shown by exhibiting the note succession on parallel lines, where the different accommodation required for the two bar-values may be seen at one glance. The spas- Ex. 209. Op. 34, Subjects of Finale, Presto and Allegro compared. ==HE II -ti- +a+– * - ------ º, ########: #: ===== -- - O- -O ! • — –F– — an - r- O e-º-ºr-——a-r—e s—2–1--— #: @######### EEE-HEEEEEEE subject S-9:5–4–E–F–SE===EE-F#-es-–PEEE modic quaver motion (being by grades and therefore of easy application as Counterpoint to almost any theme) naturally tempts the composer to give reminders of former movements, after which the second subject appears in plain-form innocence, just as if we did not know that the same counterpoint was im– mediately to follow. How this second subject is battled with T.HYTHMICAL TABLE. Ex. 210. Op. 32, Finale. Presto. EXTEN D- MATER IAI, BARS | CONSlSTING OF ING TO 1st subject 24 (2 × 4) 3 365 a 3 G 2 × 3 371 y y 24 (2 × 4) 3 395 2nd subject 8 2 × 4 403 3 × 20 2 × 10 423 * x 32 (2 × 4) 4 455 3 * 12 2 × 6 467 Conclusion 23 2 x 11 + 1 490 3 * 2 2. 492 151 492 and ultimately caressed is not for words to tell, but with the pause (bar 467) we feel the close to be at hand. A friend is ten- derly reminding us again and again of the semitonic progression, of the scherzo first subject and of the march-theme; and finally pleads sincerity by a hearty hand-shake—given with all the gusto of the Presto opening. Beethoven is the only composer whose name can be mentioned in company with this; which, in the words of Florence May, is “unduestionably one of the greatest works for piano and strings ever written.” Averse to eulogistic criticism we are nevertheless taken captive by the I 58 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 21 I, Op. 34. Final Cadence. Pf a i tr " - #. - F - 3. º F - -*-*—-ºf-s *= , 2. — 5–EEE ####EEEEE —------— -------tº-º-º-º-HE-Fi-º-c-f-a-Pi—F-E--- --F ======= s−2−2−F =========== … *--" * * * * : Str. i- * 2-S-E-F-aſ- 2 * ===== Gifth-i- EE--Tº- ===HE ====E: .*~ET=Tt lºss-º-º-º-º: –E=–E–=1– Sºº--E== ==>== à-> E. ==== Pf. -a- as re- a. +. : * r * : * r * Tº" warmth of Florence May's epitome here added by way of atone- ment for our cold manner of dissection. The imaginative power which surges through the first movement recalls the daring of the youthful Johannes, guided now by a master hand. This movement dominates the whole work. Its contrasted tones of passionate splendour and scarcely less passionate mystery are reflected in the rich Fº of the Andante, in the weird fitfulness of the Scherzo with its heart-gripping Trio, and in the doubtful tranquillity of the Finale, burst- ing in the Coda into a rushing impetuosity which carries the movement to a triumphant conclusion. 3I. Epitome. (a) Subjects. See Ex. 202, 203, 205, 206, 207 and 209. (b) Key, F minor, changing to C sharp minor for the first 26 bars of the final Presto. - (c) Time. Introduction in allabeve, allegro in #, presto in g. (d) Length, 492 bars, no repeats. Ex 212. Op. 34, Outline of Finale. INTRO. FIRST SECTION SECOND SECTION CODA 41 142 158 151 2------—. 2–’--> 2–’--> I II III | I II III | I II 53 30 59 || 69 30 59 || 54 97 It has been necessary for this simple outline to ignore the fourth subject (for reasons which appear from the text) and to credit all workings to one subject until appearance of the next. OP. 36 SECOND STRING SEXTET IN G. (For two Violins, two Violas and two Violoncellos.) J. ALLEGRO NON TROPPO. II. SCHERzo, ALLEGRO NON TROPPO. III. Poco ADAGIo. IV. Poco ALLEGRO. Arranged by the Composer for Piano Duet. Published by N. Simrock in 1866. PRELIMINARY NOTE. I. THE reader is invited to refer to the general observations upon the Sextet given at par. 5 and 6 of Op. 18, and to assist their application to the present work by perusing the following quotations of Opinion. Alluding to the first performance, which took place in Vienna in 1867, Hadow makes the following remarks: It is no discredit either to composer or audience that the new work was received with more astonishment than delight. The extremely elab- orate polyphony, which is one of its distinguishing attributes, is probably too intricate to be comprehended by anyone at a single presentation, and we may infer that the public did not actually hear the melodies for the simple reason of their abundance. The complaint of tunelessness which has been brought against every great composer in turn usually emanates from a criticism that cannot see the wood for the trees, and on this occasion it may be noted that Vienna saved its repute by wisely reserving judgment; and that Brahms’s only repartee was to publish forthwith a delightful set of four-hand waltzes in which the top part had the tune and the other parts had the accompaniments, and everybody was satisfied. 2. The above, though written of Vienna, quite gives the uni- versal opinion of this work. For the view held in England I6O HANDBOOK TO BRAHMS (ORCHESTRAL). (where it was first produced at a Monday Popular in 1879) we may quote Antcliffe, as follows: This sextet is more elaborate than the first and requires a knowledge of the score before the beautiful significance of the somewhat involved polyphony can be fully grasped. and for the German view Ivan Knorr, who thus practically echoes the same view : It is to some degree of forbidding character, and the treasure it con- tains is not to be found on the surface. Like other creations of the master, it reveals it full beauty and significance only if we deeply study it. - Brahms wrote only the two sextets, Op. 18 and 36, the Con- trast between which is extremely marked in every sense. Had the intention been to provide the student with works offering abundance of opportunity for Comparison, it could scarcely have been more effectively carried out. I. ALLEGRO NON TROPPO. 3. It is a common trait of composers instinctively to reillus- trate new sources of fertility upon which they happen to alight by further works conceived in the same vein. This gives rise to the probability of an affinity between works emanating from the same period. For this the critic must be prepared. 4. When treating Op. 34 we remarked upon Brahms's use of the semitonic rise and upon the grand Service extracted from the semitone's neutrality.” It was practically certain therefore that we should soon re-encounter the same means of action, SO that the nature of the first subject in this instance need cause no surprise. Not only is the semitonic rise of the chord of D (into becoming E flat) evident enough, but the reason why E flat is chosen is also evident, as we shall see. 5. That the movement is frankly of pastoral character and that the bourdonnement (principally of viola but partaken of also by other instruments) is a deliberate feature may be safely assumed; the viola's solo entry and the long continuation of its figure being also thus accounted for. But a viola pedal, as a middle part, does not lie under quite the same conditions as a * Op. 34, pars. 8 and 28. OP. 36. STRING SEXTET. 161 bass pedal; if only that the latter by virtue of its depth can afford to disregard features of the upper harmony which a viola pedal cannot. The Semitonic wave of the viola figure is bound therefore to represent, either by its upper or lower note, the first, third or fifth of the chord; and the fact of the composer having this choice enables him to depress either the tonic or subdominant harmony or to raise that of the dominant by a semitone. It is Ex. 213. The semitonic rise and fall. 2. º ! d - d Q -".<- tº ea. , e -º-" =#=##-s-s-s- #: s-º-º-º-º-Eß-º-º-º-º-E-Tº-º-º-º-º- G#=::::::::::=#: E–F––––. f |- t E-T-I- s=; E-L-E-L-ET E; ſ 1––1—º tº ſº. I . º 1— L- l t t i *—1 [ I t_ - t (b) | i | (c), | 3: 42: -3: £3: 5% : {6}{#Etº-º-º-º-º-Eºis-e-s-s-s-Hºº-º-º-º-º-His-s-s-s-s-s-Hº::== ><--|--|--|--|H=E=E=E====E-E-F---------EEF---------E-E-- contended that he has the power to do this in virtue of the neu- trality of the semitone alone, and without incurring any charge of having modulated; whatever may be the aspect of notation. Thus, at (a) of Ex. 213, the tonic is depressed; at (b) the sub- dominant is depressed; and at (c) the dominant is raised; these changes occurring by adopting either the upper or lower note of the wave as part of the chord. 6. The variety imparted by the semitonic rise will now be evi- dent if we compare the first subject as Brahms gives it with what it would have been otherwise. - Ex. 214. Op. 36, First subject, illustrating effect of semitonic rise. _- (a) - | — T-- * T | , - | bd. pa e a 1- | _l _l | ºw ºº - I ! • II . TT •. * * *-* *-* *-* wº, º is º -ºº º º-, * = ** - *—— =##########Eł##### -e---t-e --t-É2 |-53:--> be t- f 525.”---tºº-- Y-T T --> t •-- i. ºr P. 2 - r With Viola wave on G, F sharp *- | >- I62 HANDBOOK TO BRAHMS (ORCHESTRAL). At (a) we have the Brahms outline and at (b) the same with the dominant unraised. 7. It goes without saying for those who know of Brahms's habitual consistency that the whole movement is characterised by a large use of this means, right up to the final cadence; RHYTHMICAL TABLE. Ex. 215. Op. 36, Allegro pon troppo. MATERIAL bans | consisting or | * PORTION ** 14 º', ; ; * *. *. ING TO 1st section Initial 2 2 2 1st subject 6 4 + 2 8 3 y 3 3 50 4 x 12 + 2 58 5 s 3 y 36 4 X 9 94 1st Int, motive 40 4 × 10 134 2nd subject 28 4 × 7 162 2nd Int. motive 50 4 × 12 + 2 212 Bridge 18 4 × 4 + 2 230 Totals. 230 230 Durchführung 2da, Wolta 12 4 × 3 242 1st subject 22 4 × 5 + 2 264 5 y 3 y 76 4 × 19 340 Bridge 16 4 × 4 356 Totals. 126 356 Return 1st subject 6 4 + 2 362 3 y 3 y 50 4 × 12 + 2 412 x 3 x 3 36 4 × 9 448 1st Int. motive 34 4 × 8 + 2 482 2nd subject 28 4 × 7 510 2nd Int. motive 50 4 × 12 + 2 560 Totals. 204 560 Coda, 1st subject 4() 4 × 10 600 Peroration 19 4 × 5 – 1 (319 Totals. - 59 619 though it is not quite in accordance with what we should expect to find him discarding the wave” on depression of the subdom- inant from C to B, apparently because, in order to use it, either a full-tone wave would have been required or removal of the wave to the semitone C. B. The motive (bar 33) at which this occurs is also paltry, though it well enough serves its purpose of allowing the statement of first subject to be outdrawn. * At bar 33 the viola wave suddenly ceases. OP. 36. STRING SEXTET. I63 Ex. 216. Semitonic depression of sub-dominant, _--> . . . ##### ====E= 8. Very few words will suffice in mention of the rhythm, which is extremely simple. The phrases throughout the movement are of four-bar length, the only rhythmic interest consisting of the few shortenings or extensions which occur and emanate from one cause: viz., the vagueness created at the opening by the viola's two initial bars—compensated for by ingeniously short- ening the second phrase to two bars (seven and eight). This may be readily perceived by comparing this phrase with bars 21-24 where it occurs without abridgement. All other devia- tions from the normal phrase-length are either traceable to the same cause or too obvious to require explanation. The lack of rhythmic interest was however quite to be ex- pected, as rhythmic and contrapuntal interests do not naturally combine, and the latter are present in a high degree. 9. The first intermediate motive serves to unite the first and second subjects, quaver-motion being preserved by repeated notes in one or other instrument. The apparent intention here Ex. 217. First intermediate motive. ...To | | | | F P : ºf -º- -g- # erºse O r H tºms + : l . 4. ######. EHEEE::=#EEE *-i- ºr f**** * * * ****:::H. Hººt: **s ** | | | | | -O-O- -º-o: | | | | l | is to slacken the pulsation in view of the approach of second subject, but to do this without loss of actual motion. This view is strengthened by the Semitonic wave appearing in augmenta- tion in the same form; besides which the quaver-motion as such, Ex. 218. Semitonic wave in augmentation, with repeated notes. *=&a=#4-HEa-Hº- ####### - *3 —u? —ll al *::::::::::::::::::::::::"####" j I T IU I64 HANDBOOK TO BRAHMS (ORCHESTRAL). by continuing as accompaniment to the second subject, becomes a leading feature, giving not only special character while it con- tinues but lending significance to its occasional omission. This occurs (with exception of the discontinuance of the wave men- Ex. 219. Second subject. Ist 'Cello (2nd Viola and 2nd Violin have amplifying parts). -º- Tºº, I–––s——I _-sº-º T T ZCT" |-- III" ----|--|I zº- T] I + {{} -Hº- –H–C–F–H– E-HE j-f a/ --- O 2––s #e. --- -CJ- § CJ- Vla. ms == –––– ----- | est-HP+ Tºp-i-Jº-1-º- .# F-s—s-s | I, L - wº wº I — I ºf pizzi ºc H I *—s * 2nd "Cello. r | r * r * º F - | r * Eff-# # +--- IGN fes- #-e VV T] | ſº º Q/ -2-3-r C/T's –– etc ——— TT | | | #—a-C-E-G-A-d-I---4---4---4-1--------- # L ====== —ſº-ſº ——ſ) —- – - *Eºs •===º ºsmºsºm-º. tioned in par. 7) only during the second intermediate motive— Or, as some would call it, third subject,” with the result of ren- Ex. 220. Second Intermediate motive. bis ... . . Cº- - *. | J . . . a. 1 | 2-###-º-Hºº-º-º-º-º-º-º-º-º-º:=#-Li-i-º-i-m--—i. *H #### ==###### 3–2-#3 2– # ‘s. sº-sº FFF: –3 - ". etc. dering this theme more placid than the rest. This, of course, is a perfectly conventional feature; as is also the gentle resumption of the wave for the bridge-passages leading either to repeat or Durchführung (bar 213). Ex. 22I. Bridge. _--— | a. *__ -62. i- TV Tº 2-sº T I I--- Lºsſ IT Wºº' I | --- £º-º-º: g * * -((+). I I L.I. *-* *me = *mº === - E; *T*E*F±F### **** i---- —— ––––– * It assumes the distinct character of a song group at bar 191. OP. 36. STRING SEXTET. I65 Io. An intermediate degree of motion is provided by Synco- pation simultaneously with crotchet-motion (bars 252-62) be- sides the two extreme degrees of semiquaver and triplet-quaver motion which occur just before the return (bars 337-56). Alto- gether there are therefore five degrees of motion, all so beauti- fully adapted to their situations as to leave no doubt of the objects severally in view.” II. The Durchführung is rather short in comparison with the opening section, but it is full of interest—especially contra- puntal. A canon on the first subject in contrary motion makes its appearance during the bars (23 I to 242) due for 2da volta and therefore before the real Durchführung begins; such marked character at the very parting of the ways being always a sign of serious business. It is curious that some should reproach the composer for having evidently had a contrapuntal scheme pre- pared beforehand and regard this as due to a lack of inspiration, forgetful of the fact that in the hands of an uninspired com- poser the same plan would have been of no avail. The scheme itself is in fact as nothing compared with the mastership dis- played in carrying it out, which is of a nature completely to Ex. 222. Canon, | —— :- £2. -2. | -e)." Wºź. -º- + -- F —e.: T tº lºt-62 In ºl I------ fºx ————F H-E Jºe J.--— — — — T I -- 4-2 ſºll– -º-º-º-º-º-º-Fºr-º-º-º-º: | | | | \m * - tº mººn mº" —— —— ------ -# I- – Q →ºrs F sº.T # defeat all attempt at description in words. How the semitonic wave is incessantly preserved (except when yielding for the sake of special effect to the other degrees of motion already men- tioned); how at one time it is made to demonstrate the very climax of exultation of which the six instruments are capable and at another sinks to such a faint rustle that we can only just discern the rhythm of the first subject; how it modulates with * Exception being made of the case mentioned in par. 7. I66 HANDBOOK TO BRAHMS (ORCHESTRAL). entire freedom returning with the utmost ease and bursts from all restraint only when within twenty bars of being called back into the fold of the return—all this must be studied in the score and heard in performance to be appreciated. . I2. The return in spite of the new interest given to its material by the Durchführung does not, from the student point of view call for any remark but the coda (un poco sostenuto) is distin- guished by its variety. After four placid bars it proceeds to broaden the interval of the wave passage in order to accommo- date the depression of the sub-dominant,” after which we are Ex. 223. Depression o! Sub-dominant. sº | |- d. ##–H= == #3 ==#EEE--- ####### , .2 s ITL L J . T. E. – º – º – is –s- sº-w * * * * * – tilt-ti —t only held to the theme by inversions of it in the bass the work- ing being otherwise free though purely in accordance with the general character of the movement. This unity of character is moreover happily illustrated by the final cadence; which, to the wise, is a lesson in itself. Ex 224, Cadence. –-TIT - - ...… . . . #===E===2: ::::::::::::: -º-º-º: == 3– # = #####t=#EHF ######## *~2:S→2-ºf-ºs-tº-3 Tºd. s. --- * - - - - < T--~ 2 .I. * = • , , 49 | - | •. * } With Viola wave G F# - - - - - - - - - - - - - - - I 3. Epitome. (a) Subjects, see Ex. 214, 219. Intermediate motives, Ex. 2 I 7, 22O. (b) Key G, without recognised change. (c) Time #, without change. (d) Length, 619 bars or 833 with repeat of first Section. * See par. 5 to 7; Ex. 213 and 216. OP. 36. STRING SEXTET. 167 Ex. 225. Op. 36, Outline of Allegro nom troppo. FIRST SECTION DURCHFüHRUNG RETURN CODA 230 126 204 59 ,--> I II I II ,-- 134 96 126 78 II. SCHERZO, ALLEGRO NON TROPPO AND PRESTO GIOCOSO. 14. This movement is so completely lyric that its rhythmic summary presents no feature. This however only means that the special interest lies in other directions; for whenever Brahms's rhythm is ungarnished we may be sure that he has taken compensation for his self-denial. Such is the case here. 15. To begin with, the slightly Hungarian melody of the opening, by its grade series, bears promise of contrapuntal de- Ex. 226. Op. 36, Scherzo subject. vice; and accordingly after the first sixteen bars (which it must be admitted are completed rather indifferently) the first violin and viola enter in Octaves with a triplet-quaver melody—fram- 7uillo, of course, as in keeping with that innocent demeanour to which we are accustomed whenever artful designs are afoot. Four bars take us from D minor to A minor, when the 'cello re- plies after the manner of a tonal fugue; which means that in four bars more the same melody, returned to D minor, is taken I68 HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAI. TABLE. Ex. 227. Op. 36, Scherzo y ExTEND- PORTION MATERIAL BARS consistING of . ING TO 1st section Subject 16 4 × 4 16 > x 12 4 × 3 28 3 3 5 4 + 1 33 * > 1 2da, Volta, 34 Episode 16 4 × 4 50 y 2 7 4 + 3 57 y 3 12 4 × 3 69 Subject 14 4 x 3 + 2 83 3 x 12 4 × 3 95 y 3 14 4 x 3 + 2 109 Codletta, 12 4 × 3 121 Totals. 121 121 Trio Subject 32 4 × 8 153 Bridge 12 4 × 3 I65 Episode 16 4 × 4 181 Bridge 12 4 × 3 193 Subject 16 4 × 4 209 ; 3 18 4 × 4 + 2 227 Bridge 24 4 × 6 251 Totals. 251 251 Da Capo As before 108 109 (less 1 for 359 1ma Volta) Codetta, 13 12 (plus 1 for 372 extension) Totals. 372 372 up by second violin and viola. To this follows a little stretto formed out of a fragment of the same material—quite a minia- ture tonal fugue. 16. At first sight all this seems to have little to do with the opening—and all the less as the weakness of the second eight bars is due to the necessity of preparing for this triplet business. But the secret of the grade-theme and of the tonal-fughetta is easily found, and with it the reason of the composer having been able to indulge in inversions at will. Ex. 228, Op. 36, Scherzo. Contrapuntal basis of Fughetta. | – | l | 1 . 4. .a. - - - , --- CJ– O- ==#: HE::::::::::::::::=# ==-ºf-sis- Fºrt-Fººt-tº-tººt-fººt- L - T -- " " º |-e ** OP. 36. STRING SEXTET. 169 17. The student will readily recognise the above upper part as an inversion of the opening melody, but in the scherzo before us it is somewhat disguised—not only by syncopation but by the Ex. 229. Op. 36, Scherzo, continuation of subject. N > S º... --> *:#8 = 2-, t ! - - - * *-* * * * * H-e-e==#Es-º-º-º:=E:-ºf-fºr-sº in 2-in"- -º-L---- *-e fºL- ===F ==#EEEE -—s-o-º-º----> H_H-es—Hzee—i----- *-E-E-si-º-I-2---s-------. FT-- L- T" combination of normal with triplet quavers. A highly important principle is here involved; for as much care has been taken to conceal relation to the theme as to secure it, and Brahms must therefore have been a believer in the latent influence of such traits, independently of their arousing direct attention. There will be no need to remind the student of similar perfections in the productions of nature, instances of which must at Once Occur to every reflective mind, and the question thus arises whether features only discoverable upon analysis have nevertheless an influence upon the listener. 18. By way of showing how this triplet subject was probably prepared we may mention that it is simply the inversion of a counterpoint the very simplicity of which would have been against it if used in its original form. The virtue of disguise is Ex. 230. Op. 36, Scherzo. Evolution of Fughetta-subject. | ſ | | • Cº- | * § 3. 3 ::: 3. .. ... S | # -----sºmeºmº I + +-a-G-2–H fly-º-º-eir III-IEItºi...T.I.ETI * - – º – G=:::::::::##########:= T- "L-' -- L- J - * * L- 2. therefore apparent, for by its aid puerility and vulgarity are avoided, whilst original connection is maintained. The same may be said of the episodial motive appearing shortly before the return (bar 5 I); which appears to be new, but is really nothing but the first bar of the theme followed by its own counterpoint. Ex. 231. Op. 36, Scherzo. Composite episodial motive. * = * tº-ºº º 4. :* -a, -e. ! s'- -&- *—------- # 3-- # =#=r M-5– tº - — O – -- ------- *-* - . . …- } Gº-H | łº º-a-º-º: jºr ===f *-*. Epº-T-e Es E-E-s—I-s-sº J-2 L i *T* -e, ,- e. - | | ſ ~~! L– I7O HANDBOOK TO BRAHMS (ORCHESTRAL). 19. Before quitting this first section and in reference to the secret affinities mentioned in par. I 7 we will draw attention to the episodial motive occurring after the repeat (bars 35-7) in order to be able to refer to it when treating the next movement, Ex. 232. Op. 36, Scherzo. Affinity with coming movement. - Cº- + *::=. | V. * | the theme of which will explain the persistence of the intervals represented by these three opening notes. 2O. The presto giocoso (which is really a trio though not so called) is thoroughly pastoral and of such delightful frankness as to soothe all suspicion of scientific guile : yet both the bridge Ex. 233, Op. 36, Scherzo. Trio-subject. I-III––– 22 sº I*T*E.I.T.: Tszlsº T-I - IT-T2.2] sº-º-º-ILTTE EHEAE; EE:#E:# –a–s- Hå =#: ::==#3= –F-------------------------------------------- #| | | | | | | | | | | | | | | | | H. | | | which leads to its episodial motive and the motive itself are fraught with cunning. The former for example treats the sus- tained dominant with a Counterpoint which though simple works up well in Sequence. But after the episode and when the ques- tion is of returning to the subject the means employed is an in- version of the same counterpoint. Then again the episodial motive itself is nothing but the original subject in disguise Ex. 234. Op. 36, Scherzo. Trio, contrapuntal bridge passage. ! Dominant | | | 2. –––2 _ſ. Cº -- -#–C.P. leading from Episode=------r— T - * * * *-- - - ==[---T- AI ITT ---——— | –––––4–2–G–4– #E===# –2 -: s—ſº- g—LT4: —º--G-A-C- QL 5- - -g- = -s. -- - - - - ** -w- e. p- | - *- | * ºr e. i - - e. i O — OP. 36. STRING SEXTET. I7 I though it poses as being entirely new. But with mention of this frolicSome diminution we must conclude; enough having now Ex. 235. Op. 36, Scherzo. Trio, Intermediate motive. l #=== – #E – el) I . . . been said. The return, though usually printed in full, is merely a D.C.; with exception of the Codetta (“animato,” bars 360 to 372) which is an elaboration of bars I IO to I2 I. 21. Epitome. (a) Subjects, see ExS. 226, 229, 23 I, 233 and 235. (b) Key, G minor; presto giocoso (trio) in G major. (c) Time, #; trio in #. (d) Length, 372 bars or 404 with repeat of first part of first section (first time). t |- zº Vºy i j f = —l ( ; : : I ; s – w IZx. 236. Op. 36, Scherzo. Outline. ſ FITST SECTION AND COI)A TIR [O D.C. AND CODA 121 130 121 ,----—- ,-'- 109% 12 108 13 III. POCO ADAGIO—PIU ANIMATO ADAGIO. 22. In this case as in the corresponding section of Op. 18 Brahms has left the movement unnamed. It is therefore not from him but by common consent that this adagio receives the title of “Theme with Variations.” Yet, though the earlier speci- men may be said in this respect to admit of no doubt whatever, the present seems to require the term to be applied with an eye to the distinction between “variation ” and “variation-form "; variations proper necessarily recalling their theme, whereas vari- ation-form is a mere question of dimension. The present piece is certainly in variation-form, the dimensional condition being well * Add 32 for repeat of first part. 172 HANDBOOK TO BRAHMS (ORCHESTRAL). observed; but instead of each division harking back to the theme for its cue it prefers for the most part to draw its inspira- tion from what has immediately gone before. IREIYTHMICAL TABLE. Ex. 237. Op. 36, Poco Adagio. EXTEND- MATERIAL BARs | consisting of rse to Theme 12 (2 x 2) 3 12 l 1 (2 × 2) 3 24 II 12 (2 x 2) 3 36 |:2 × 2 : ] 2 - III 1 {{...}}} 48 2 ſ 12 × 2: l IV 1 l 1:2 × 4: Iſ 60 Intermezzo 5 2 × 2 + 1 65 :2 x 2: | V 12 ſ! l l |:4 x 2: ſ 77 Coda 10 2 × 5 87 Totals. 87 87 23. The merely occasional appearance of certain notes of the theme in other sections does not give the latter the variation- character, this feature being a mere expression of that unity to which Brahms was so devoted. If, for example, the opening of Ex 238. Op. 36, Poco Adagio Theme. ----~ it. -52. -e-". ~-e: _--~ — 711 . . . . s—e-H+-º-º-º-º-E- # - I----I---, z - -: - H===###r. ==== ############# this theme discoverable as it is under all sorts of conditions were to be held to confer the title of “variation" upon its surround- ing we should have to consider whether this whole movement were not a variation of the first allegro, which opens : Ex. 239. Op. 36, General motive. a/ | or, considering the passage quoted with Ex. 232, whether the scherzo were not another. The fact is simply that Brahms has OP. 36. STRING SEXTET. I73 used variation-form without variation character, by applying it to a movement which is perfectly continuous although set in divisions. - 24. The first division (bar I 3) opens with a chromatic melody, the first four notes of which actually repeat those just played by viola in the preceding cadence; besides exactly corresponding in character with the second violin part of the theme-accompani- ment.” Vocations are here reversed therefore, for the 'cello ac- companiment in this case is a diminution of the theme. But the great fact is that the whole proceeds with a new interest. It may Ex. 240. Op. 36, Poco Adagio I. 1. – F- | — — . - | | - __- Cº- 6- *, | 1 s: fºr:-- #: # =: *—H : === # I * O— º Aº-º'- I —i. º I ºm- --Tº-Tºg: Tºld I O | £12. —i I * &=====#EEEEE:# Vla. – 'Cell !-- * 'Cello. sº —- • lº- — G# =1---- —s—d [ E----tº--r - ifti-TT |Tiº II I If C / T *=====-pizz-e-e====E====pizz-E-F#-F# 'Cello. | ——T | | \–’ We | T-———T ſº be one begotten of the theme, but it leaves the theme behind; and will itself be left behind as soon as the form is filled and a new interest begotten in its stead. 25. This is precisely what happens. The diminutions seem- ing to create a desire for thematic quaver-motion we next find this motion applied to the material just quoted; whilst in the natural Course of events we quickly pass on to triplet quavers in further satisfaction of the same desire. Obviously the triplet- Dx. 241. Op. 36, Poco Adagio II. 3 5 --~ | ... " (b) N *E=E=#EE | # # ###: H="=w # & Cº. º. -Q. º_** * * * * I | C-3 * -ºs. (3); =f - ==z-i-º-H-5–t E- ———-l——-> =====#e- © -- ––– l— [. Li -O- #~ -O- | “. F s s *** | ! **** | w -- * === 3 etc. \– etc. * The same note-succession is also observable in Ex. 232. I74 HANDBOOK TO BRAHMS (ORCHESTRAL). quavers must now be made to furnish a new interest in due Order. They might in fact be said to have appeared somewhat prematurely as middle portion of the last division, and thus to have almost compelled the adoption of semiquaver motion for the next,” but this defect has been adroitly set aside by the adoption of “piu animato” for No. 3; in addition to which a further Contrast is provided by the latter's martial character. Naturally enough the semiquavers follow with No. 4, and, by Ex. 242. Op. 36, Poco Adagio III. 2nd Viola (8ve lower) III. 1st Viola º - -gº. :*: a . : m - - - -w- - C- -# \ ===–1– s—4+4−. *- - - - -, * v. J --> | — Hºs --- . —- —— — — | =========E=::::====E; wrs cello. = = [S-IP's sº * : *TE Piw animato "J e "J' *- ~ • ! - * tº sº #––I-*-*-s-s-s-s-s-s-- Tº Tº º © He=E-HE * , +TI-LEE- =====E=SEE----EHEEEEE 'Cello i- E. *S- # way of logical continuation proceed to invert the last motive. That the maximum of motion has now been reached however is evident; for the middle portion of No. 4 opens calmly, and only by a fine Crescendo regains the enthusiasm of the march. Not Ex. 243. Op. 36, Poco Adagio IV. IV. F. *ſ-, * —= —a --- =2 | H P -ſ s 4. | 2. O- a. -C- IºTT.III. Tº I ſº- 2- º - - - - - ſ ##E Eº:##### #. # -- sº triºtſ. L’ s -º-oº: -e ā. | | | | 2 s iſ ºr ==g = = -, * - - **r =: - F- - ! | H#EEEiłºżE *—3–4–E–F#–E–E–2–E–F–F–C– G#===Hºº-ºº-º-º-EEEEEEE #EEEEEEE | Fe f-im-i- s =E*== #H= --sºmºsºmsºm- only so, but a short intermezzo follows, the evident purpose of which is to produce a slackening effect; for the leading notes of the theme appear successively in crotchets and minims—and, as * Compare this gradual increase of motion with par. 26 of Op. 18, in reference to the old orders of counterpoint. OP. 36. STRING SEXTET. I75 if for greater prominence, in the extreme parts. In this way we arrive at No. 5, the final Adagio in E major, which is practically a semiquaver moto perpetuo, though it must be remembered that, with incoming of the adagio, the note-value has been doubled. Here all is gentleness; the part-writing full of interest and Ex. 244. Op. 36, Poco Adagio W. V smº | * ſ | : | s: -4 s= | -s e- . | J. ... l Ist and 2nd Vins. # -º- I - L. C -º- º l s: T. T. T. -º- ºr T 8ve lower 3. ENEE ====N-H ======2= =mEEEEEEEEEEEEEEEEEEEEE it Violas | Tº sº º sº * | | | * * * * * s= * === ss-ſ wº >>= --" ~s- N a):#F#N & ſº s—: is 1 G#. * —- — we Ž = F- ### 'Cellos -º- • F FEsº- charm; allusions to the theme both frequent and of varied Char- acter—the whole concluding with a six-bar fall to the cadence, 26. Epitome. (a) Theme. See Ex. 238; divisions I to V, see Ex. 240 to 244. (b) Key, E minor as to theme and divisions I to IV. Division V and Coda in E major. (c) Time, common. Movement “poco adagio” as to theme and divisions I, II. Division III, IV “piu animato,” division V “adagio” (, – J). (d) Length, eighty-seven bars, to which the following are to be added for repeats: Division III 4 + 8 12 ) Division IV 4 + 8 12 × 36 Division V 4 + 8 12 J making I 23 bars in all. Tºx. 245. Op. 36, Poco Adagio. Outline. THEME I II III IV INTER MEZZO V CODA 5 2 4. 10 176 HANDBOOK To BRAHMS (ORCHESTRAL). IV. POCO ALLEGRO. 27. This movement does not bear the same trace of painstak- ing, and has not the same finish as the others. Its construction, moreover, is somewhat erratic; the proportionate length of its sections being unusual without object, and some of its features being of undecided character. The opening for example, though occupying the place of first subject, is unable to sustain that character. Not only is its filigree out of keeping with what we expect from a main theme but it is turned to such subsidiary uses in course of the movement that we have felt compelled to regard it in our summary as a merely introductory motive. Ex. 246. Finale. Poco Allegro, Introductory motive. **m * sm - amº e- * | | | sm-m-m-m-m- •========= ################## --- ++:º s EEE memmammammamms =======m === Q. A Ly- CTC) – • *** * * * * * * z----|--|--|- -e---------- a---------tº-s::s::s -s: -s: -e- -a- s. -g- , , ------ zºº .#–G–C–G Cº-ºo-ºs- ######## =====FA-H--- 3 -a < … c. is o. ºo is: 28. This motive interposes for a short time between the first and second subjects during the first statement but makes no such appearance on the return. It cannot be said to be missed, how- ever, even by the keenest listener, as its figure is utilised in each case as accompaniment to second subject. It also appears dur- ing the short and inadequate Durchführung as accompaniment to a subject which returns later for the Coda “animato”; in addition to which it is somewhat in evidence during the bridge passages preceding the latter. Altogether therefore it may be said largely to characterise the movement notwithstanding the fact that it everywhere plays a subordinate part. Whatever may be said of a general utility motive in general its influence in this OP. 36. STRING SEXTET. x I77 case is equal to that of the special subject of Durchführung and Coda in imparting to the movement a marked individuality. 29. It is due to the influence of this filigree motive that little contrast is necessary between first and second subjects. The introduction or withdrawal of this busy semiquaver motion has in fact, and unfortunately, not only supplanted thematic con- trasts but caused the Durchführung to be ill-developed and com- paratively meaningless. As against all this it must be admitted Ex. 247. Op. 36, Finale. Poco Allegro, first subject. -- I I - l I – Tºrs-- +- =v-Hi-º-º:======E== —-assºº *==== m sºme !---, O - *u-s- —-1– ==== #E. * * =\;====== ----|--|-as-s- is is: Tº ** sº-Ts; ºf * -s. F. Ex. 248. Op. 36, Finale. Poco Allegro, second subject. º zeº, _e=ºs. T_ #———— +--------.S.-EEF-N- =N] jº i * —l —u— —-- –G-4-O- –2-ºx-NE– t --- – T G-zu- E*E*E= *s--NEF===== #EE i`º ES-sº HN Tº # *:::::::F w # - C J C- C Ex. 249. Op. 36, Finale. Poco Allegro, Durchführung and Coda motive. * N º TN T T ===========EYEEE-----E-----E----H Q- ========#### ==== { that it has abundance of what Joachim called “sound-charm,” and that its lightness is specially suitable for the finale to a work of pastoral character. Upon the whole therefore it is perhaps wise not to regard this movement too seriously, for there is at least a possibility of its having been intended as a relief to the Strained attention required for the previous movements. 3O. Epitome. (a) Subjects, see Ex. 246 to 249. (6) Key, G; without change. (c) Time, #; without change. The movement changes to “Animato” for Coda at bar 136. (d) Length, 175 bars or 225 with repeat of first section. I 3 178 HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. Ex. 250. Op. 36, Finale, Poco Allegro. EXTEND- PORTION MATERIAL BARS CONSISTING OF ING TO 1st section Int. motive 6 2 × 3 6 1st subject 8 2 × 4 14 y 5 33 8 2 × 4 22 3 y 3 x 6 2 × 3 28 Int. motive 5 2 × 2 + 1 33 2nd subject 10 2 x 5 43 Bridge 8 2 × 4 51 1. 2da. Wolth, 52 Totals. 52 52 Durchführung | Int. motive 18 2 × 9 70 Bridge 10 2 x 5 80 Totals. 28 80 Return 1st subject 8 2 × 4 88 3 3 3 y 8 2 × 4 96 5 y 3 y 7 2 x 3 + 1 103 2nd subject 10 2 X 5 113 Bridge 22 2 × 11 135 Totals. 55 135 Coda, Int. motive 24 2 × 12 159 16 2 × 8 175 Totals. 40 175 Ex. 251. Op. 36, Finale, Poco Allegro. Outline. 3. FIRST SECTION | DURCHFüHRUNG RETURN CODA 52 55 40 /*-*-, ,----> I II I II 6 27 19 23 32 * Stands for Introductory Motive. OP. 38. FIRST VIOLONCELLO SONATA IN E MINOR. Dedicated to Dr. Joseph Gänsbacher. I. ALLEGRO NoN TROPPO. II. ALLEGRETTo QUASI MENUETTo. III. ALLEGRO. Published by N. Simrock in 1866. I. ALLEGRO NON TROPPO. THIS is the first of the works already mentioned as receiving only a concise account in order to allow of greater space being devoted to the more important scores. The reason for this special treatment is not that these works possess any less interest than others; but that in their case, on account either of the small- ness of the score or the prominence of one instrument, the reader has less need of assistance. I. Subjects. Op. 38. Allegro non troppo. Ex. $52. First subject. –T | ===N]--|--|-------- ====Frä- H==E=- e=HHHHHHºF#H Ex. 253. Second subject. *º-H == —aid= 2-T 2- Nº ºr J.T *s N |-> ºri s- #EEEEji=E=###### GE2: E —=|-}==== a – 2-tºº--- ####::=5+ = ** Hºº'ſ "s 2"; " ºf | S-V. Jºãº | *~ | *-L | * | | y, " Li W º y -- " -* — -> I8O HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 254. Third subject. ! h _--- _º: #: -440-rºr: | t in *- | º 2-#– 2- ###: Ełº-EHºº-º-º-Hi + =## 2-jº- ###=::: º, *E=-º-Hº-f # =====r-ºf-ri-º-º-º-º-º-ºra * | | | -º- >- 2. Rhythmical tables. Ex. 255. First Section and Durchführung. EXTEND- PORTION MATERIAL BARS CONSISTING OF - ING TO 1st section 1st subject 33 . 4 × 8 + 1 33 y 3 3 y 24 4 × 6 57 2nd subject 21 4 × 5 + 1 78 3rd subject 12 4 × 3 90 Extra for 2 2da, Wolta, 92 Totals. 92 92 Durchführung 1st subject 23 4 × 5 + 3 115 Free 12 4 × 3 127 2nd subject 15 4 × 3 + 3 142 3rd subject 21 4 × 5 + 1 163 Totals. 71 163 Ex. 256. Return and Coda. EXTEND- PORTION MATERIAL BARS CONSISTING OF ING TO Return 1st subject 33 4 × 8 + 1 196 > x 3 y 24 4 × 6 220 2nd subject 21 4 × 5 + 1 241 3rd subject 13 4 × 3 + 1 254 Totals. 91 254 Coda, 1st subject 18 (3 × 4 + 2) 2 272 Cadence 11 4 × 3 — I 283 Totals. 29 283 3. Epitome. (a) Subjects: Ex. 252 to 254. (b) Key E minor, changing to B flat (bar 97) and F (bar 116); OP. 38. FIRST VIOLONCELLO SONATA IN E MINOR. 181 returning at bar I.47. In E major from last entrance of third subject (bar 242) to the end. (c) Time, common, without change. No change of movement. (d) Length, 283 bars, or 37 I with repeat of first section. Ex. 257. Outline. FIRST SECTION DURCHFülīRUNG RETURN CODA 92 71 91 29 ,-----> ,-\-, I II III I II III 57 21 14 57 21 13 4. Observations. The general character is contrapuntal and to a certain extent heavy, relief however consisting of the marked contrast of sub- jects and of the lighter pianism introduced at bars 33, I43 and 197. The sadness of expression is intensified by the dominant minor being used for second subject, but somewhat modified by a third subject in the major. The executive work is equally divided, without particular display for either instrument. II. ALLEGRETTO QUASI MENUETTO. 5. Subjects. Ex. 258. First Section Subject. ** *: eace *::: † *:::s: * - C - -O- e 2Te -º- /*-F-- ~f~- zº a ſº- --- -H - -º- " -F-I-- - “E-E-E- ===I-sº-º-º-E-F-I-2°º-º-º-º-º-Hºº-º-Hi-EEE GEE:##############EE-EEE; | I I-r- T I lſ I | L *Ye-e., 2- tº t F--! -º-º-º- GEEEEEEEEE I f Ex. 259. Trio-subject 8va - - - - - - - - - - - - - - - - - - - - - - el" tº . . . . . . . - --rºº-l-m---TTT #== #e-ºffs== ==Hº: **E=# sº Hºº-º-º: ==}s O I -s– *=º H++ |- =ºmimms - I82 HANDBOOK TO BRAHMS (ORCHESTRAL). 6. Rhythmical tables. Ex. 260. First Section. - EXTEND- MATERIAL BARS | CONSISTING OF ING TO Initial 1 l 1 Subject 14 2 x 7 15 3 y 14 2 × 7 29 3 y 28 2 x 14 57 Initial 2 2 59 Subject 14 2 x 7 73 Cadence 2 2 75 Totals. 75 75 Ex. 261. Trio. MATERIAL mans | cossisting of | * ING TO Initial 2 2 77 Subject II 2 x 5 + 1 88 > * 11 2 × 5 + 1 99 2 3 8 2 × 4 * 107 x 3 1 2da Volta 108 Bridge 6 2 x 3 114 Joining to opening initial 1 1 115 for D.C. | Totals. 40 115 7. Epitome. (a) Subjects. See Ex. 258, 259. (6) Key, A minor. Trio in F sharp minor. (c) Time, #. (d) Length, I 15 bars, or with repeats including D.C., 219 bars. No repeats in first section. Ex. 262. Outline, FIRST SECTION TRIO D.C. 75 40 + 29 75 8. Observations. e The interesting use made of initial bars is a feature of this movement. Also the canon-like dialogue between 'cello and OP. 38. FIRST VIOLONCELLO SONATA IN E MINOR. 183 piano commencing at bar 38; and the almost incessant quaver- motion of the Trio. The plan is also to be noted of paraphrasing the first section in lieu of repeats, and of utilising the miniature Durchführung and Coda thus provided in lieu of an additional coda Section. III. ALLEGRO. 9. Subjects (placed in one key for simultaneous reading). Ex. 263. First subject. sº LIL-1 –II- J} I?-, I-e-Tº- --- e-aº- |##EEEE #EEEEEEEEEErieto. T*E. Tº T. Tº TTT G— º-º-º-º-º: Ex. 264. Second subject. 1 ... ' I C– # = etc. |-- tº- ºl =mem # # º: =: * *A*Ełł i -* – C > * Ex. 265. Third subject. * :*- *-*. Tejº’s ---————º–Ta –——— £º =::===HEEEEEE===Histo UlyZ-> -P-———D—º-I-e w E-t-g-t “ *mmemºmems kmmemamlumml IO. Rhythmical table. The three subjects of this fugal movement form collectively a single contrapuntal scheme, and are therefore not introduced in ordinary rotation; but are mingled, and, generally speaking, capriciously combined; their suitability to which treatment may be at once ascertained by reading Examples 263-5 in score, as in- dicated by brace. The following table therefore must be taken as no more than an attempt to show that, notwithstanding this, an affinity with sonata form is traceable. The portions marked “free” are composed either of counterpoints previously em- ployed or of expansions in the spirit of one or other of the subjects. II. Epitome. (a) Subjects. See Ex. 263-265. (6) Key, E minor, without recognised change. (c) Time, common, without change. Change to “piu presto.” at bar I 75. - (d) Length, 198 bars; no repeats. I2. Observations. This is unquestionably the finest movement of the work, and one which displays Brahms to advantage in his special power to I84 HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. Ex. 266. Op. 28, Allegro (finale). consisting or | * PORTION MATERIAL BARS NSISTING OF ING TO Entry 1st subject 8 4 × 2 8 1st section All subjects 7 4 + 3 15 2 x 3 y 15 4 × 3 + 3 30 3 y 3 * 22 4 × 5 + 2 52 3rd subject 12 (4 + 2) 2 64 Free 11 4 × 2 + 3 75 Totals. 67 75 Durchführung | 1st subject 11 4 × 2 + 3 86 * * x 9 8 4 × 2 94 2nd subject 10 4 × 2 + 2 104 3 y y 5 10 4 + 2 + 4 Free 21 4 × 4 + 1 + 4 135 Totals. 60 135 Return 1st subject 7 4 + 3 142 y 3 y 3 15 4 x 3 + 3 157 y 3 3 y 1 4 × 4 + 1 174 Totals. 39 174 Coda Free 14 4 × 3 + 2 188 x 3 8 4 × 2 196 Cadence 2 2 198 Totals. 24 198 Ex. 267. Outline (on the tentative basis of the IRhythmical Table, Ex. 266). | ſ ENTRY FIRST SECTION DURCHFüEIRUNG FETURN AND CODA | tº º 8 67 60 63 t *- º *— I (etc.) III free I II free | Teturn Coda. tº is iſ 19 20 21 39 24 | compel mere contrapuntal device into artistic service. It is of highly spirited and exciting character, and may be regarded as ending the special mood under which this work and Op. 36 were alike composed. Some have even traced the inspiration for the present subject to the “piu animato” of the latter's third move- ment; regarding which the student can form his own opinion by referring to Op. 36, Ex. 242. OP. 40. SECOND PIANO TRIO. (For Piano, Violin and Horn.*) T. ANDANTE. II. SCHERzo, ALLEGRO. III. ADAGIO MEs.To. IV. FINALE, ALLEGRO con BRIO. Published by N. Simrock in 1868. PRELIMINARY NOTE. I. THIS is one of the group of works composed after Brahms's resignation in 1864 of his post as director of the Vienna Choral Society. His own opinion of it as well as his decided preference for the wald-horn are conveyed by the following observations to Dietrich : For a quartet evening I can with a good conscience recommend my horn Trio, and your horn-player would do me a great favour if he would do like the Carlsruhe man and practise the French horn for some weeks beforehand, so as to be able to play it on that. 2. That Brahms was not only technically an expert in writing for the horn but that he thoroughly entered into the poetry of its utterance is here evident, and it therefore becomes the more re- markable that the transference of the horn-part to viola or violoncello should have had his approval. Nothing could more strongly show his concentration upon the sense of his music than this willingness to confide a part so beautifully adapted to one instrument to interpretation by another. 3. Excepting the Clarinet Trio, Quintet and Sonatas, Op. I 14, I I 5 and I2O respectively, to the composition of which Brahms * Or viola, or violoncello. I 86 HANDBOOK TO BRAHMS (ORCHESTRAL). .* “...S.) ~ K 9.º 2- ~. was induced by the excellence of Mühlfeld's playing, this is the only chamber work in which a wind instrument figures. Even this moreover may be partly accounted for by early associations, so that it does not really infringe upon the composer's world, so to speak, of chamber music for piano and strings. It is not sur- prising therefore to find such works preceded by some special incentive to their production and Dietrich tells us that, one day, when Brahms and he were wandering together on the wooded heights above Baden-Baden, the composer showed him the spot where the idea of this trio first came into his mind. The anec- dote is interesting to those who know the Schwarzwald influence even upon the generally unimpressionable traveller. I. AND ANTE. 4. The form of this movement has been a puzzle to many. Deiters thought that it might probably have been suggested by that of Beethoven's Piano Sonata, Op. 54, commencing : Ex. 268. Beethoven, Op. 54. -: | | 2- ––– ----|-- Q-9 –– --> Gºś ==E==N=====zz - Wºº-- - O- - - - -an — O -sel -ſſ- p-- r i : ) | – , but this view is not supported by the result of a close examina- tion. As usual, when Brahms seems for the moment to have deserted the beaten track, we are first of all struck by the coher- ence of his work and set wondering how, in the face of what seems to be entire caprice, this can have been attained. But it is always open to those who are not content to remain mystified, but who prefer to take the trouble to sift matters, to discover that in every such case Brahms has practically made his own form; and that the cohesion we remark is really no marvel whatever, but simply the result of the studied symmetry of his new ar- rangement. It should not be forgotten that in such matters our hearts are in advance of our heads and that we can at once feel effects, to understand the reasons for which requires much pati- ence and study. OP. 40. SECOND PIANO TRIO. 187 5. It will repay the reader to consider the case of two con- trasted subjects each expanded by the aid of its own intermedi- ate motive, but the second also rounded off in dignified style. Supposing that for convenience we call this rounding off a third subject; then (adopting the abbreviations I, II, III, for subjects and MI, M2 for motives) we have the form of this movement in a nutshell. Ex. 269. Op. 40, Form of first movement. I (M 1) I | II (M 2) II | | III I II III | | CODA. 6. Substituting dimensions for description we have the same result; which of course agrees with that shown by the rhythmical Ex. 270. Op. 40, First movement (dimensions). 28 | 15 13 36 20 13 Bars. 32 16 14 12 34 33 table. The reader who possesses the score will at once identify the subjects and motives alluded to, and no doubt come to a conclusion as to the connection between the singularity of the I88 HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. |Bx. 271. Op. 40, First movement. PORTION MATERIAL 3.ARS CONSISTING OF EXTEND- ING TO 1st Section 1st subject 28 4 × 7 28 5 y 3 x Motive 1 32 4 × 8 60 $ 3 3 y 1st subject 16 4 × 4 76 Totals. 76 76 2nd section 2nd subject I5 4 x 3 + 3 91 | x 3 35 Motive 2 14 4 × 3 + 2 . 105 . 5 § 3 * 2nd subject 12 4 × 3 13.7 Totals. 41 117 Bridge 3rd subject 13 4 x 3 + 1 130 3rd section 1st subject 36 4 × 9 166 3 3 * 3 2nd subject 20 4 × 3 186 Bridge 3rd subject 13 4 × 3 + 1 199 º, Totals. 82 199 Return and Coda, 1st subject 34 - 4 × 8 + 2 233 32 4 × 8 265 , , , | Coda. { 1 1 266 Totals. 67 266 form adopted and the marked contrast between the two principal subjects. In Brahms nothing happens without a motive, and the fact of a second subject in a new time and degree of movement is one in any event to be accounted for. Ex 272. Op. 40, First movement. (First subject.) Andante – º –- -2–E–-I ---T— T I I 55-FFFE-E-F-E----H *—|| e--| ==EHE =#EEEEEE-s-s-Es= E-HHHHHHHEEF-E -āj-- " - *:5.T.s 72-5. TºT, sº TºTº Ex. 273. Op. 40, First movement. (Second subject.) ==E. ~ x____, _- –––N—ºr N =; #HRH. # #NEHFää FEEEº ####### *=#EEE ====E=-2*- ->- ——1. | \–’ g ; \-” poco piú animato _- – #=#|=s=NE ==== E-EN = —T -*b-biº-º'----------i-ga--as-a- # #TT-II/IIIT-Ni------ *ss=sº -º-F-a-e-fººt"--- 2---a #ENE-HHH -w- a -º- "J —T OP. 40. SECOND PIANO TRIO. - I89 6. What we have chosen to call a third subject is really a development of the second, to which however it is superior in dignity, besides otherwise possessing importance in the move- ment. In this respect it differs from the “motives,” the distin- Ex. 274. Op. 40, First movement. (Third subject.) --~ I-> +b=2===3; Esz _-––– –––S ----- ) l —E"—f-º-º-º-º-4-º-º-o-º-ºr-Hº-º-º-; +-------G-4–e5–-------|--|-- # ######### #4: ======== ++z=== +=- g | —=~~ guishing feature of which is that they occur only once, and that generally for a more subordinate purpose. It is true that the first intermediate motive may be said to furnish material for the Coda, but the connection is vague, and the Coda equally trace- able to first subject. Tºx. 275. Op. 40, First intermediate motive. i – -- Żºł==#EEE: ſ—es + ##### -fºrc-9-n —e—+—2-3–+—= – C @################# $ use L | 7. The great importance of the Second subject in this move- ment is such that not only is the third subject an offshoot of its conclusion but the second intermediate motive a play upon its initial bar. This motive starts off (bar 92) with a pianoforte phrase; disregarding which (for brevity's sake) we find the rhythm of the second subject-opening converted into a sigh for the horn, sympathetic violin reply to which speedily develops into a glowing fervour. It is therefore scarcely to be wondered at that some critics have regarded the opening and ante as a mere introduction; which however it is not. Ex. 276, Op. 40, Second intermediate motive. _-————— ~~~~ < −- beſe. beº Gºłºś. ==#EEEEEEEEE #EEEEE ©;E==#######EEEzièH Horn Vln. Horn * *use sº i * Ts sº | i . I - -- - 1 -d-Hå - |- _* | b. * * * : . -:- I Tº T.J. Tº -I-P1-I-T . * * | t 62; I `------º-º- *-ī-a ----|--|-º-o-º-l- 9-9 Fº-º-º-º-º-º-º-F#–E–F–F#–" H :*:::::----------------—t > -º- ſ- l —T `-- Pf. (both hands) I90 HANDBOOK TO BRAHMS (ORCHESTRAL). pez TSR. -O- ––––º-- *-*—5–F–7– É †f====F2st f--- -9:2 - - - + e.V Vln ſºme H-. I. º. º. º. Gºes Eº--E- be- =#= } Hi-Hº- *H*HE=====His: | —T |--———º 4. etc. C}^{2SC –===T--— 8. This completes our rigid survey of the movement; the full appreciation of which requires, however, that we should ap- proach its detail even more closely. In the first place it is evi- dent that this trio was, so to speak, written “round" the horn; for in no other way can the singular appropriateness of the material (not necessarily always as subject, but sometimes also as counter subject), be adequately accounted for. How far the exigencies of the same instrument may have influenced the form is a question which can be better judged after review of the other movements, but their influence upon the character and “atmos- phere” is obvious from the very opening. It is by regard to these conditions that a less assertive factor, such as the horn, is en- abled to hold its own with piano and violin and thus beget a special interest. The question of instrumentation should also not be lost sight of by those who are concerned to defend Brahms upon this point. 9. It follows that throughout the movement the violin and pianoforte parts are somewhat restrained; but herein lies also a charm, as neither of them suffer any loss of interest on that ac- Count. The piano though mostly subddinate is full of ingenious figurations, whilst the violin's melodic interest is continually in- creased by a perfect co-operation with the horn part. Only those who know of the numerous obligations devolving upon the com- poser of a work of this kind can sufficiently admire the masterly way in which they have been fulfilled. IO. Epitome. (a) Subjects. See Ex. 272-276. (b) Key, E flat; changing to G minor for second subject, re- turning to E flat for first subject, then passing to G flat for second subject and finally to E flat for coda. (c) Time, # for first subject and first intermediate motive. § OP. 40. SECOND PIANO TRIO. IOI for second and third subjects and for second intermediate motive. Coda, being a development of first subject remains in #. (d) Length, 266 bars; no repeats. Ex. 277. Op. 40, First movement. Outline. FIRST SECTION SECOND SECTION THIRD SECTION CODA 76 41 82 67 II. SCHERZO. Allegro and Molto meno Allegro. II. This movement introduces us to a rhythmic novelty of which no instance has yet occurred. Hitherto extensions of the phrase have been of less dimension than the phrase itself—a common example being the addition of one, or at most two, bars to the four-bar phrase. The conception of an addition of like time-value with the phrase itself would seem in most cases to be absurd, for the reason that such equality might very naturally entitle the addition to be considered as a new phrase. There is however no real conflict between the two views, for the added portion may easily be a new phrase in the mere time sense and still be a novel feature of the rhythmical scheme. If, for exam- Ex. 278. Op. 40, Scherzo. First subject. | i Rººt-H , I I––––––T-------T-----T-I III Z TITT ––– – ––––EH---- Ilº III] —J.-------|--|--|-- --|--|--|--|--|-> - ###### #EEE =====Histºfffle. "J- —O #########| | I-T-I **-tt---P ple, we examine the opening four phrases in this case, we shall easily perceive that the fourth is really an addition, notwith- Standing its time-equality with the other phrases. The distinc- I92 HANDBOOK TO BRAHMS (ORCHESTRAL). tion is important; as the speciality of the phrase in question is to produce an effect of rhythmic variety (and with it a charming pastoral tint) quite independently of any intrusion upon the four-bar flow—the latter continuing throughout, with the single exception of a two-bar extension immediately before the return (bars 161-2). - I2. Another rhythmic trait, co-operating with the one just mentioned to impart to this movement an atmosphere of rural gaiety, is the freedom with which the phrases are grouped. After the four phrases above quoted six inseparable phrases go to com- plete the subject and to bring us to the motive acting as bridge Ex 279. Op. 40, Scherzo. First intermediate motive. | | T |. |- - - -] . 1_ _ 1 . |~ Hº-º-º-º-Fe:H-serie-se-; ea;============Ezzā-r - ea--as- * L. L I *=f-> T *=f=> #: 2 *s *——1– & I *I JT s-" £2 *†s jº- *-F - Fºr a ** - : rº ſ || ~ l | | -> T E}=== === E: ====EFºEMEF3–E ############ *—º-º-º-º-º-º-º-º-º: 8ve lower - - - - - - - - - - - - - - - - - to second subject. But here the grouping is 3, 2; or (if we Con- strue the third phrase of the above as an addition) 2 + I + 2. This accounts for bars 41 to 60; the point being to observe the absence of the conventional four-phrase group, the conspicuous rarity of which throughout the movement contributes so much to its special character. 13. The second subject is a characteristic horn melody which we only dignify as “subject” on account of its occurring twice Ex. 280. Op. 40, Scherzo. Second subject. ź. 42 T = T == T ——ſ. - T +—— T * = 65-Pºp-E-F#EE==== ===#E F###EEE == J-T-22. | | >-zº ~ e- within the movement. It cannot be said on either occasion to receive any development; though it certainly supplies material for the codetta with which the first section concludes. OP. 40. SECOND PIANO TRIO. I93 14. A second intermediate motive (employed to introduce the miniature Durchführung commencing with bar I2 I) is princi- pally remarkable for the pompousness with which it asserts the # pulsation practically alone. It consists altogether of , five phrases; of which one will suffice for quotation, by way of show- ing its identity with the extension of the opening subject. Ex. 281. Op. 40, Second intermediate motive. # £2 SET -e Te - ºr ############ sºmºsºsºsº Tºi -- T TF –2– 15. The symmetry of the first section, notwithstanding the ap- parent capriciousness of the phrase-groups, may be conveniently exhibited in number of phrases; which of course only require multiplication by four to arrive at the number of bars involved. This reduction of the rhythmical table to miniature proportions Ex. 282. Op. 40, Scherzo. First section ~ --> SP + --> ---> ‘g 2 : ; ; +: 'bo $2 & 3 Q) : º, .9, 5 F. c. 2, ... .2, e e •r-> p-4 e & º # 5 º' 3 a E -3 & 2 a. c : a 3 a p-t ; : : 89 Üa 3 Ca on -- Cº wº cº 43 ºf + "E 3 : . . ; rt; ū) !- O * | * 5 & 5 || 6 * * * ſº | CŞ 5 5 5 5 7 2 3 6 10 20 10} 18 10; is an advisable course when, in consequence of the bars being short, they represent only the time-value of an ordinary beat. In such cases it is for the student to regard the phrase as a “bar of bars.”—that is to say, as a large bar of which each beat is a Smaller bar. But, for obvious reasons, we cannot repeat this mode of illustration, which is offered merely as a general guide to the student on such occasions. I6. The trio is approached by a bridge-passage, of which the first or initial bar is simply a replacement of that already de- ducted from the last phrase of the opening section; its contents being a perfunctory eight-bar E flat dominant arpeggio for * The term is our own, used simply for purposes of explanation. I4 I94 HANDBOOK TO BRAHMS (ORCHESTRAL). a 2 \}, º º º ,,.6% RHYTHMICAI, TABLE.” A .." ‘. . º º Ex. 283. Op. 40, Scherzo. ; º - - EXTEND- PORTION MATERIAL BARS | CONSISTING OF \jº ING TO Opening 1st subject I6 4 × 3 + # 16 3 3 $ 3 24 4 X 6 40 3 : 1st motive 20 4 × 2 + 4 60 4 × 2 2nd subject 20 4 × 5 80 1st subject 20 4 × 5 100 2nd motive 20 4 × 5 120 Development 42 4 × 10 + 2 162 Return 1st subject 8 4 × 2 170 20 4 × 5 190 4 × 2 + 4\ 20 4 + 4 210 4 × 4\ 24 ſ - \ 4 x 2 ſ 234 Coda, 2nd subject 43 ſ 4 × 10 277 : \ 4 – 1 . Fº Trio Initial 1 1 l 286 Bridge 8 4 + 2 ſ Subject 32 4 × 8 318 2 3 32 4 × 8 350 Bridge 12 4 × 3 362 piano with string holding-note—by the way, a woeful piece of emptiness for Brahms. The trio-subject is mournful and on that account of Serviceable contrast with the main section, especially Eº. 284. Op. 40, Scherzo. Trio-subject. — le- bºſs III I, IIIT II TºIITI, IL IVW. v. D. !---T———————I-e —-1-- L º -a- + -ā- e. * +3. at the slower tempo. But another element of contrast is the rest lessness due to an entire lack of full cadence throughout th whole seventy-six bars of which the trio consists. All we have to listen to is an uninterrupted succession of four-bar phrases, never arriving at any sort of rhythmical conclusion, and many of them ending upon light beats. The result is an expression of * The totals are not drawn in this case, as (with the exception of the Trio) the divisions are more or less tentative. OP. 40. SECOND PIANO TRIO. I95 timidity and indecision which may or may not be enjoyable but is certainly individualistic. Moreover, the subject being obvi- ously one which lends itself to sequence the question arises whether such treatment of it may not have been carried too far. The sequences are interesting, no doubt; but there is so little difference of character between the horn and violin parts (which move together throughout) that only the shortness of the section saves it from becoming tedious. I7. Epitome. (a) Subjects. See Ex. 278-81 and 284. (b) Key, E flat, changing to B (bar 97) and returning to E flat. Trio in A flat minor, with D.C. and no coda. The recog- nised key-changes occur as convenient for notation and not at rhythmical divisions. (c) Time, #, without change. For the practical admixture of # in first section see text. (d) Length, 362 bars, or 639 with D.C. Ex. 285. Op. 40, Scherzo. Outline. FIRST SECTION TRIO D.C. 277 85 277 ,--—’—, ,--> 40 80 42 72 43* | 9 64, 12 III. ADAGIO MESTO. I8. Here we have another instance of Brahms's inventiveness in the matter of form. The whole movement consists of eighty- six bars, or eighty-four without the final chord; and there are two subjects, the treatment of which is so delightfully varied that unless we approach the matter unemotionally the framework upon which they depend is quite certain to escape our observa- tion. Rhythmical summary shows the eighty-four bars to be cleanly cut into portions of eighteen, twenty-four and eighteen, * For elucidation of these figures see Ex. 282. 196 HANDBOOK TO BRAHMS (ORCHESTRAL). RHYTHMICAL TABLE. Ex. 286. Op. 40, Adagio mesto. EXTEND- MATERIAL BARS CONSISTING OF ING TO 1st subject 4. 2 × 2 4 5 § 5 y 4. 2 × 2 8 3 S 3 3 6 2 × 3 14 3 3 2 3 4. 2 × 2 IS Totals. 18 1S 2nd subject 2 × 4 26 3 x 3 * 5 2 × 2 + 1 31 x 3 3 y 11 2 × 5 + 1 42 Totals. 24 42 1st subject 4. 2 × 2 46 3 y 3 y 4. 2 × 2 50 3 × 3 x 6 2 X 3 56 y 3 x 3 4 2 × 2 60 Totals. 18 60 2nd subject 8 2 × 4 68 1st subject 5 2 × 2 + 1 73 ſ 2 + 1 x 3 x 3 * |{3. 3) 84 Totals. 24 84 Close 2 2 S6 twenty-four (devoted respectively to subjects one, two and one, two), the only deviation being one which we should naturally expect—viz., a reserve of the concluding space for return to first subject. That it should be possible to construct a movement on such purely mechanical lines, and yet by taking advantage of rhythmic subordinate features conceal the fact (save from the painstaking analyst), is a marvel in itself. I9. If we examine the two subjects simultaneously we shall find that although outwardly dissimilar they possess one im- portant rhythmic feature in common; viz., that although in obvi- ous two-bar phrases, these are alternately strong and weak. Thus, the movement might with equal correctness have been construed as in phrases of double length; though it is equally true that the single bars have a peculiar rhythmical completeness, enabling, for example, the first two and last two bars of the first subject to be practic- ally repeated without interference with the phrase. The com- OP. 40. SECOND PIANO TRIO. I97 Ex. 287. Op. 40, Adagio mesto. First subject. - § 2 *...*Te. º 2- -' 2- tº HR-fºr- fºsteres te *:::::===sbez-i-º-º-º:- #################E # * * Ex. 288. Op. 40, Adagio mesto. Second subject. £n. L- 1 º * --- * * ------ —o-º-o-----——a-e- ºb-------- f sº ==== #: *: ####: # = ** = }- ---------- Hºs ——º- -g º 's----- -------|-2′-O--H ºr —-O ...tº sº. T &#: º F; **: #: *::::::*::: #FE: sº-Pe: *** - CJ Tºyº S- Vln. Pf. 8ves Horn 8ve lower bination of these two features amounts to a rhythmic pliability; giving the composer a liberty which not only leaves no need to adopt a less rigid outline but gives every reason to adhere to a rectangular design—coherence being likely otherwise to become imperilled. The inventiveness mentioned therefore consists in the application of a rhapsodical style to a perfectly rigid design. 20. The term, “rhapsodical style,” is used advisedly, and in preference to “rhapsody”; with the intention of distinguishing between emotion, the expression of which is kept within artistic bounds, and that which, when subjected to analysis, seems rather to betoken the emotion of the insane. The one is entitled to our full respect, for it is an agitation associated with mental Con- sciousness; whilst the other can at most claim but a sympathetic indulgence. The wildness natural to rhapsody may impress the crowd, but the beauty of a disciplined rhapsodical style appeals more powerfully to the educated musician; and in this case, for instance, the stringendo from bar 3 I–the second return at bar 60—the various extensions indicated in our table—the phrase conclusions upon light beats—and the hushed entry (first return bar 43) quasi mienſe of the theme after delay by a written out rallentando converting one bar into two—all combine to bring before us an emotion justified by truth in declamation. The general effect is naturally sombre; and the piano part, though in one sense elaborate, absolutely undemonstrative. The violin part lies low; but this, being almost a consequence of the combina- tion, need not be counted as a feature of the movement. 21. Epitome. - (a) Subjects. See Ex. 287, 288. (6) Key, E flat minor, without change. (c) Time, š, with one bar (26) of #. (d) Length, 86 bars, no repeats. 198 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 289. Op. 40, Adagio mesto. Outline. I II I II I | CLOSE 1S 24 18 2 IV. FINALE. Allegro con brio. 22. It is usual to consider this a Haydnish movement and there are here (as in the finale of Op. 18) some traits which un- doubtedly and somewhat vividly recall “Papa.” Foremost among these is fidelity to thematic material; though perhaps, to many, the jollity of the movement may be still more remindful. The general unpretentiousness and natural outflow of the Con- trasted melodies also help to remind us of the old master; and even to these might be added minor traits—if there were any utility in calling attention to such resemblances. 23. But, indeed, the contrary is really the case. Resemblances such as those mentioned must necessarily lie upon the surface, or they would not appeal to every one; and as we cannot suppose Brahms to have suddenly forsworn himself in this movement, the question is rather to note the differences between him and Haydn; which survive in spite of both masters working to a similar conception. 24. A very long story might be made of these differences if we were to include modernisms—either jn harmonic or melodic in- flection. But these can scarcely be said to form a Brahms sub- ject at all, as they are more or less characteristic of all composi- tion at the present day; besides which we are all so conscious of them that no benefit is to be derived from pointing them out. What we are not so conscious of is the difference between the phrase construction in the two cases; and how, notwithstanding close similarity in the broader rhythmic outline, there may be very considerable subordinate rhythmic distinctions. 25. A glance at the summary will show that nothing could be more orderly than the general scheme, but nothing more varied OP. 40. SECOND PIANO TRIO. I99 RHYTHMICAL TABLE. Ex. 290. Op. 40, Finale. PORTION MATERIAI, BARS CONSISTING OF EXTEND- ING TO 1st section 1st subject 16 ſ (2 + 1 + 1) 3 1st. Int, motive 28 ſ (1 + 1 + 2) 5 \ 2 × 4 44 2nd subject 16 (2 + 2) 4 60 Bridge 6 2 x 3 66 2nd Int, motive 16 ſ 2 × 4 \ 4 × 2 82 3rd subject 16 4 × 4 98 Totals. 98 98 Durchführung 2da Wolta 8 106 Bridge 6 2 x 3 112 New subject 20 (2 × 4 + 2) 2 132 2 x x 3 12 2 × 5 + 2 144 3 y 3 x 24 (2 × 4) 3 168 Totals. 70 168 Return 1st subject 16 ſ (2 + 1 + 1) 3) 184 | 2 + 2 1st Int. motive 28 (1 + 1 + 2) 5 212 { 2 X 4 *...* 2nd subject 16 (2 + 2) 4 228 Bridge 6 2 x 3 234 2nd Int. motive 16 ſ 2 × 4] 250 \ 4 × 2.j 3rd subject 16 4 × 4 266 Totals. 98 266 Coda, Bridge 10 2 x 5 276 1st subject 16 2 x 8 292 y 3 9 3 3 2 + 1 ºv 295 Totals. 29 295 and capricious than the phrase construction. There is for exam- ple the strictest fidelity to the four-bar phrase; but a reference to the subjects themselves will convince the reader that he can Scarcely do otherwise than construe them as sometimes a continu- ous four bars, sometimes a 2 + 2, sometimes a 2 + 1 + I and Sometimes a I + I + 2, occasionally also the demarcation becomes So slight that two four-bar phrases show a disposition to join into one of eight; and that all this is intentional is clearly proved by the several features being each characteristic of its own 2OO HANDBOOK TO BRAHMS (ORCHESTRAL). 1ndividual theme. Thus the first subject is formed of 2 + I + I phrases: Ex. 291. Op 40, Finale. First subject. | | } | } i #=############# ſhºp-EN-fººt-i-º-º-º-º-º-º-IHEHE-F-I-IEHEEEt-E-F-2-IIHF: N-t-º-º-º-º-º-it-º-º-º-º-º-º-tº-T-I-O---|--|--|-f--------|--|-C- :N-I-s-s-s •-º-º-º-z-z: # # C # # 3. -O- + 2- ~~ —N | .m. == | | | | —/--|--|--|--——— r– * -O--—O -, -)--— O- #: #Ef F-22T ##E ==EE * —4-x-a-o-º-º-i-º- F-y-i-F but the intermediate motive used in its development escapes monotony by reversing this arrangement. Moreover the future freshness of a return to first subject is safeguarded by the con- struction I + I + 2, once adopted, being retained. Ex. 292, Op. 40, Finale First intermediate motive. | | | | | Tº 1== --— AP Tez-e *E*-#e-f *----- –2– * - ?--- —º ############-É el/ –––––94–H º-f - %-f frºst-ELºs-EE | | | | | a L TS g TE--------> . -º/- 2 - 2–1–2–3 -"—s------- o–F–F–F–s #######: E--- ######### al/ y "T" sº *ss This therefore continues until introduction of the second subject; which, as requiring to be more Sustained, is naturally in phrases of 2 + 2 The fact of the divisions being not even Ex. 293. Op. 40, Finale. Second subject. * * Dº sº as | | 's. º O | w Pf, with sustained Vln. Pf. Horn B flat pedal in repeated quavers Vln. OP. 40. SECOND PIANO TRIO. 2OI : —i. | __#e3Te º #e3-e-f. Heº Tie. #EEEEz-É=E:#EEEEEEEE § --P--—s-9e ###### 2-5-º-º-º- QL is..T.TTU-Tº-Ti, TDs----- Tºo FTTºo-T wº | | | | º ** ºw y wº B flat longer than two bars is, in itself, an indication that there is to be a third subject, for which the full phrase-length is reserved. Obviously therefore the 2 + 2 arrangement cannot be disturbed by the intermediate motive which follows; as in whichever direc- tion this might be done, the effect would be to spoil the incoming of the third subject. Ex. 294. Op. 40, Finale. Second intermediate motive. _^- ,- ~ | | | -º-- | Win. | e.T. Żºł-N= ==N=== -N === ...tº sitt E. –2–?——a. ############E ===== Pf. d *** *** -º-º-º-º- * il | t º g ! Horn Pf. F pedal, quaver motion, dispersed octaves _^_ 2– -, | Vln. | • ſº- *. | =##=N===Frº H=> =#---. e—- ######### ######### ºs-i: : |- S-V Pf. , -º- Horn 26. Arrival at the third subject may now be utilised in order to point out that changes, so far, have been in the direction of Ex. 295. Op. 40, Finale. Third subject | Pf. R.H. quaver motion | |N — _--—————— ~ pp º' "...g. s | & | N – X N l \ N b====T- IVln. -j-e ‘-s-ip-a-º-º-º-T-z-->-N-Hº (*########::===#EEEF-E-F#–E:#2; H === VIZ TTT=frº-3- B==== HT3:LEffiº. +++-22–5–42*–2–3–2– tº - fºr-º- age; -2-6E2- ----—H-----> - Pf. L. H. e Horn B flat pedal sustained ſº 2O2 HANDBOOK TO BRAHMS (ORCHESTRAL). lengthening the phrase-divisions This does not, of course, confer the least obligation upon the composer as to what he may choose to do during his Durchführung; but we must admit nevertheless that it was a very natural procedure for him to employ his freedom in still increasing the continuity of phrase. The Durchführung is somewhat short—this being one of the movement's unpretentious features; and the sustained phrase is also well in keeping with the desire for restraint. At all events, and whatever may have been the intention, the material of the Durchführung is principally new, and in cantabile phrases which may be easily construed as of eight-bar length. . Ex. 296. Op. 40, Finale. Durchführung. –––––– #E *::=####### Tº pI = TITIT2:...Tº TI gº. TTTTTTTTTTIs (TIL-STD-T-I | #5 e G # =#3; ==#=:::=#= ):-p-A- 74---- +ſ, H. ſº Hā:#5:Hää: ====## # | ©#### #########| #### #: ––––––– .' T---L- ---—--------E: !-- * :* - : * : * : * * * We w V. V. V. w * w Vº wº &#H#H#H Ełip ºr ºf IHHºFi-fi: #=: | 9-#3 # =#. I ~----—Ée--------—º-=- --------- •ºmº # ==EF:=== --- -Hºº------ --|--|--— — — — — — — — | Gºł *H: #5-7–5: =#E: º # F. ...t. ––. ... ºs as --> --> :* - is ºf f ºf º w / w Vº Vº 27. The return groups are managed with such regularity as to Occupy precisely the same number of bars as the first statement (I to 98 as compared with 176 to 266); whilst the Coda though effective is equally devoid of fresh feature. As to the movement generally its characteristic hunting phrases and frequen employment of pedal basses, added to the rhythmic feature mentioned sufficiently stamp it as an appropriate finale to a work of this kind; one of the principal merits of which is restraint of the composer's exuberance to exact measure of the combination chosen. OP. 40. SECOND PIANO TRIO. - 2O3 28. Epitome. , (a) Subjects, see Ex. 291 to 296. - (6) Key, E flat; copious modulations but no recognised change. (c) Time #, without change. (d) Length 295 bars, or 385 bars with repeat of first section. Ex. 297. Op. 40, Finale. Outline. FIRST SECTION | DURCHFüHRUNG RETURN CODA 98 70 98 29 /*-*-*—, ,-º-, I II III I II III 44 38 16 44 38 16 OP. 51 (No.1). FIRST STRING QUARTET IN C MINOR. (For two Violins, Viola and Violoncello.) Dedicated to his friend, Dr. Theodor Billroth, in Vienna. I. ALLEGRO. II. ROMANZE, Poco ADAGIO. III. ALLEGRETTO MOLTo MODERATO E COMODO ; AND UN POCO PIU ANIMATO. IV. ALLEGRO. Arranged by the Composer for Piano Duet. Published by N. Simrock in 1873. PRELIMINARY NOTE. I. THIS work, being commonly held to be representative of Brahms's austerity and asceticism, and to be so difficult that even with a previous knowledge of the score we are liable to fail in grasping its contents, presents us with a fitting opportunity to take stock of the advantages of analysis which we have so far acquired. The remarks upon Brahms's style of composition made by Maczewski in Grove's Dictionary will be an aid to this, as they so aptly epitomise the case in reminding us that the problem is always the same, and that the greater or less austerity of style or complication of detail of any particular work should never imperil the result of its analysis or hamper appreciation of 1ts merit. “Brahms,” says Maczewski, “takes his stand upon systematic prin- ciples of musical form, upon which indeed his individual characteristics a good deal depend. In point of style and construction his music dis- OP. 51 (No. 1). FIRST STRING QUARTET. 2O5 plays a power which is now quite unique. In all his works, from the greatest to the smallest, the hand of a master is manifest, and if we analyse them, we shall find the same unwearied energy and consistency throughout the movement as is used at the outset to express the leading idea.” 2. The thought, here expressed, of tracing the same methods and the same artistic finish in all works irrespective of the greater or less ambition of their design is one which levels all difficulty; and therefore requires only to be carried out in order to bring all compositions under one treatment. Such is the effect of our plan of rhythmical tables, which by a suggested explanation of every bar, by clear indication of outline and by the individualisation of all subjects and intermediate motives can scarcely fail to prepare the student to either read or listen with an intelligent interest. I. ALLEGRO. 3. It is somewhat difficult to account for certain criticisms of this movement. Why, for instance, it should be regarded as having practically only one subject, would be a specially hard question to solve, considering that during its progress three subjects are, in turn, and each eloquently, appealing to us to be considered. Analysis in fact reveals so little ground either for this or for other hard things which have been said of the quartet generally that we prefer to dismiss its evil reputation as the work of some wicked fairy and to proceed to examination as if nothing had happened. 4. The normal character of this movement's construction will be evident from the merest glance at its rhythmical summary, and we therefore proceed at once to consider the subjects and their treatment. As to the latter we naturally expect it to be peculiar to the present work—and that to an extent reacting upon the form; for our labours hitherto must have been entirely without result if the student does not yet understand this to be the secret of so many practical varieties of form notwithstanding full adherence to the parent scheme. To master that idea is a Condition of making Brahms's acquaintance; but when once thoroughly assimilated it affords an astonishing facility in the comprehension of his works. 2O6 HANDBOOK TO BRAHMS (ORCHESTRAL). REIYTEIMICAL TABLE. Ex. 298. Op. 51, No. 1, Allegro. Extest. PORTION MATERIAL BARS | CONSISTING OF ING TO 1st section 1st subject 10 2 × 5 10 Int. motive 1 12 2 × 6 22 1st subject 10 2 × 5 32 2nd subject 20 2 × 10 52 Int, motive 2 10 2 × 5 62 3rd subject 12 2 × 6 74 Bridge 8 2 × 4 82 Totals. 82 82 Durchführung 2da Volta 4. 4 86 1st subject 12 2 × 6 98 2nd subject 12 2 × 6 110 1st subject 17 2 × 8 + 1 127 Bri 12 ſ” x 4 139 ridge sº 2 × 2 Totals. 57 139 Return 1st subject 14 2 X 7 153 2 × 5 + 1 Int. motive 1 13 { 2 + } 166 1st subject 10 2 × 5 176 2nd subject 20 2 x 10 196 Int. motive 2 10 2 × 5 206 3rd subject 12 2 × 6 218 Bridge 8 2 × 4 226 Totals. 87 226 Coda, Free 37 2 x 18 + 1 263 Ex. 299. Op. 51, No. 1, Allegro. First subject. =s+=N=2,...Fe-ST=\;====<=A * *ºs -P-a- * + ===N-º-º-º-2-EEEEEENTºrriºr #EEEEłęHºHºº H e J # ========== e. e. e. Cello 8ve lower Vla. 3rd above for first 5 bars. 2nd Wln. reinforces first in 8ve below. -O-" . -o- | &T- N ſe -O " • 2: . -O- " ---. =b–e-----ºbj=d-I-it-------E-F-I-H2+3+–4. Eł– ===Bºž=EE=====z-E:#E t— # -P-bi---ſº | I 2 I l - --- l º zº-I l. P. f. _P. -e- -eń. -> -e- ‘e. -e- F -- * sm -- 2 ‘p. -2" | | ºn == mºs OP. 51 (No. 1). FIRST STRING QUARTET. 2O7 -*- -e- e * === # F- sm-- Ž=#EEEEEEEVIEE==#EEEEE $ P-b ###### #=#| IE. r ºr 3 2. f __º . f -º- | p f F 5. Here, for instance, it must be patent that ordinary treatment would involve the “echo” given by bars 9-IO being a replica of bars 7-8; with subsequent return to first subject. The fact there- fore of these bars bending downwards and thus softening the clamour of the entry is a clear indication of an unusually early introduction of the motive which is to aid in development. These intermediate motives are as satellites of their subjects, with which for formal purposes, they are to be considered as one, and hence it is well within a composer's discretion to introduce one after the other in rapid succession should he so desire. ISx. 300. Op. 51, No. 1, Allegro. First intermediate motive. _-— --~ --~~..!-- *** --- #######Ea- Báezº-sº-º-º-Hº-53EE=#E*- Eß-E: *...I]-Eºs-rº- —A-EEE-sº-Eºs: E2-EHF: INº- ==== tºe-EEEEEEEEEE fºr:#;">= a. V | V a • T = TVTV ºf 'Cello 8ve lower. Amplifying Wla, part omitted. | S- Moreover the motive of this attenuation of the first vigour is soon apparent in return of the first subject with every means of demonstration of which the string quartet is capable—melody in the bass and in Octaves; clamorous double stoppings in quaver motion for second violin, and an excited figuration for the first. 6. The figuration alluded to may be easily observed as an accompaniment to the second subject which follows; and it may be safely surmised that the innocent procedure of so utilising it (and of thus promoting the unity of the movement) has proved a stumbling block to some, who have unwarily regarded it as a confounding of the two subjects. One would have thought that the rhythmical beauty of the new melody in depending upon the “Nachschläge” for its assertion would have secured it recognition; but it must be admitted that the very richness of * Literally—“ after strokes.” 208 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 301. Op. 51, No. 1, Allegro. Second subject. + Wins. ! | *m 12-y e 2:b-s-s- *—nd | 3 |T| T.º. ă –E pºs=====E=== Ed== a==== +-F-------- V *E*::=E, al ––––2–4 E-5:=>===4*-*= --~~ sº-º-º:***. * - “W e ºss Tº PTs Is -º- "T"Tºº-º-TIFTEITTTTTT-TTL-TTPT" ... fºll ºf "||rritºr ºr cº– * === –––. mimim’ * = |* Wla. continues figure. -- | +b=1– I b-Caº #: -i-lº — — º-º. —— — — — —--|--|- -- (p=ºp-É55-s-s-ºs-E # al/ | =--a--- | | T--— —T the subject—which is dual (see 'cello melody appearing at third bar) and, later on, the object of some intricate though splendid counterpoint—is apt to create a doubt. 7. The second intermediate motive is less interesting though well serving its own purpose of introducing the third subject, Ex. 302. Op. 51, No. 1, Allegro. Second intermediate motive. | ºss-s -e- | d 2. ~TTL- Tº a s. N -s. =5 E====== *Cº-º-º-º-º-º-º: **F-º–a--- fº-P-2-----------e---|--|--|-º-º-it- -----|-- TIT etc. **E=E2 sº-º-Eſ-3– --e-s———-s-s-- :::s----~ : -º- -e- a- -62- Y- p p- -6-2- f | | | into the soft accompaniment of which it merges with an insur- passable grace; but this third subject, though exceedingly short, derives importance from the lovely bridge passage, or as some have it Codetta, which follows, and which, as concluding first section leads to the repeat. Ex. 303. Op. 51, No. 1, Allegro. Third subject. ſh L- | . t ) | —l ~— TVTLCD ſ — | | I] di Itºi —d —l -— –9p–2 |-e º–C–F +-º–e tº-º-Hº- =o-º-º-º-º-º-es-ºsses-Fºs+tº- => *=5 fºre | - * | T | `-1- | T- || > || - | : 1 1 | -CA- - | – i - -&- - 1 = left:Hº:*######## s-ºn-ºs- +-e— *—- e=fºr- s—: s–––f |s S-2T S-2T S-s: "I SEPTS-"TGe. wº wº wº w wº , R-y OP. 5 I (NO. I). FIRST STRING QUARTET. 2OO tºº | tº --> --—— === --~~ | | s Jº Fo- a |a b. —s TTT --~~~. i. #sº -** a *::s * ****. =#E*::: ===s***-*. TH-4"–tº–ºf–E–H– tº cº-º ºx-º ºsºme rºtag-O L-- Li - éâ:####### - | i- 1 - ºs-ºſ- tº-: ſ - - | F -o- F r - i– --- *** *** *-m-mºs-- * =m-s-s- ſº tº I-s -–f --- *- :=º Głł === E *EEE O = g: *- g -- ºb b--º o s I–L CŞ. | + º | > * | re. | e- ' s "ºſ" U --s-><=6- ——-H- yº ~y ~ *- ! w º º º 8. The bridge passage is not directly essential to our purpose of explaining the work, but claims quotation nevertheless. Ex. 304. Op. 51, No. 1, Allegro. Conclusion of first section. 9. Strange to say the Durchführung does not in this case call for much remark; but, after the amount of exceptional resource displayed in the opening statements, its employment in support of the same material was almost a necessary Course. It is, how- ever, specially characterised by an extra vigour; by much modu- lation and by the peculiarity of its mode of effecting the return, which consists of gradually growing into the first subject and of then stating it with a novel harmonisation. The Coda, in alla- breve, is a highly excited annexe to the movement; which it quite worthily concludes, though without presenting any feature to court attention from our point of view. IO. Epitome. (a) Subjects, see Ex. 299 to 3O4. I 5 2 IO HANDBOOK TO BRAHMS (ORCHESTRAL). (b) Key C minor, changing to A minor in leaving the first section and to C sharp minor during Durchführung, resuming C minor for the return and remaining in that key. (c) Time #, changing to allabreve for Coda. (d) Length 263 bars, or 342 with repeat of first section. Bx. 305. Op. 51, No. 1, Allegro. Outline. FIRST SECTION DURCHFijBIRUNG RETURN CODA 82 57 87 37 --~~~~ ,---~--> I II III I II III 32 30 20 37 30 20 II ROMANZE. POCO ADAGIO. II. It would almost seem that Brahms had made it little short of exclusively his life-object to develop the technics of rhythm and to show what great things could be accomplished by rising superior to popular conventions. Thus, dactylic measures are generally supposed to lend themselves most readily to a cheerful motion; though if all that Bharms had done were to show their different application we should pass that by, on the ground that other masters had done the same. But other masters in ventur- ing to use # for a slow movement have been very careful to let it repose upon phrases of duple formation; by which means the dactylic influence has been infused only into the detail of their composition and has not affected its broad outline. I2. That is not the case here—so far as the first subject of this movement is concerned. We willingly admit that its phrase- formation may pass unobserved without the beauty of the theme being the less felt. To feel is good, but to both understand and feel is still better; and the romanticism in this case will be most keenly enjoyed by those who know its source. Let us note therefore that this movement is composed of two subjects, that these alternate, and consist of phrases of three-bars and two-bars respectively; that it is to the three-bar phrase that the special OP. 51 (No. 1). FIRST STRING QUARTET. 2 II tenderness of the movement is due; and that the rhythmic contrasts are the alternation mentioned and the conversion of the first subject into a two-bar motive for Coda. These various features (all observable from the summary) will now be more closely regarded. RHYTHMICAL TABLE. Ex. 306. Op. 51, No. 1, Romanze. PORTION MATERIAL bans | consisting of | * ING TO 1st section 1st subject 24 3 × 8 24 2nd subject 18 2 × 9 42 Totals. 42 42 2nd section 1st subject 32 3 × 11 – 1 74 2nd subject 11 2 × 4 + 3 85 Totals. 43 85 Coda, 1st subject 11 2 × 6 – 1 96 Totals. 11 96 I 3. The first subject, which would be rendered in metre as |- - - - - - - - - has such a decided aspect of triviality that we have first to note how that feature is avoided. Firstly, the sprightly tendency is allowed only as a sort of antidote to what would otherwise prove excessive lugubriousness—with the result of creating an effect between the two. Then, the expression of the phrase (in common with that of any corresponding poetical line) ends with a special lightness acting as a sort of barrier to prevent one phrase from Ex. 307. Op. 51, No. 1, Romanze. First subject. ſ =~ *—ºs —Hº -——N: - !— & ––– ==S-F #===s=====E=#EEEEH *-i- ºr--- Fºr º:#FF"s p f : ... I 1 ºz - ºf T-seº -: 3 e-2 ſº ſº. 2 I Lºw Tºy O we Pºg: e;############### – - Lºſ º 2 L-3 2 I 2 HANDBOOK TO BRAHMS (ORCHESTRAL). -\ Ic- | | X- * sº | | -º-F#-F.--—---- === !— 4–2. |-T-I- *E*::::= (º-FHEE2-ENEEE:::::::::His:=3:3–2– § #Be H-------4---22–2+*-* —l º 5 º • Wlns | ºrsº, º -º- -º-' s- -69-. - 492– w Aº ‘’ O-[3-(9 . – 2-ESHE *...*:::: |eſſ; #E:::::HEEEEEHSES== * D. [º （Tº Lºſ a " * ----- == - =- 'Collo. | | - T - aſ T ~ ---—=- - * * * * *- - - - - - - G- -Cº- i • __a_2~ N P =S ####### (, | *b* z: I +h ,-- o TI -) º EE FE –9–5–3–2–C–F–F–F–F–se?”— ====E2:#EEEE:Esº {T2- §. [...Tº H I-23 ! t ſº Y 2– its E:e-e º ==ſ===r-º-º-; ſº -º-" - © . -g- * -60 - 9- O is: #3tf f * * * * *... ff.: 7 : *-*. G#==SEE H-----Pºst-ºf- 35;” >=– -—t t–== - | I _l running into another except at moments of exuberance. Thus, in examining the score we find that, whenever marks of expres- sion occur at all, it is always a diminuendo or ?? at end of the phrase—the only exceptions being at bars 57 and 63 during second section, at an expansion which is really the climax of the movement. I4. The special value of the second subject lies in its contrast- ing features—its two-bar phrases, frequent omission of the natural accents, division of the beat into triplets and so forth— Ex. 308. Op. 51, No. 1, Romanze. Second subject. #== |=== i–s- #=== CBT, ºr=#EE-----º-º-º-º: =# TTET2 - Isil-1-2-II ſ #: Hº: ##### # —-52–5–2. 52- . - - - & J Tº * ==H--e-e–s-e-e—e-e—r—s-e-Hat-res— @###############º Fi --9 b –--E-E:---E-3 *-i-F-FF its individual interest being but slight. But at bar 43, when the moment has arrived to prepare for returning to first subject, the three-bar phrase is suddenly resumed. This is done in a short episode which has been universally admired without anyone (so OP. 51 (NO. 1). FIRST STRING QUARTET. 2 I 3 Ex. 309. Op. 51, No. 1, Romanze. Return to first subject. 㺠EEEEE - F-- E- * * | & I T- b-B--- as-E ag- &######## F===º-Hºri f e *~~ | | pizz. T | - {–H====HEvil-L- =:: e;E====#v=ºs: -O-G - -C- -g- -C •6 J- * -: * - far as we are aware) having alighted upon the special cause of its beauty. I5. The return of the first theme is specialised by an accom- panying variation for first violin, whilst the remaining parts are more or less paraphrased for its accommodation. As a variant this is fairly refreshing, whilst it certainly provides a much needed climax. The first and second subjects follow on Ortho- dox lines, the rhythm of the latter being maintained for coda. The instrumentation is very delicate and tactful—too much so, in fact, for a first quartet. This view is fully corroborated by Brahms having told Kalbeck that he had written as many as twenty before finding one good enough to publish. I6. Epitome. (a) Subjects. See Ex. 307 and 308. (6) Key, A flat, without recognised change. (c) Time, #; no change. (d) Length, 96 bars; no repeats. IPIRST SECTION SECOND SECTION CODA Ex 310. Op. 51, No. 1, Romanze. Outline. 42 43 11 2I4 HANDBOOK TO BVAHMS (ORCHESTRAL). ALLEGRETTO MOLTO MODERATO E COMODO. |With “Trio’’ section, Un poco piu animato. III. I6. This is in every respect a model movement of its kind; for, whilst everything proceeds with such an airy grace as to conceal art, it not only contains within the smallest limits several suc- cessful examples of scientific device, but these are so artistically assorted and combined—so mutually contributive of effect that interest in the contents seems out of proportion with the dimensions. I7. Beginning as usual with the rhythm, nothing could be more simple than the bare outline of this piece, the crude survey of which reveals but little. To those who penetrate no further it can only appear as a succession of four-bar phrases relieved occasionally by an extension; but of which the most that can be said is that, in point of grouping, they do not follow any set duple arrangement. Under cover of that simple outline however lies a detail of phrase-formation greatly in need of an explana- RHYTHMICAL TABLE. Ex. 311. Op. 51, No. 1, Allegretto. PORTION MATERIAL BARs | consisting of | * ING TO 1st section 1st subject 14 4 × 3 + 2 14 (1st part) 2nd subject 12 4 × 3 26 2 2da Wolta, 28 28 28 Development 1st subject 12 4 × 3 40 -: Paraphrase 17 4 × 4 + 1 57 29 57 Return 1st subject 10 4 × 2 + 2 67 2nd subject 12 4 × 3 79 Codetta. 9 4 × 2 + 1 88 31 88 Trio, 1st part Subject 20 4 × 5 108 1. 2da Wolta, 100 21 109 ,, 2nd part Subject 12 4 × 3 121 * * 28 4 × 7 149 40 149 OP. 51 (NO. 1). FIRST STRING QUARTET. 2 I 5 tion—only to be given however under the reserve already men- tioned, and as serving not only for this movement but as a gen- eral indication of the nature of rhythmic refinements within the phrase. 18. The phrases of the first subject are of I, I and 2" bars with an extension of two bars preceding second subject. Those of the second subject are of 2, I and It with the exten- sion of a continuous four before the repeat. The I, I, 2 phrase is then resumed but shortly gives place to a form of I, I, I, I, followed by a continuous fourſ (from bar 41). This being repeated and followed by an extension of one bar (extension of the last phrase is a favourite Brahms method of dividing subjects) the return ensues, and is naturally in the same rhythm as the opening statement. 19. The codetta of this portion is in 2, 2 phrases, with final extension of one bar dividing it from a section doing duty as “Trio,” though not so called. Written in #, it is nevertheless a # movement, as the reader will perceive who refers to the rhythmic repose presented by bars 97–8, 99-IOO, IOI-2, IO3-4,& and in many other places. Independently of reference however the # pulsation must be evident to every listener; so that the mere figures are apt to convey an incorrect idea in this case, the four-bar phrases counting only as two in aesthetic conception of the movement. It follows therefore that, when (as at bars 93-6)| the phrase-formation is in single bars apparently, it is really in half bars; and that the pulsation instead of being more languid, as is usual in a trio-Section, is the reverse. But here, as in the last movement, Brahms shows his love for the association of con- traries. The too lively pulsation is corrected by delightful undu- Dx. 312. Op. 51, No. 1, Allegretto. First subject. win.<-T- _--——— S*~ ~ -b ----|--|- Sºs | #: *:::: {*45-s-s-º-; - --~~ ** *- - - -se - p : P - -*** - - - Vla. -- --- º “ 'Cello-sº "._z. sº 8ve lower V’ i * See Ex. 312. | See EN. 313. ; See Ex. 314. § See Ex. 315. | See Ex. 315. 216 HANDBOOK TO BRAHMS (ORCHESTRAL). lations of the second violin and viola parts, which, between them, Contrive to sustain a sort of humming sensation during the whole duration of the section. I9. All this becomes easily apparent on scrutiny of the Subjects. - Ex. 313. Op. 51, No. 1, Allegretto. Second subject. 2-- m== ! - ———S #E I?’ is #Hº: ------—-- |--|--|--|--|--~s- #: Hº- ##### #Eß ==TL * * *-*- - C – c. *— C-------- - -r-—H– # *=#E::::############## **m mummemº ! S-', * g - V- t Wºº- ~ * * ===r == 1. t * | | i Ex. 314. Op. 51, No. 1, Allegretto. Paraphrase. 1- 2-— ————— ~ = #=ºjasæ-sº-F—-tº- -º- ºr º- ſº ...-- - _1__ __e= i-s-º--!>=~!————re---4---n -- s—— # *—bs-s-º-g &Ls *I *g-º-º: G :=52-fºr- fº C– * * Tº Tú Ea ſºlº *-*. I*T*Tºº I- ( . spe-º-her-sa-FE- a-g_e-º-fi *-m-m-m-smºm- tº Tº *-*.*.* | -- s ſ *\ms * * * ! ** O- Vla >k | | * = **m-s-s | * | | | immu-l- | | | | --~ Ep 5-ississi -E-ITI-Tº-º-º-º-º-e. ------ n-º-º-tº-gº-º-º-º-º:*IIIa-ºxii.º-gi jaa T. –––14—ººs º--i-s—sºaºº------0g-ſº------.ſº-3-2-1, * # Ea. iºs===== C bº-ſº (2. s ſº #5 º s #: ———----------------------------------- — r- $– -O- Rhythm 1, 1, 1, 1, 4 Ex. 315. Op. 51, No. 1, Allegretto. §ubject, second section. =#1-#2-#4, #4, #411-4-4, !-T----|--|-T- -------T-Cy —; •= = }- =ſ=-|-- ;I ILITITT IIIT"TLILITAI -2'--H-----|-C--H - * * * - -,21--1-2m- CJ ###. EHEF=E=E=#Ef . I li J. II 2-—s 2-—-> 89 90 9I 92 93 94 95 96 *** * - #E 97 | ~ – | y _l ) * - I gºsº -1 * t T.I., 'LI1 ſ E===#2=EE::=#EEEE == – #E=#E =>4 * # Fº :#º-E €2– 93 99 IOO IOI IO2 IO3 * Elaboration of the original viola counter-subject should here be observed. OP. 51 (No. 1). FIRST STRING QUARTET. 217 2O. The devices to which reference has been made are: I. Starting with two subjects of which one characterises the whole movement as figuration, while the other supplies thema- tic material. - 2. Paraphrasing the counter-subject for a miniature Durch- führung. 3. Treating the second subject in double counterpoint.” 4. Combining all the subject for codetta of first section. 2 I. Epitome. (a) Subjects. See Ex. 312, 313 and 315. (b) Key, F minor, with second section in major. (c) Time, #, with second section in #. (d) Length, 149 bars; or 268 with repeat of first part of each section and D.C. Ex. 316. Op. 51, No. 1, Allegretto. Outline. FIRST SECTION SECOND SECTION I). C 88 61 S6 28 29 31 21 40 IV. ALLEGRO. 22. As this extraordinary movement is well worth a special effort on the reader's part we shall, in view of its great difficulty, adopt a somewhat homely form of explanation. Let us there- fore imagine the phrase which is first stated in unison but after- Ex. 317. Op. 51, No. 1, Finale. First subject. . -Q, s -º- Jº # * * * * * # =::=::====::=== (p=22– *Es==E*=#E ===== © | —Tº S-5, f * The student will of course perceive that the parts in Ex. 313 are invertible. 2 I 8 HANDBOOK TO BRAHMS (ORCHESTRAL). wards treated variously standing as it were detached from the movement. Let us expect it only to utter its cry and depart; to be expatiated upon very rarely and never at length; and yet to seem to inspire all the other subjects. Then let us try to picture a sonata movement without any Durchführung, but with such a multiplicity of subjects as to engender an intense agitation in the mere statement of them—an agitation easily increased from any desired point during development. By this time we shall prob- ably have concluded that something quite revolutionary is at hand. Not at all; for in spite of all this extensive outward change every classic feature is preserved. 23. In such an exceptional case it would be idle to expect agreement amongst critics, most of whom create their own em- barrassment by insistence upon judging this movement in the ordinary way. It cannot be so judged; for, to begin with, there are no less than six subjects—real subjects, that is, and not mere intermediate motives. Of these, the passage we have quoted is naturally the first; and that Brahms himself must have regarded the material of this movement very much in the same way as we are doing would appear from the correspondence in the order of these subjects during the two sections. Observation of this enables us to take in the form at a glance. Ex. 318. Op. 51, No. 1, Finale. Rotation of subjects. First Section 1 2 1 2 1 3 4 5 4 1 6 and Coda. Second Section 1 2 1 2 1 3 4 5 4 1 6 24. The significance of this feature lies in the return being by no means a repetition. It contains on the contrary so free a treatment of the old material that there was positively no need or inducement to adhere to the same order had it not strictly appertained to the composer's scheme to do so. By aid of Our summary the reader will now be able to locate the subjects the OP. 51 (No. 1). FIRST STRING QUARTET. 2 IQ REIYTHMICAL TABLE. Ex. 319. Op. 51, No. 1, Allegro (finale). FIRST PART RETURN SUBJECTS BARS consistin G OF EXTEND- BARS CONSISTING OF EXTEND- ING TO ING TO Zi 2 2 2 2 2 95 v II 10 2 × 5 12 6 2 x 3 101 * }, 2 2 14 2 2 103 I 6 2 × 3 20 6 2 × 3 109 & 12 2 × 6 32 14 2 × 7 123 *III 9 4 × 2 + 1 41 9 4 × 2 + 1 132 -IV 8 4 × 2 49 8 4 × 2 140 tw 10 4 × 2 + 2 59 10 4 × 2 + 2 150 Awl S 4 × 2 67 8 4 × 2 158 * I 3 2 + 1 70 3 2 + 1 161 VI 10 5 × 2 80 10 5 × 2 171 Bridge 13 2 × 6 + 1 93 22 2 × 11 193 Totals. 93 93 100 193 CODA. EXTEND- BARS CONSISTING OF ING TO 4. 2 + 2 197 5 2 × 2 + 1 202 12 2 × 6 214 29 2 x 14 + 1 243 5 4 + 1 248 55 248 quotation of which in short form should enable him completely to realise the character of the movement. Ex. 320, Op. 51, No. 1, Finale. Subject 2. Wins. 2- 2- -- | 2- | ====::::::==ſ**-j-i-º--El- ################## Q., Fºr;2. 25 - — — –– | P = -e- ºr * * 'Cello 8ve lower. | | | ‘p- | * The viola has an amplifying part composed of this figure. 22O HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 321. Op. 51, No. 1, Finale. Subject 3 1st Vln.f H.HT - H -- +b========E------'º -1;--> 33---rº =#EEEºf. +E++++H=HE SVE →fº-3-3-fº ==="E- - * : 3 ºr "sº º º †: E. ... is - G- ºr | | * * § a r = - G- ; : ~" | >~ | | w | - - - --- Ex. 322. Op. 51, No. 1, Finale. Subject 4 Ist Vln. | - -C, l - + *. N .. -a, -º †† : ºf EEE • ºb-º-º-º- ---i-º-Tº-Hº-Tri-Ei Iijimº-Iriz-----sº ############### º --- ºr 4 - ma – ; -º- ... -O-I - -- ©- ~-0-1 3– -- C – '2nd vi. " "º 1's "F* |F * I-1 |#2. #, --- via. P | * i. *|† "L == ** Wla. imml Vla. ** 'Cello. 'Cello. 'Cello. 8ve lower *s-, º T] • ICx. 323. Op. 51, No. 1, Finale. Subject 5. 2nd Vln. --> ſ o, i i fº l— L- |-T_ º 4–2 EFFE*-*==============#–E– --—a #### #H#H#H#H =|- =l l | /~ — it ſº. bs. -CJ- | | —s l § O-2ſ-o - r–E– *:: Pe- ºr º- ºr ims *~ : - ' t f *-** | Cello Sve lower Y-T Ex. 324. Op. 51, No. 1, Finale. Subject 6. ======== ~ - ==HikºłH *=####F#-F#'hā-āº; #: :- #F -*s a -a-s a g + -* -a- (J is: e º 2's a l 25. It is the individual subjects of the movement which most expose it to criticism. As Maczewski says (in the article to which we alluded in par. I) after dwelling upon the beautiful cohesion and symmetry of Brahms's work : The individual character of his ideas and the intellectual qualities of his nature stand in the way of his overcoming opposition and gaining the sympathies of the large mass of the musical public. His deep, brood- ing earnestness and his abstraction from external things absorb him so f In small notes to indicate accompaniment. The subject is given by second violin. i. three initial quavers give rise to many imitations during the development of this subject. § Continued in sequence, the subject being now taken up by first violin. | with cello pedal bass on B flat, in syncopation to complete effect of crotchet pulsation. * The five-bar rhythm of this subject should not escape notice. OP. 51 (No. 1). FIRST STRING QUARTET. 22 I completely. In his idea that he sometimes loses his feeling for beauty of sound. With him beauty seems to hold a place subordinate to expres- sion, and a certain harshness is occasionally met with in his harmony which must hinder the popularity of his works, That the invention of his themes depended upon what he fore- saw in the treatment of them is not to be doubted; and it easily accounts for any apparent lack of Spontaneity and grace, these being traits liable to be considered by him as of lesser import- ance. Not the individual effect but the susceptibility of a theme was his measure of its beauty and Our appreciation must there- fore depend upon knowledge. It is the sheerest fiddle-faddle to accuse Brahms of strangeness. It is we who are devoted to con- ventions and resist their being set aside who are strange and un- natural. To quote Maczewski again : There is an unapproachable asceticism about his genius which is op- posed to all that is merely pleasing to the ear. He does not court the understanding; he rather demands from it arduous and unwearied SeTVICe. 26. Epitome. (a) Subjects. See Ex. 317 and 320 to 324. (6) Key, C minor, changing to A minor (bar IO2) and return- ing to C minor (bar 192). (c) Time, allabreve; without change. (d) Length, 248 bars, no repeats. Ex. 325. Op. 51, No. 1, Finale. Outline. FIRST STATEMENT SECONID STATEMENT CODA 93 100 55 OP. 51 (No. 2). SECOND STRING QUARTET IN A MINOR. (For two Violins, Viola and Väoloncello.) Dedicated to his friend, Dr. Theodor Billroth, in Vienna. I. ALLEGRO NON TROPPO. II. ANDANTE MODERATO. III. QUASI MINUETTo, MoDERATO ; AND ALLEGRETTo VIVACE. IV. FINALE, ALLEGRO NON Ass AI. Arranged by the Composer for Piano Duet. Published by N. Simrock in 1873, I. ALLEGRO NON TROPPO. I. THIS quartet is said to be much easier of comprehension than No. I ; but it is doubtful whether the student who dissects it will find that to be the case—at all events so far as concerns the present movement. There is here perhaps a greater tuneful- ness upon the whole; but the student must beware of confound- ing this with the inner being of the quartet—to the understand- ing of which it is far more likely to be an obstacle than an assist- ance. There is also a somewhat fuller resonance, due to the greater mechanical facilities for strings in the present key, but this merely contributes to a better performance at the hands of average players. The constitution of the work is a totally differ- ent matter. 2. The first subject may, as has been said, have reference to Joachim’s “F, A, E,” motto—standing for “Frei, aber einsam,” or “Free, but alone”—but is quite sufficiently explained by being in agreement with Brahms's habit of using chord-notes for his leading theme. We are thus led to expect matters to proceed in OP. 51 (No. 2). SECOND STRING QUARTET. 223 the ordinary way; but far from this being the case, not only does the movement start upon the chord of D minor (for a movement in A minor, the tonic chord of which it merely touches in the second or weak bar), but it delays the strong rhythmical asser- tion of its key until the first two four-bar phrases are complete. This so far favours the motto notion that it isolates the first eight bars and thus accords with the composer's usual manner of working to what may be called a musical motto passage.” It is peculiar to this case however that it extends beyond the limits required by the motto itself; and, by postponing the tonic entry gives the opening something of a detached character. 3. The student will scarcely deem this trait to be one of great facility of comprehension, but there is much more to follow. Ex. 326. Op. 51, No. 2, Allegro. First subject. * , TS © ——— G €2 | |→ "I – en T | | | -*. I ſº #-s—º-C–C–H–3—E-FEE--- III-2 + I |-> is-º-º-º- IIº [T ++y= U * * -62- [. f % -62. -º- - -ſe. - ſº -a- --- -º- -2. -- - - - - • F-- •: —O f ºr. F---F - O # = : •+ .#:F.* , ºf _* * . . . =====E=EE it:Ef ºff-fif-lºs-E=f-E=1 \- Lº I [ Gº [. I [T2- L- ITDI I Lººs- | " (º I Ex. 327. Op. 51, No. 2, Allegro. Opening tonic statement. ——-N- ---—t is L.-le-N --J–*—**—l- -- =###=####E # ==E=== Cl— . =##–3– I [ *s. E23–ºf– L ſ ~~ *J | I T ** > L I. [ 'Cello 8ve lower, Viola in triplet crotchets Here for instance and for the first time in Brahms's works until now, we have an example of extension interior to the phrase. Hitherto, extensions of the phrase have uniformly consisted of additions; similar in their nature to the additional clauses of a sentence. The extension of a musical period by an addition similar to the paren/he/ical clause in language has not yet OC- curred in such pronounced form. But, as we have now to make its acquaintance, we propose to characterise it by addition of the * As, for instance, in the finale of the last quartet, the leading theme of which was also a motto-passage. (Refer to Op. 51, No. 1, par. 22, Ex. 317.) 224 HANDBOOK TO BRAHMS (ORCHESTRAL). word “interior ’’; whereby, for example, “4 + 3, interior” will be held to mean a four-bar phrase extended—not by the addition of three bars to its ending, but by the insertion of three bars before the ending takes place. - 4. The first phrase of this kind follows immediately upon Ex. 327; in Conjunction with which it should therefore be read, first Ex. 328. Op. 51, No. 2, Interior extension of the phrase. (a) Phrase without extension. Vlns. - Cº- | | ----—s, | | | . E --- : -e- . – --- -el 3–22 . . | – F – º – ~!------i –-r- - ) – º –– S- i– | 652– ºzºn- —— - E=#EEE’–g s E}====#EE::=#2===Ff - Tº ºf IIT -ITI NL2 F- t I |- L __ Tº 7 º * > ºf Ji ( , O I I |- I I L º * F | * F = F * | 'Cello. without, and afterwards with, the parenthetical insertion. Iºx. 329. Op. 51, No. 2, Interior extension of the phrase. (b) Phrase with extension. f ~ | 2– l * ... ----, ...T. - 4 . 1 = ~ * ~ | | º: : | 2. #T3 -- | º \ Ef-La-Li-i-T-º-º-i-H-Iza):La Lil Ed:*I:-3-º-º-; :=-|-- T *—º-F- Ejé); C-zº- *G *::=es Lº- # | *—z–F––––––. H —e-4--------,--------- | & F • F=\; | f |S– | T- | –3. * - . •– Głº-Ezº FEE ~ e- |- | \ 5. The “motto-subject” (as we have seen in the finale of the last quartet), has a tendency to induce variety of material,t and therefore early introduction of intermediate motives. Illustration of the latter tendency has already appeared in the opening move- ment of Op. 51, No. I ; where the first intermediate motive occurs at the eleventh barf in consequence of traits in the leading theme similar to those which we are now treating. Immediately there- * We are led to the use of this expression by want of a better term. f Refer to Op. 51, No. 1, par. 23, where the disposition of Siac subjects of the finale of that work appears. f Refer to Op. 51, No. 1, par. 5, where the treatment is described and the scope of the intermediate motive defined. OP. 51 (NO. 2). SECOND STRING QUARTET. 225 Ex. 330. Op. 51, No. 2, Allegro. First intermediate motive. | 2-\ =mm= * =m, mºs mº e as * sºmºtº=> gº º | etc. -O- --- – - —— * * * * * * mºs | #es. MS-s’ ‘g, lºw- ºr jº º- # *- F-F# *_ fore after the above cadence the first intermediate motive here also appears, and is treated (as our experience must also lead us to expect) at greater length than the first subject itself. After an excessive amount of modulation, free indulgence in continuous quaver motion of middle parts, rapidly panting syncopations which at last subside by augmentation of their note lengths and a trivial first violin solo passage, we have the second subject; of which it has been remarked that it might easily pass for a canti- Zena a due voci in an opera by Rossini, Bellini or Donizetti.” IEx. 331. Op. 51, No. 2, Allegro. Second subject. * Wlns. | | l * ~ *-*-*-ī-S-I-S-I-S---- ################# -y I -T- Q-Z -O- -O º º º 5s. Non-stem indication of basses. 'Cello crotchet motion pizz, viola triplet crotchets. 6. This subject is twice stated; four bars of its own intermedi- ate motive appearing between the two occasions and exercising a binding influence on account of rhythmical affinity with the trip- let-Crotchet motion of the viola accompaniment to first subject. Now that the six-crotchet motion instead of being merely an Ex. 332. Op. 51, No. 2, Allegro. Second intermediate motive. Ist Vln. __* *~ Tºls ~ | a . # | . * | * l –) T l r—- -i – O * * * *...* ºr –––––– -º-L----|-º-º-L-as- ### Ee : ==E= – Il-- —º-l- *—-—— i- I g-E-º-Fs STS㺠TE * * Y- I ke # F º F#e E F-F-A-F s: f' 'Cello 8vo lower. | accompaniment has become a new and independent motive, the composer has a greater security for his cross rhythms which he is not slow to utilise. - 7. But a still greater interest accrues to the treatment of this motive by interior extension of the phrase, as discussed in para- * This is the expression of a Monday Popular programme critic. * - I6 226 HANDBOOK TO BRAHMS (ORCHESTRAL). 4. ”W.--> RHYTHMICAL TABLE. Whºle. º, lºw/ & Ex. 333. Op. 51, No. 2, Allegro, First Section and ºl . f p $. PORTION MATERIAL BARS CONSISTING OF EXTEND- | ING TO 1st section 1st subject 12 4 × 3 12 -rs’ 3 × \ 7 4 + 3 interior 19 Int, motive 1 || 10 2 × 5 29 2 x 3 |} 8 2 × 4 37 3 y • 3 A 8 4 × 2 45 2nd subject ºf 12 4 × 3 57 Int, motive 2 k 4 4. 61 2nd subject 16 4 × 4 77 Int. motive 2 20 4 × 5 97 3 y x 3 6 4 + 2 interior 103 / 4 + 2 3rd subject ‘b 16 4. | 119 4 + 2 Bridge to 1st 8 4 × 2 127 subject 1 repeated 3 {: 2óla. Wolta, 130 Totals. 130 130 Durchführung 4. 2 × 2 134 12 1 × 12 (= 4 × 3) 146 2 2 - 148 14 4 x 3 + 2 162 16 4 × 4 178 6 2 x 3 184 54 184 Ex. 334. Op. 51, No. 2, Allegro. Cross-rhythms on second intermediate motive. graphs 3 and 4. The reader will have observed that, however dissimilar in exteriors, interior extension of the phrase is essen- tially one with the ordinary cadenza which, however long drawn or elaborate, is still but a prolongation of the closing phrase. That being so, there can be no surprise at finding that interior extension sometimes emulates Cadenza freedom; which, as every OP. 51 (NO. 2). SECOND STRING QUARTET. 227 one knows, shows itself in either barring capriciously or in dis- pensing with bars altogether. On the present occasion the exer- cise of this freedom gives rise to two bars of #; but why these bars should have ever been an object of mystery is itself a mys- tery—Considering that they appear to have been cast in # for the express purpose of preventing anyone from mistaking their mis- Sion. The parenthetical intent of these bars being too obvious to render more necessary, and the extension being followed by third subject, the two features may be read in conjunction, and occasion taken to observe that (as in literature) the sense of the phrase is not affected by omission of the parenthesis. Ex. 335. Op. 51, No. 2, Allegro. Interior phrase extension with free bar-length. ºw: - *s 1 -º- - * ##t====Fº I-"-- ==HE T Rºsº ===HEEEEEEEEEEEEEH a) - - L– -* * * * F tº -e- --— -- ( ; *† C -- -- -e- - - - ~ -> -> | | P = <-T-1 i = - Iº T' TTT ſº I I ſº- T L |####EEEE H====E===#| | H = | --—- | • *-* * -5 - -º- — f | •69- -e ‘f • • thrº F–––– ---2- 4- TT TIT . "I - Yºl J Z-TT T. OTT --> TTLIT Tº Lº * T 5 !-a—º----I-2 III -'TL-> * ~... I ###: | IFS-TV/Tº IT- t__I} T P-TEC:-e-ºf-l-k —I- I– [. ſº vºy I-F—s—P-C- v-L-L- L– I al/ - #2. TLI. --- | #º -o- -O- º U ſº C * - º- C. - Tºjº g" -º- s: º- p ; "| | | Ex. 336. Op. 51, No. 2, Allegro. Third subject. _* N ſ|| || -\ N =======Hº-ji==== tº- E5s #3– gº-l- =; #2– *\º - > --> e—º-H-E- i | >| w 228 HANDBOOK TO BRAHMS (ORCHESTRAL). REIYTHMICAL TABLE. Ex. 337. Op. 51, No. 2, Allegro, Return and Coda. PORTION MATERIAL BARS CONSISTING OF EXTEND- ING TO Return 1st subject 12 4 × 3 196 3 y y 5 7 4 + 3 interior 203 Int. motive 1 12 2 × 4 + 4 215 2nd subject 12 4 × 3 227. Int. motive 2 4 4 “33i 2nd subject 16 4 × 4 247 – Int, motive 2 20 4 × 5 267 2 3 5 y 6 4 + 2 interior 273 - 3rd subject 6 4 + 2 279 Totals. 95 279 Coda, 3rd subject 11 2 × 5 + 1 290 Piu animato 16 2 × S 306 (free) 5 y y 5 10 4. X 2 + 2 - 316 3 x 3 3 6 (2 + 1) 2 322 1st subject 15 4 × 4 – 1 337 Totals. 58 337 8. Lengthy first statements being a luxury only to be enjoyed conveniently at expense of the Durchführung, the latter is here reduced to the smallest limits. The bounds allotted would have been insufficient for the display of fresh material, even had its introduction been desirable. This section is therefore merely an adroit play upon what has already occurred—interesting from every point of view, but contributing nothing to our stock. The only point in connection with it which promises to add to our knowledge is the manner of effecting the return; which obscures the re-entry of the motto-subject, whilst leaving the continuation of the leading theme intact. This does not look like paying much respect to the theme upon which the movement is supposed to have been founded, but it affords an instance of deferred set- tlement of the tonality of a first subject favouring a gradual growth into it of the Durchführung. By this means the listener, instead of having the opportunity to give a welcome to the re- turn, finds to his surprise that it has been already made. Both sensations are pleasurable, though concealment of the actual moment of return is the greater novelty. The point is one for OP. 51 (No. 2). SECOND STRING QUARTET. 229 the composer-student and lies closer to the nature of his subject than to the exercise of his own will. The coda requires no elucidation beyond that contained in the rhythmic summary. 9. Epitome. - (a) Subjects. See Ex. 326, 330, 331, 332, 336. (6) Key, A minor; change to A major for second subject on return (bar 216), resuming A minor for coda (bar 280). (c) Time, allabreve; change to # for two bars during first sec- tion and return (at bars 98 and 268 respectively). (d) Length, 337 bars, or 462 with repeat of first section. ? 29.6 ° 4-0 Ex. 338. Op. 51, No. 2, Allegro. Outline. FIRST SECTION | DURCHFüEIRUNG RETURN COIDA, 130 54 95 58 2–~-> 2–’-> I II III I II III 45 58 27 31 58 6 II. AND ANTE MODERATO. Io. This movement is of lyric character and of such simple construction that its bearings are at once evident from observa- tion of the summary. As usual with small movements of this kind it is really a “one-subject” piece; the vocation of the second subject being merely to provide contrast and divide the tWO Statements. II. The broad leading theme has the air of proposing a more important movement and the subsequent working therefore creates a suspicion of original intentions not having been fully carried out. A sign of weakness occurs immediately after the first eight bars, where the 'cello continues the melody inanely for three bars,” and is followed by a silly dialogue between extreme * Or more properly for 2 + 1 ; as these bars consist of a two-bar phrase, followed by one of no particular meaning. 23O HANDBOOK TO BRAHMS (ORCHESTRAL). REIYTHMICAL TABLE. Ex. 339 Op. 51, No. 2, Andante moderato. EXTEND- ſ MATERIAL BARS | CONSISTING OF | ING To +3 5 § 1st subject 11 2 × 5 + 1 11 # , , , 6 || 2 × 3 17 t; 3 x 3 y 13 2 × 6 + 1 30 -: Int. Imotive 1 7 2 x 3 + 1 37 wº- e Bridge to 2nd subject 5 2 × 2 + 1 42 \ Totals. 42 42 2nd subject 10 (2 × 2 + 1) 2 52 Q 3 3 2 3 7 2 X 3 + 1 59 * 5 Int. motive 2 10 2 × 5 69 := Bridge to 1st subject 7 2 × 3 + 1 76 Totals. 34 76 1st subject 11 2 x 5 + 1 87 5 33 y 3 7 2 x 3 + 1 94 # » , , 13 2 × 6 + 1 107 p: Totals. 31 107 Int. motive 1 4. 2 × 2 111 cº Int. motive 2 9 2 × 4 + 1 120 § Cadence 4 2 × 2 124 Totals. 17 124 parts for the next six, before the first subject reappears an octave higher to a new accompaniment. Another sign of unsettlement Ex. 340. Op. 51, No. 2, Andante moderato. First subject. —R- -S 2— N N 1st Vln. º t © Viola (' lower) is that this formal reintroduction of the theme only lasts for four bars, the next four being employed to give the melody a tournure in the tonic direction. The two bars from which the force of this is derived (22 and 23) are especially devoid of finish, as they neither retain the new form of accompaniment nor the traits of the original melody. As for the tonic close it exists only for the analyst, the hearer having to be satisfied with an interrupted cadence and to wade through some bars of transient modulation OP. 51 (NO. 2). SECOND STRING QUARTET. 23 I before being allowed repose. No objection need here be taken to any of the means employed; the objection being simply that they fulfil nothing. I2. The passages which we have signalised “as first inter- mediate motive,” only deserve that title in consequence of reap- pearing at the coda, which at all events saves them from being entirely incongruous to the movement; besides which the whole Ex. 341. Op. 51 No. 2, Andante moderato. First intermediate motive. # ; s 2- s sº ::= | "Nº- * 2.Édº-az- ===========s====125–3–2-siº-lº- d ###########: - ==== s—e. ::::::::= SF-Esrā-ji=::FE:#F#H#2 ===; "- id- E. E.' ….. "...--P P--. —T -—T construction right up to the second subject is so invertebrate that the rhythmisation here offered is merely one of many for each of which a plausible case could be made out. I 3. Want of purpose is again displayed by the vagaries of the second subject, the melodramatic scoring of which Creates an im- pression of the movement being intended for a different kind of audience to that which Brahms usually addressed. Inferior lis- teners are extremely exigent with regard to rhythmic regularity in matters of “tune,” but this craving completely leaves them whenever the melodramatic shiver sets in. The composer ad- dressing them would then be simply wasting his time to trouble about coherence—especially in view of the likelihood of the greatest incoherence being accepted as the most effective. We are naturally very far from applying the full force of these observa- tions to the present movement, the misfortune being that they Ex. 342. Op. 51, No. 2, Andante moderato. Second subject. ** N S | 2: NS .S C- º N NS —- -- # Sº #sº-dā;= =====a++++++---------, #F########E=#EE:######". UV | I Hº: Hº- *-*—g-g-- == + : - - - - - - - - E T : TT = E = E: *E FE_E - – ºr 2 : s: |- t l | G# # =#== ======= #5- - *E=###############EH ſ 2.' 23 – S ** as 232 HANDBOOK TO BRAHMS (ORCHESTRAL). -se f should be applicable at all. The extensions shown in the sum- mary exhibit but faintly the irregularity of treatment of this sub- ject, which, short as it is, includes an interpolated phrase at bars 55-6. The melodramatic feature which appeared so suddenly disappears quite in the same way (bar 60) in favour of the second intermediate motive. Having nothing in common with its own subject we should have deemed this a bridge to the return, but for the fact that, at bar 70, another motive appears for that purpose. Ex. 343. Op. 51, No. 2, Andante moderato. Second intermediate motive. -*-ī-11— O # :==== S w—-—t- 14. The return is in F, modulating within sixteen bars to A; when the 'cello takes up the leading melody, the coda following with a diminuendo based upon the intermediate motives. 15. Epitome. (a) Subjects. See Ex. 340 to 343. (b) Key, A major, changing to F for sixteen bars at the return. (c) Time, common, no change. (d) Length, 124 bars, no repeats. Ex. 344. Op. 51, No. 2, Andante moderato. Outline. FIRST STATEMENT MII) DLE RETURN CODA 42 34 t 31 17 ,-'- ,--> ,-- ,----, 30 12 17 17 * First subject motives * A feature consists of the return being given exclusively to first subject and the Coda. entirely to the two intermediate motives. The total isolation of middle section is also remarkable. OP. 51 (NO. 2). SECOND STRING QUARTET. 233 III. QUASI MINUETTO AND ALLEGRETTO VIVACE. 16. We have already had the “Quasi-Minuetto” of Op. 16, some of our remarks upon which apply equally to the present movement. In each case the term “quasi’ is the sign of a depar- ture from custom; and in each the departure is rhythmical. But whereas the first more closely concerned the notation than the essence of the movement the present involves the correctness, or propriety as the case may be, of casting a minuet in three-bar phrases. To decide as to correctness is a matter for the ballet master : of the propriety, or rather impropriety, there can be no doubt. Custom has been so inveterately in favour of duple rhythm for this form that, however much licence may be allowed for “quasi,” the adoption of three-bar phrasing is a renunciation of the character. 17. Taking the movement therefore independently of its pecu- liar name, we have to deal with two sections—practically with two short movements intertwined, each being of indisputable general interest. The allegretto section is in } and of a character so completely opposed to all conception of the minuet that the attempt to wed the two styles by intermezzo (bars 73-8) can only be pronounced unsuccessful. Thus conditioned, the summary RHYTHMICAL TABLE. Ex. 345. Op. 51, No. 2, Quasi Minuetto. PORTION MATERIAL BARs | consisting of | * ING TO 1st statement 3/4 | Subject 15 3 × 5 15 3 3 3 y yx 24 3 × 8 39 Totals. 39 39 Middle 2/4 Subject 17 4 × 4 + 1 56 3 y x 3 16 4 × 4 72 Middle 3/4 Intermezzo 6 2 × 3 78 Middle 2/4 Subject 44 4 × 11 122 a *T - (2 × 4] Middle 3/4 Intermezzo 11 \ 3 ſ 133 Totals. 94 133 2nd statement 3/4| Subject 15 3 × 5 3 * 3 y 3 * 24 3 × 8 Totals. 39 J72 Codetta, 33 6 3 × 2 178 Totals. 45 178 234 HANDBOOK TO BRAHMS (ORCHESTRAL). enables us to see how deceptive the mere calculation by number of bars becomes where there are contrasted sections of different degrees of movement. Here, for example, the 94 of “allegretto vivace” are little more than the time equivalent of the 39 of “moderato,” the result being an almost perfect balance. It is questionable whether Brahms's love of coherence is not here car- ried to a fault, for probably the allegretto would have been better without having any reminder of the minuet—literally thrown into its midst. Some have praised this six-bar insertion for its counterpoint—a feature completely exposing it as a care- fully prepared bit of “Machwerk” and shedding far too strong a sniff of the composer's workshop to be welcome to those who cherish his best interest. The reader will however form his own opinion of this matter through the examples. Ex. 346, Op. 51, No. 2, Quasi minuetto. First subject. _- - --~ _- --~~ - -** } := a | | | —- i -2. # • *** | | –5–2-gº-r-ţ--—------->- -O-_* ºr -º- -º- iº-º- Tid-2-tº-III ºf Tº Tºrº * gº -º-º-º-º: sº © - ---> * -ºº ºmsºmºre ##H=#EE-º-EF #F#4=#== —e.--—J-e-º-º: * , # -º-º: Fºfºre f===Hºff ->. • º:- * Cº- -2. *... 's- | ! | S | | -- etc Y- Ex. 347. Op. 51, No. 2, Quasi minuetto. Subject of middle section (allegretto vivace). # º "E-º-º: ‘se . F H= F =z- ##: ==E===S-Hºº-ºº::=== wº- J –= + ###: ==E —º-Q –" T. - Q_ ---...-e E. 3-3 ºf f * 52. E-si-e-Is- itſ tº sº ºff ºf ==P. Tº " --- --- º tº g mºm- *= 2-2. -- 2: T-5 Tis 22: ... S.S #—ºº #. £º-º-º-º: . #: Jº sº..."' # == ########: *E*:::Hºf :========Elºis-L-----"E-º-º-L'ºzzi-º-º- + -3- hº -O- ### Hºr f *:: * =#; #: * e. sºft--. § 2 *-2 sºr ºf 2 % º 18. Firstly, he will notice that nothing could be more com- plete than the contrast between the subjects—which differ in mode, in bar value, in phrase length, in degree of movement and extent of bar subdivision; even the prevailing bowing being OP. 51 (NO. 2). SECOND STRING QUARTET. 235 staccato for the second, as against legato for the first section. The impropriety of planting a six-bar intermezzo of first section pattern right in the middle of the second section can only be ex- plained therefore by Supposing the composer to have had an extra tender regard for this titbit of contrapuntal cleverness; in which the upper part follows the note succession of the allegretto subject (but is quite unrecognisable in that sense by the listener on account of the altered rhythm), the viola canons with it at bar distance (but gives us only one real bar of canon—this being eked out by means of inversions for the rest of the intermezzo) and in which simultaneously with all this the same sort of canon goes on between second violin and 'cello. The latter canon is constructed purely upon the first five notes of the opening sub- ject; and the unfortunate listener (who naturally wonders what it is all about) so gratefully accepts the return of the allegretto that herein lies the only effect of the intrusion. Ex. 348. Op. 51, No. 2, Quasi minuetto. Contrapuntal intermezzo. } l eftāś *E=E====H-4– -O- -ę- .º. -ā- | | >- || | 19. Eliminating these matters as well as disregarding title, the movement is not only a success on account of the sedateness of the first movement being splendidly contrasted with the brilli- ancy of the second—but it gives us practically a new form of middle division. It should be noticed however that the second statement is merely a D.C. and that the coda is insignificant— 236 HANDBOOK TO BRAHMS (ORCHESTRAL). its shortness being an especial matter of regret; as, after so im- portant a middle section, it becomes natural to expect something in the way of peroration. 2O. Epitome, (a) Subjects. See Ex. 346, 347. (b) Key, A minor, for first statement and return; A major for middle section. (c) Time, # for “quasi minuetto moderato,” and # for “alle- gretto vivace.” Six bars of # as “intermezzo” within the latter (bars 73-8). Same intermezzo in A minor at resumption of # (bar I23). - (d) Length, 178 bars, or 193 with repeat of first part of first section. Ex. 349. Op. 51, No. 2, Quasi Minuetto. Outline. FIRST STATEMENT MIDIOLE SECTION SECONID STATEMENT. Quasi minuetto 3/4 || Allegretto vivace 2/4 ...... 77) Return ............... 39 39 Tempo di minuetto ...... 17ſ 94 Codetta. ............... 6 : 45 IV. FINALE: ALLEGRO NON ASSAI. 2I. Although the leading theme and features are here con- spicuously unlike those generally associated with the rondo, this movement must be so considered—allowance being made of course for Brahms's usual freedom of outline. His, however, is a freedom full of method; for, though his work may appear to override certain traditions, it is usually found upon analysis to accentuate essential features. In the present case for example only the principal subject is in triple, whilst the second subject and the several attendant motives are all in duple, rhythm; an arrangement which naturally gives additional effect to each re- turn. There are three statements (or four if the coda be also OP. 51 (NO. 2). SECOND STRING QUARTET. 237 counted as one); the middle section between each two of which consists of the second subject, followed by suitable intermediate motives. Of such middle portions there are naturally three, of which the first and last entirely correspond as to material, the second being free and somewhat shorter than the others. It is therefore principally in the character of its leading theme that the movement departs from customary rondo style. Ex. 350. Op. 51, No. 2, Finale. First subject. -O - º 2-y -O-" /~ 3: + # -t: ſe: #e :::::: E_{e_º. * • *-*. # ==E2EEE =E===HZ-F#Hz=; 1(ºff-l. + H–ss + + + -69 e _ſº —- – -º-º:################# ====E===2#======== al/ | || 22. The ground covered by this subject will be evident from the summary, but the figures in this case would be rather mis- leading were it not pointed out that (with exception of the second) the intermediate motives are so grafted to their subjects and to one another as to form one long continuous flow. Their recognition as separate motives is in fact mostly a question of bar subdivision, or in other words of sudden change in the pre- vailing melody; and the result of exploring the ground in this way is to show that the first subject has only one motive as- signed to it—that being in its own rhythm and always followed by change to duple rhythm for the bridge to next subject. This plan of giving the head theme a separate rhythm and only one motive to aid its development seems in effect to ennoble it; and its isolation by this ennoblement (instead of by detachment from other material) is significant—in view of the fact that the detach- ment of the second subject from its first motive is very specially marked. The continuous quaver motion sustained by viola and second violin not only suddenly subsides, but the two bar 238 HANDBOOK TO BRAHMS (ORCHESTRAL). phrases are as suddenly left empty—except for the merest rhyth- RHYTHMICAL TABLE. Ex. 351. Op. 51, No. 2, Finale. EXTEND- PORTION MATERIAI, BARS | CONSISTING OF ING TO Statement I 1st subject 24 3 x 8 24 Int. motive 1 12 3 × 4 36 Bridge 8 2 × 4 44 Totals. 44 44 Middle 2nd subject 14 2 × 7 58 Int, motive 2 16 2 x 8 74 33 32 3 8 2 × 4 82 3 y y 3 x 3 17 2 × 8 + 1 99 Bridge 16 2 × 8 115 Totals. 71 115 Statement II 1st subjeot 8 (3 + 1) 2 123 5 3 + 2 128 Int. motive 1 15 3 + (2 × 6) 143 Totals. 28 143 Middle 2nd subject 18 2 x 9 161 Intermezzo 24 2 x 12 185 Bridge 12 2 x 6 197 Totals. 54 197 Statement III || 1st subject 24 3 x 8 221 Int. motive 1 12 3 × 4 233 Bridge 4. 2 × 2 237 Totals. 40 237 Middle 2nd subject 14 2 × 7 251 Int. motive 2 16 2 x 8 267 3.3 33 3 8 2 × 4 275 3 x 2 x 3 y 17 2 × 8 + 1 292 Paraphrase of 1st 21 2 x 10 + 1 313 Totals. 76 313 Coda, Bridge 20 2 x 10 333 Piu vivace on 1st 26 2 x 13 359 Totals. 46 359 mic pointing. Op. 51 (No. 2). SECOND STRING QUARTET. 239 Ex. 352. Op. 51, No. 2, Finale. First intermediate motive. Concluding Ist subject ...' | * -ºs as fºLe. -E-55. |- -- —º-e Iº. TI -º-, ºr ſº- - Ex. 353. Op. 51, No. 2, Finale. Second subject. Ist Vln. —— | |- — | a | | | || -- —G A T-E------L- I ſº 2- I y I –––. *-E-º-o-º-º-Hº- =####E; * , =-re=~ ------ * * Q_/ Cello I-9-g-z- [+2 *#s • == -e- º-g * -e-...- +r- r O - " " " - ‘P tº P.” " | —" ºp Hº- Vla. | 2nd Vln. | Vla, | 2nd Vln. Ex. 354. Op. 51, No. 2, Finale. Second intermediate motive. | Concluding second subject | e- be...” ----- ----- pſ. bººbe., .*. #. #:*. * ==EEEEEEEEEEEEEE====E=====E2EEEEEEEEEEEEEEEEE: =##########################s: R7–– TT | -O- -D-" l -2. -*- :-- —º-º-º- #:#; —eº-—º— | 23. This second intermediate motive is also the subject of the intermezzo commencing with bar 161, which for about a dozen bars is treated fugally. But it is remarkable that, whereas the first subject always relinquishes its triple rhythm well before entry of the next subject into which it accordingly merges, the duple rhythm is steadfastly maintained upon return, so as to make the first subject appear as if literally pounced upon; 24O HANDBOOK TO BRAHMS (ORCHESTRAL). whereby the effect of its reappearance is considerably heightened. The interest attaching to the remaining intermediate motive is therefore but slight, in spite of an inversion of its parts which Ex. 355. Op. 51, No. 2, Finale. Third intermediate motive. --~ _--~ --- mm i-º-º-º-º-º-º: ...Tº...Tº I-T-3. Lº- FC-F Eg->er-e-ETſ. Tºz- jº-Hä:#F#####EEH-Fi | T_ * † Isº *1 = Lºs "T- - • * | } * | 'Cello 8ve lower..................... - º * Vº - | cannot fail to arrest attention, but which appeals to us princi- pally as being clever. In short, it may be confessed that, fine as is this movement in every detail, it is more a question of work- manship than of inspiration. The workmanship is too perfect to allow to inspiration any of that waywardness which is its con- genial atmosphere, and we consequently miss that delightful union of both qualities which constitutes the perfect work of art. 24. Epitome. (a) Subjects. See Ex. 350 and 352-5. (6) Key, A minor; changing to A major for last appearance of second subject, returning to A minor for “piu vivace” of coda. (c) Time, #; without change. (d) Length, 359 bars; no repeats. Ex. 356. Op. 51, No. 2, Finale. Cutline. FIRST SECOND THIRD CODA STATEMENT 44 28 40 MIDI) LE 71 54 76 OP. 56a. VARIATIONS FOR ORCHESTRA. ON A HAYDN THEME IN B FLAT. NOTE.-Op. 56b is the composer’s arrangement of this work for Two Pianos. e.”-------, …” Theme. Chorale St. Antonii. (Andante.) T. ANDANTE CON MOTO. II. VIVACE. 2^ Y III. CON MOTO. ~IV. ANDANTE. VARIATIONS W. POCO PRESTO. VI. VIVACE. VII. GRAZIoso. VIII. POCO PRESTO. TINALE, ANDANTE. ~ Published by N. Simrock in 1874. Score : Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, Double-bassoon, 4 Horns, 2 Trumpets, Drums, Triangle, Strings. PRELIMINARY NOTE. I. THIS being the work for orchestra alone next following the Serenades, Op. II and 16, and therefore not only belonging to a much later period but being preceded by the “German Requiem,” the cantata “Rinaldo,” the “Rhapsodie” for alto solo and male choir, the “Schicksalslied ” and the “Song of Triumph” in each of which the orchestra is extensively employed, it would be strange indeed if it did not represent a considerable advance. It does this so indisputably and with the result of creating such a chasm between the present and Brahms's early work that it is our intention in the following account to avoid all comparisons and to treat this Op. 56 as an entirely new departure in the orchestral sphere. 17 242 HANDBOOK TO BRAHMS (ORCHESTRAL). 2. So considered it is the forerunner and in many respects the prototype of the whole of the seven works of which Brahms's output in the orchestral line consists. Objections to the scoring of these works are perfectly intelligible to those who treat the whole question of instrumentation dispassionately. What is wanted is to enable those who hold them to appraise their exact force as proceeding from the choice between two ideals. 3. The one conceives music for the orchestra as existing for the orchestra alone and therefore as not prejudiced if, on being transferred to some other means of interpretation its effect and interest should either disappear entirely or be so considerably lessened as to appear insignificant. Adherents of this school may even go so far as to admit their music to be partly a kaleidoscopic display of timbre differences; partly either a melo- dramatic collision of force-differences or a separate display of force-extremes, partly an appeal through the influence of timbre to our mental associations and partly a merely gorgeous habili- ment of ideas not necessarily worthy in themselves. The effect of all these admissions is, however, neutralised by its being claimed that such objects and methods are not only legitimate but that their pursuit and employment (if not exclusively at all events without reserve) is the very raison d'être of orchestral music. 4. The other ideal, though perfectly admitting the value of all orchestral means of intensification claims that what is good must be appreciable as such apart from all splendour, that it must have an existence of its own no more dependent upon the orchestra than a literary classic is dependent upon an edition-de- luxe–that, in short, it must be music orchestrated and not orchestration musicalised. 5. We have no intention of persuading the reader in either of these two directions, the object of pointing them out being merely to show the real cause of most of the objection to Brahms's instrumentation. To put it plainly, his instrumentation is blamed for being instrumentation merely of the work—the prevalent idea nowadays being that, at all events to a large extent, instrumentation should be the work. 6. That this was not Brahms's conception of the use of the orchestra is manifest in a variety of ways, but perhaps the most convincing is his comparative indifference as to the substitution of instruments other than the originals in works where the latter had been characteristically employed to perfection; the HAYDN VARIATIONS, OP. 56. 243 important fact with him being that behind mere colour-beauty stood the work itself. This is recognised in the following, from Grove : — As there can at no time have been any difficulty in finding publishers ready to issue his works in their proper form, we are entitled to assume that these arrangements and the issue of such things as the horn-trio and the clarinet trio and quintet with alternative string parts as substitutes for the wind instrument were undertaken with ; satisfaction to the composer; and we may see here a sign of how very much more im- portant the matter of his ideas was to him than the manner of their pre- sentation; what he had to say was always far more important than how it was to be said, in other words, he was, as has often been said, a draughtsman rather than a colorist in his treatment of the orchestra. Symmetry of form, originality of design, the logical development of his themes, these appeal to him far more strongly than the desire to elicit from the orchestra new combinations of tones. * Already sufficiently clear, these observations will acquire fresh force from our various reviews. { CHORALE, “S. Antoniº 7. Having imitated the old divertimento form in Op. 1 I and 16 Brahms now draws from the same source a theme for varia- tions. No one knows whether the tune is really by Haydn, or what it has to do with St. Anthony; although Kalbeck thinks that the variations illustrate the temptation of that saint. How- ever that may be, it is quite easy to see how the theme tempted Brahms to give it variations. We readily picture his welcome of the two-fold five-bar-phrase opening, four-bar-phrase continua- Iºx. 357. Op. 56, Theme. 1st tuno T | ºn " – – -*- :------ * == y º;2–Fºº-º-º-i-º-º-Hº-Hºº-º-º-º: s—F#–E–2–E–F–3 ################## H-------- *-* * *= * * *m-. * =s===== _l – * **** | w 2nd tune 244 HANDBOOK TO BRAHMS (ORCHESTRAL). H HT +b=s======= -:424 ####### al/ | ims • F- fºrm- –4–4–4–2–- -5*T*E*-a--- ====5 - Tū -—Ok-, -- ; 2. &Ts. º rl #EEEEEE \ *-i-º-º-º-º-º-g- tion and eccentric conclusion. Considering his appetite for rhythmical refinements we can feel no surprise at his resolution not to let such a bonne-bouche escape. 8. Although the five-bar phrases are quite obviously 3 + 2 it might easily escape observation that the four-bar phrases are mostly 3+. I and that the last three bars are single pulsations. Such an aggregate of rhythmic interest would be interesting in any case; but as variation basis it amounts to an ideal, and especially when the classic variation form in which Brahms so excelled is in view. VAR. I (ANDANTE CON MOTO). 9. The single pulsations are here the chief point of interest, Ex. 358. Op. 56, War. 1, legato -T ... .s. - & Tº A 1- N T. * É tº # E tº # e. O- 2–E–F–C–Ea H-. L–I ºf Tº *—P-- A-s—Er =#EEEE, -> I H------T-I-D-E--—E-f F - F L *-- "-º-º-T's *s tº * ! | } . . . ſº a. •- | Fºl. º |éºp f EHEEEEEEEEEErs 9–5–2–H e== Ea HE r– FE I-> → -> > - T--— HAYDN VARIATIONS, OP. 56. . 245 the last three bars of the theme being taken as bass of the open- ing and transferred to the upper part for the second five-bar phrase, when all the other parts are correspondingly inverted— a result of double counterpoint. The middle section reiterates the same pulsations upon the dominant, accompanied by figura- tion of the other parts similar to that of the first section; the return being also upon the single pulsations—this time grandly asserted at the Onset, but gradually dying away. (A| . ." - Me", ! VAR. II. (PIU VIVACE). Mº" C OYC IO. The first three notes of the theme serve as the kernel of this variation; the composer's intention that they shall be so accepted being unmistakeably enforced by the opening phrase, the foſ which is delivered by the entire orchestra, the p being Ex. 359. Op. 56, War. 2. ... S – | N = -s. i "...s. ... T- * **2 == -ºš TeºsTEE # *º-s: ##### # -bh-º-º-º-ºli-E-º-º-º-i-º-º-º-º-º-º-Hº-e-º-º-º-t-º-º-o-º-º: § g-º-º: === -º-º-º: ===== *r-s-s-p-rf- ;:# —— * º -— | * R. P. : f - ~~ -* -º-, -: -- Fº º º | ...e. S-’ *: * We ºf | for strings lightly scored with clarinets and bassoons. Allow- ance being made for difference of material the treatment of this variation is very similar to that of the first; the motive appearing on the dominant for second section and the sequel exhibiting the same relation to the opening. The expression is, however, widely different, the key being minor the movement more energetic and the scoring responsive to the contrast shown by the N_-->;-- “T-> T__--—— --> --- - ---------" " opening. 246 HANDBOOK TO BRAHMS (ORCHESTRAL). U20 | . . . . . . . . . . . . VAR. III. (CON MOTO.) II. This is really a double variation—in the sense that the repetition of each section is a filigree version; the result being of course to give to this variation twice the usual number of bars. The process of what may be called “variation in the second degree” is one to which we may imagine Brahms in seclusion to have been somewhat accustomed, and even indebted for some of the subtlety of his variations' affinity with their theme. The bass of the present sample for instance may have been first Ex 360. Op. 56, War. 3. Theme i t I | th-i- J– ! Tº | – I al - -d 3 -—-ºs. r— g- H. == ºr -- * * = *mºsºme e.V. + * - T ======= | # g º *—---— #5–E====EEF-E*EEEEEEEß-º-Hº- | *=======E= FF: f i. F #= + + *::::-gº-H=== C_ * ~ * *-i- tº # = I = = F = 2* == -0- ...~" | a e "- -- #######! # - Cº-o-Le #Eo- •– º – —z-T-T-tº-: L---- i tº mºº sº * *~ * Groups by first and second flute and bassoon alternately (second time). # First and second oboes, doubled by bassoons in lower octave (first time). t Basses, doubled by 'cellos and violas in 8ve and super 8ve (both times). HAYDN VARIATIONS, OP. 56. 247 - T -- y 2- written for the theme as it stands; its legato and sinuous character being next accepted as characteristſC, and in turī adorned with the filigree aforesaid. 12. The violins are silent at first; being kept in reserve to supply the parts relinquished afterwards in favour of the semi- quaver figure, the instrumentation being thus extremely simple. It is slightly more Värſed for the second section, however, which is duly subjected to the same filigree process—the distribution of the semiquaver figure being this time shared in by violas and 'cellos, oboes and clarinets. VAR. IV. (ANDANTE CON MOTO.) I 3. We have already had a variation in the minor, but in this case we have also a three-quaver bar value; besides which, with a sustained semiquaver motion we are about as far removed from the theme in exteriors as it is possible to get. Add to that, that is is a highly scientific variation; being nothing less than a masterly exposition of double counterpoint in the twelfth (illus- trative inversions serving as material for repetition of the Sec- tions)—that the melody is highly sympathetic—(being fully cap- Fx. 361. Op. 56, War. 4. Flute and Clarinet (on repetition) fiss ! I -2 's F- +b+-º-H--Haº--Hºº--s===HEEEEE. Cà ºf * * * * HEE =#3 --F#–E– ==HE # ================= ### ††. Vla. * =####ssss-E !-Hº- H- I------- 9:23–3 raiz E-s-f ITI-T-Y-L- T-I -N-- ==T-i- —-- tº *-*-s-s-ſ-ſ -]_-_--T --------> #FEHS: === E. I. Q_/ •-s-s-ſ-s-s # * * * 'w 5; ai º wº -O- ^-> tº g. _- # __i=nº" f - + +-le=s -º-p:5 –-a-T--|-f. N–t-- v-i-Tºss-it- ***E===HE sº-H== —l jºs-E -- s: 2- -º- - O. dº rC- w #s. Oboe and Horn (Strings on repetition) ©#EEEEEEEEEEEEEEE wº Bass (for both) pizz. 248 HANDBOOK TO BRAHMS (ORCHESTRAL). able of holding our attention on its own account) and that there is nevertheless so close a relation to the theme that we seem to hear the latter throughout. This is simultaneously enlightening upon three points—the value of affinity, the resources of counter- point and the justification for Brahms's view of orchestration. I4. It should not be omitted that in each variation the treat- ment of the single pulsations at the close of the theme is a special feature for the student–and, it may be added, one affording amusement to the educated musician as an instance of apparently unconscious humour, - VAR. V. (POCO PRESTO.) I5. This is another case in which inversion is used on repeti- tion—though only of the first section. We here also revert to the major, and to a rapid degree of motion; besides adopting a Šix-quaver bar. There is accordingly a remarkable freshness about it all, in spite of certain symptoms of this being a varia- tion upon variation 2. ~ -—----. . . Ex. 362. Op. 56, War. 5. I- -> ~)obºs "s— . . e e s & e º 'º dº º a E-º-º-º: Lºs TDITIII Ti ſºlº-TIC TZ Tº Dºz --~~ i-T-LaßT:IL- L-I-C-3–4–3–2–I- #: ########################## - - - S.Štr. - - - * * *-* * * • *- - - Amy • * * * * * * * * *-** *** = * --- •- ––– H-– - - - - sº-º-º-- - - *:::: ; ; ; ; ; ; ºr::::::::: mºsum * immºns ºn tº ºt —— —— --- ~) Upper parts doubled above and below by flutes and bassoons. Violas and double basses silent after first four notes. ~P 16. The general character of this section is humorous. But it is philosophic humour; and, like the brilliancy of the instru- mentation, entirely springs from necessities of the idea. It is the breadth of the latter which makes it suitable for orchestra : otherwise the conception is of pure chamber character and is so worked out—not being scored in the ordinary sense.” If the orchestral effect is magnificent notwithstanding this shows that play upon tone-colour need not be the mere glamour to which we are painfully accustomed. * Compare with the reviews of Op. 18 and Op. 26. Page Missing in Original Volume Page Missing in Original Volume HAYDN VARIATIONS, OP. 56. 25 H (b) Dialogue in contrary motion—second section. Str. (8ve higher) sm ----- ====4 ... ... ºrjºli. G#EEEEEEEE H== * Dº Yº ---> I - ~ I * I - ———J.-- - ”Tºy L *-s wºrs—s-F-s—s----sº-s-s T---- Iriſ Iºriſ iſſ"; Iriſiſ ºf tº º ==== | Fl. Clar | •. 1 →| - * | i | a. | T. -s. as "hi-º-º: # * **-d-: +***-*=*. **. .#4: + lºº ºme QL/ =#EEEEEEE o—Ho-H 2–Hº-FE ===== *Hºº-ºººº- Fºr-º- Vl *** | --- $ a, sº *sºns of the theme is strictly maintained; the first section however being reinstrumented in lieu of repeat. The whole variation is of hushed effect and the syncopated elaboration of the single pulsations which close the theme form a fitting prelude to the dignified finale. FINALE (ANDANTE). 20. The rhythm of each variation being a repeat of that of the theme no summary has until now been necessary. For the finale however it will be useful to adopt the ordinary course” in spite of the fact that to the eye this movement consists simply of seventeen repetitions of a five-bar ground-bass, with a grandioso repetition of the theme to conclude; for although in this approach to Passacaglia there is no evidence of a desire to unite with sonata-form as in the Passacaglia of Op. 16, there is a method governing the settings which can only be effectively exhibited in tabular form. - 2I. The basso ostinato may be described as a bass version of the first five-bar phrase of the theme; and as there is no depar- ture from it except for coda, it entirely determines the rhythm * That is to say as from bar 363. The previous 362 bars are accounted for as follows: Theme and eight Variations, 29 bars each, 261. Varia- tions 3 to 5 and 1st Section of War. 8, doubled in notation, 29 x 3 + 10, 97. Cadences of 2nd Section, War. 4, 2. Alternative endings, Theme and War. 6, 2. Total, 262. 252 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 366. Op. 56, Finale. Basso ostinato ***º-ºººººº º- º gº º sº ºm- — = 4 | Gäge: #### ====EE::====e–E; ——ey + —C) —4 —-H- (-4--- ex — =#=== of the superstructure. The whole seems to lend itself to classi- fication into four groups of four settings each; the third and fourth of these groups being divided by a transition setting which enables the transfer of the theme to upper parts and its change of mode to be effected without shock. RHYTHMICAL TABLE. Ex. 367. Op. 56, Finale. ' | EXTEND- GROUP I) ESCRIPTION SETTINGS BAT&S ING TO I Crotchet motion 1 to 4 20 382 Gradual increase of - II motion 4 to 8 20 402 III Counter melody 9 to 12 20 422 Removal of sustained Transition bass (figuration of 13 5 427 same by Str. pizz.) Minor settings con--| IV cluding with one in 14 to 17 22 449 major, and 2-bar phrase extension Theme (consisting of ,” “ Coda 10 – 1 and Ø\ 24 473 2 × 8 – 1 Totals. 111 473 22. The first group opens in organ style, its upper parts being so legato as to appear incognisant of the rhythm of the ostinato. Our suggested grouping of the settings is therefore confirmed when, at the due moment, the strings and wind suddenly break forth into a dialogue of vigorous chords. HAYDN VARIATIONS, OP. 56, 253 Ex. 368. Op. 56, Finale. Opening of settings 1 and 5. _--~ 1. 2 |-> -—14---~4-4----|--> Ełł E++===== TÉ.- :=f-ti-j-E-f: *::::::::=t-Fs-tº-2-#F, set-PFFFE-F#-F. | S-1 *_l *_l is L_i F e- statements, but the flat rule of continuous two-bar phrases fails to show that the last eight bars are in two phrases of four bars each. 4. The first feature of this movement is its introductory state- ment, occupying thirty-one bars, and thus reminding us of the first piano quartet. As a trait in the formal outline of a serious movement this is very highly to be commended and is far superior to the more usual introduction at a slower tempo; the latter being not only fragmentary but failing so effectually to prepare the mind of the listener for the opening subject. But whether, under cover of this introductory statement, a composer is justified in starting off with a variation of his first subject is quite another matter. In this case we have to wait for the return in order to hear the first subject in its entirety; and that the opening is really a variation upon it may easily be seen by Comparison. —s * Comparé this phrase with that leading to the sixteenth bar of Beethoven's Sonata, Op. 10, No. 1. Also the principal subject of this movement with the song group of the first movement of the same sonata. f See Op. 25, par. 5, and the attendant rhythmical table showing an introductory statement of 26 bars. I8 258 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 374. Op. 60, Allegro. First subject, comparison of opening and return statements. Opening (bar 33) Pf. "N | *~ !C- | *s ...] N. Tº N *# *** * *... N. . º: 2. - - - - Iºliºla Tºlſ. I-III IC 3-l-º- r t - =##### (J- Eº-º-º-º-E-F- -— =#EE –E– ====His–Ettºrf- -*-- # == EE H * Sºrrºr ºf ºf T --- t-tº- *smºsºms etc. t | Return (bar 199) -º- 5. i. |-> 1 2-S |-S____: +b======I-ii-a= a=====I^++---—i------- #EEEEEEEEEEEEEEEEEEEEEEE T Tºr —I-2 } -T a Iº º dº I i u tº- * - ſº -ge-'º' U-7 -º- r -e-Z | | A 5. This, in our view, is one of the features which tend to show this quartet to have passed through many stages; for though a composer would assuredly never begin with a variation, he might as the result of many repetitions get to regard it as a natural statement, or at all events as justified by the same subject's introductory phase. 6. The first intermediate motive is of highly spirited char- Ex. 375. Op. 60, Allegro. First intermediate motive. - _F = F i-C- J.-- H * ... • H !--- Ż=#EEEEE -º-º-º-º-º-º-º: #=#EE: - wire-ºp {{}~~2 EEEEE3–2–1.43––F–EFEf al/ tº . J-- I -º- --- †: ' " ºr V. w d 8va . . . . . . ... : +b=2-N-2–2–1-#2–: #EE::=#E w-r----, acter though in a formation long since worn threadbare by contrapuntists. We spare the reader quotation of the inevitable working in thirds and the obvious sequences which supervene, in order to pass on to the interesting transient modulation (bars 56-69) introducing the second subject, and to instance this as further evidence that the work combines the younger with the maturer Brahms. OP. 60. THIRD PIANO QUARTET. 259 Iºx. 376. Op. 60, Allegro. Second subject. -—— Eº E ===N=-Ef- EE-- ==EEE === *-º-º- # tºp######H: #EEEEEE N- e tº The second subject very strangely consists of five settings of the same eight bars; the first being delivered by piano alone, the second principally by viola (though to an elaborate accom- paniment), the third and fourth being characterised by a new rhythmical figure of such importance as to constitute a new motive and the last forming a sort of “grandioso,” preceding the codetta which closes the first Section—of which latter there is no repeat. This is an entirely novel treatment of a second subject–one which we might easily be incautious enough to rule out as too complete within itself but for knowledge of the danger of so treating Brahms's apparently “hazardous experi- ments.” It is better to remember how foolish such arguments appear when confronted with Success. 7. The reason why Brahms has succeeded in what all pro- priety would condemn is that at the third setting he has not only introduced the entirely new and highly important rhyth- mical second intermediate motive but he has so completely disguised his themet (the opening strong bar of which is now represented by 'cello p and pizz.) that whilst no one but the analyst can know the real nature of what is going on even the uninstructed listener feels the effect of a strong cohesion. The Durchführung is almost entirely devoted to the first subject, the treatment of which is extremely free and animated, with modulations involving passing recognition of the keys of B major and E minor After fifty-four bars however (at bar 176, on resumption of the key of C minor) it introduces highly interesting canonic references to the second subject— * See Op. 34, par. 25. † By making the piano enter with apparently great importance at its second bar, thereby deceiving even some critics who have quite errone- ously taken this for the commencement of a tributary subject. 26O HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 377. Op. 60, Allegro. Second intermediate motive. Wln. (with Vla. 8ve lower). –2–3–––------|-- E-FEE- t——— -- — ------------L--—---— * gº p-º: =========== #E: o-s-s #=== ########E *s g | --~ | I, IIT- —-i– =>s T s e --- 2: | Tº - º p = . * "... • s y I-D 2- 3". Li L-º- ====s=#| |S-O-Fº 2. Tº 2- º - - * 2-L-E-º-º-º: +,- \\ vºy U-7 w Pf. (doubled by L.B. 8ve lower). === *. - — —; == -------------------f * * * *-* * n * –4 - y — — — — —H--- -G-C-C- -----Es-à------> •------ C-O- I —l –– _--> | CA . s - Cº- - F- — — —s—-1–———I. ——— ––––. º s . I (, (, Y____ * L (... Yº-" upon a dominant pedal, lasting for twenty-two bars and leading directly to the return. The imitations occur firstly at three, then at two, and finally at one beat distance—the latter leading to the climax preceding the return and the whole being some- what remindful of a fugal stretto. Ex. 378, Op. 60, Allegro. Second subject in stretto on dominant pedal. (a) At 3 beats’ distance. ſ?--p r========E-H - I5 i T +–o ----- *IT |–E -9 p. H= -N= + le J | • ‘Tº THE Lº *. "S- *= Vº & *s *1 = 4. ... Nº N Tss Gº-E=#E: à-. 1==s======= ~ ā- *— – so T * ----- 9-9 *#EEEEEEEH *E::== *-s-s-s-s-s- ?---> *--> Psºr ºr Fºº-º-º: sº s— sº, s- sº sº sº, sº ºr ºr ºr a S- sº S-l OP. 60. THIRD PIANO QUARTET. 26 I EX 379. (b) At 2 beats’ distance. 2– T. | # *EE == ====== # * '#: !---- ~~~~~ J #" : #. # #L. T->~ * O # ==k* =====ENE=E=E=E ==He======== | *HääHº: ºr fºr Fºr ºf fºr fºr Fiºr. S- S- S- S- S-| S- S- SJ Sl -- –6–1- ! | L N =#, sº-º-º-Hº-E; | &#H 1 / – 69 - – - 5:0- —r º t | —i---- #h-L-NENENEf e;# = Pºp- | "---- • is sº *-s-s- | g | & | sº- S- sº- Lx. 380. (c) At 1 beat distance. - - -O — - - C – -O – -O — O | Tº gº i Tº sº | "s"s- | s-p: | to wº | "º" | st | "st | wº ! | *— I | | | *— | Sºss sº- Se- S- Sºº- Sºs se NJºs Sº | -- bz~ b-º-le-e— ſº – a. * | #fffli * * ========= Yº-h. TENTETINIIT-N-º- Gºś ===H - * & O— —- -O- — - O – — | Pºp | *-* ºr s' sº sº." 262 HANDBOOK TO BRAHMS (ORCHESTRAL). 8. The laboured character of these imitations is a further reminder of the early origin of the work; but it does nothing to hinder the effect in view; which is efficiently protected by the gradual rise and crescendo, coupled with the systematic widen- ing of the figuration of the pedal note. This figuration reaches octave width at three bars before the actual return, when it is joined in by all the instruments in unison. Then, with a semi- tone rise of the whole, the piano announces the return of the first subject while the violin and viola graft the sections by holding on to the figuration for two bars more. 9. The return contains nothing beyond what the student will naturally presuppose, but the coda is distinguished by several special features. Some critics fix its commencement at bar 308 (twenty bars from the close), but this judgment is at variance with our analysis, confirmation of which rests with the coda style adopted, as from bar 288. Here the first subject is finally resumed (a sure sign of the Brahms coda), the piano part assumes an unwonted elaboration, the modulations become even more free than those of the Durchführung, and the whole bespeaks an agitato expression. The final “animato” is merely a cadence in the same spirit, and is appropriately followed by another cadence—this time of diminuendo character (bar 3 15 to end). A serious, fervent, dramatic, and upon the whole melancholy movement, of which it is said that the composer on showing it to Deiters told him to listen to it whilst thinking of a man just about to shoot himself because there was nothing left for him to do. IO. Epitome. . (a) Subjects. See Ex. 373-377. (6) Key, C minor; passing through B major and E minor during the Durchführung; returning to C minor for the dom- inant pedal of the latter. Transition to E minor during the return (when preparing for return of second subject in G); final return to C minor (at bar 3O4) during Coda. (c) Time, #; no change. (d) Length, 326 bars, no repeats. Ex. 381. Op. 60, Allegro. Outline. INTRODUCTORY | FIRST SECTION | DURCHFij}IR UNG RETURN CODA 31 90 77 89 39 ,-º-, ,------—- 2-’--> I I II I II I II I 38 52 || 54 23 37 52 OP. 60. THIRD PIANO QUARTET. 263 II. SCHERZO (ALLEGRO). II. This movement may in respect of its form be described as midway between lyric and sonata. Thus, although it has no Trio so called it has a third subject doing duty as such ; though the first two subjects do not form a section they are provided with a codetta which marks them off as one; though we must not speak of a Durchführung the thing is there to all intents and purposes; and the return, though only a written-out D.C., is rounded off with a developed Coda. These features make it an interesting sample for the student who is attracted by affinities in matters of form. RHYTHMICAL TAIBLE. Ex. 382. Op. 60, Scherzo. EXTEND- PORTION MATERIAI, BARS | CONSISTING OF ING TO 1st section Introductory 4 2 × 2 4. 1st subject 18 2 × 9 22 2nd subject 11 2 × 5 + 1 33 1st subject 14 2 × 7 47 3 y • ? 6 || 2 of 9/8. 4 of 6/8 53 Totals. 53 53 Codletta, 1st subject 18 2 × 9 * 71 Totals. 18 71 In lieu of Trio || 3rd subject 19 2 × 9 + 1 90 5 y 5 y 24 || 2 × 12 114 1st subject 21 2 × 10 + 1 135 3 × 5 x 5 2 X 2 + 1 140 3rd subject 14 2 × 7 154 Totals. 83 154 D.C. Introductory 4 || 2 × 2 158 1st subject 18 2 × 9 176 2nd subject 11 2 × 5 + 1 187 1st subject 14 2 × 7 201 * 9 y 9 6 2 of 9/8, 4 of 6/8 207 Totals. 53 207 Coda, 1st subject 16 2 × 8 223 5 s * 9 11 4 x 3 + 1 234 Totals. 27 334 264 HANDBOOK TO BRAHMS (ORCHESTRAL). I2. The rhythmisation is subject to the conditions stated in par. 3, but is otherwise perfectly simple—except in respect of the expanded phrase preceding the Codetta mentioned in par. I I, and repeated before the final Coda. The phrase so expanded is one evolved from the first subject, appearing how- Ex. 383. Op. 60, Scherzo. First subject. º ------ N tº º º * ###: NH- &# NEEE. #: F-S == - -. *. — -- E —---> *** * * sº. --;— -º-º-º-4- i- – G – C. - - Cº- *msº ºbt: ===#F#, Hºt- ### ##E –– Que sf *_* | | -º- ever only after the second subject has been stated, and then evidently taking the place of the ordinary phrase extension which Brahms was accustomed to employ for purposes of divi- sion. Its rhythmical vagueness is not only in keeping with, but is the natural counterpart of the phrase contraction of the second subject into three bars (bars 31-3); besides which it Ex. 384, Op. 60, Scherzo. Second subject. -> > > > -- > [. > ~ 2: _(2. £e. º -I-T-2. II. , tº: BE † #: wº-a-- *-a- #3– º #:=#EEE::::::===#EEE ======Firſ-EFEF----- : = Str. only = * * r #5 is s. # + O dº * . *m. * as - * - $º - is 3 would appear as if some reliance in the production of scherzo effect had been placed upon a frequent confusion of strong and weak bars. The student having formed his own opinion of these matters, will be sure to recognise that the # bars of the Ex. 385. Contraction of second subject phrase. 2– # sº smºsºmsºme I wº with which the Coda concludes will help to illustrate that of Ex. 387. I 5. That the fine effects of this Scherzo are calculated and hence somewhat deserve to be called “musician's music” is true. But not even those who accept that term as a reproach can refuse Brahms honour for such insight into the possibilities of rhythm as a factor in musical composition as is here displayed. OP. 60. THIRD PIANO QUARTET. 267 I6. Epitome. (a) Subjects. See Ex. 383, 384 and 388. (b) Key, C minor—no recognised change. (c) Time, g; two bars of ; during first statement and again during the return. (d) Length, 234 bars. The D.C. being written out, there are Ino repeats. Ex. 390. Op. 60, Scherzo. Outline. FIRST STATEMENT COIDETTA MIDDI, E D.C. COIDA 53 18 | 83 53 27 ,-º- ,-, ,---- I II I III I III | I II I 22 31 43 26 14 22 31 III. AND ANTE. 17. Beginning with a complete song for violoncello to a Syn- copated piano accompaniment this movement develops by another verse of the same, for which the violin is added and a new piano figure applied. The fact of the spirit as well as portions of the melody being retained serves to show an entire resemblance to a song “durch.componirt.” Every note of all this seems to carry with it an individual charm in addition to its contribution to the ensemble; and, the viola being added at the eleventh bar of the second “strophe,” the expression con- tinues to grow in intensity until the new verse (with a final two- bar extension in lieu of cadencing) welds itself to a second sub- ject. The solo effect of the opening, the duet effect when the violin is added, the trio on completion of the strings and the quartet, when for the first time the piano's individuality is asserted by melodic progressions, form a graduation of intensity fit to be taken as a model. 18. As the express vocation of the subject which follows this is to provide contrast for the movement it will be well to note contributory features. These are, firstly, that the continuity of melody is not now confided to any one instrument, but results from various combinations, and that two forms of syncopation now proceed simultaneously—the key being that of the dom- 268 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 391. Op. 60, Andante. First subject. "Cello 8ve lower _- # =::========Hºº-º-º-º: ### ==== :==#: * =#####EE |-- =Eł Hs * = ºHº -- ºr-- al/ _---~ — ... | *N N | * * * * : *... ; ; ; ; ; #-F#m--N-3–à––P4–3–I-1–º-º-º-I-4–1–2–3–4–4– ēśE{==#=#EEE = = z-E-F-r P | t l _--~ -O- ####### | I L | t sº N ...TS N º =====#–4–3– @###### III + EP ‘p. inant—ample means for the eleven bars given to statement of second subject. The thirty-two then given to development THYTHMICAL TABLE, Ex. 392. Op. 60, Andante. EXTEND- POTTION MATERIAL BARS | CONSISTING OF ING TO 1st section 1st subject I6 2 × 8 I6 3 * 3 * 18 2 X 9 34 Totale. 34 34 Middle 2nd subject 11. 2 × 5 + 1 45 Expansion of do. 17 2 × 8 + 1 62 Bridge 15 5 x 3 77 Totals. 43 77 Tècturn 1st subject 16 2 × 8 93 - y 3 3 y 17 2 × 8 + 1 10 Coda, 2nd subject 12 2 x 6 122 Totals. 45 122 OP. 60 THIRD PIANO QUARTET. 269 must for purposes of survey be divided into 17 and 15, the first representing a more passionate continuation of the state- ment and the second a gradual return to the spirit of the first subject. The way in which the latter is effected is of special Ex. 393. Op. 60, Andante. Second subject. > N Sº i > N SN Violin # - #= **-*= =#s #sºd—"— Hº-j-i} a/ === + I } * Viola | Piano Interest to the student of composition, as it consists of a dia- logue of recitative between the combined strings and piano. The necessary rhythmic freedom is secured by adoption of the five-bar phrase; whilst freedom in expression proceeds from giving the first of these phrases to the entire combination and dividing the other two into portions of two and three bars for piano and strings respectively—but uniting these portions by an overlap. It would be difficult to discover another instance in which ingenuity and artistic conception co-operate so happily. I9. For the return the material is unchanged; so that although the instrumentation is effectively varied (the distribution of the parts being entirely new and the effect generally fuller than 27O HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 394. Op. 60, Andante. Recitative-like dialogue between piano and strings. t - •- sº- -# :* - e. ºs-Nº-º-e ––. — T #EEEEZº-E-Nº-: T {}=1-f_B====FE”-E== + Piano - ITS sº •. J. ſ •: ºs. º .. 3 . G#=#:=====E==##### § - - •- - • | — —- - *- ºf *— * - tº- –– T-- _- --~ ~ ~ Pianof strº … Hº r: -# .k.a.s.º.º.º. a. s. 45-ºf- #=== is–B. ;4 ====EHe ::::::Hºà-a-º-º: - |-2-—r-—f t —-k- -H-H,\:-}.24-2, --'H' – H-----— H + ---- Fs-EZ-FFZ-i-Z-FEF2sfºr-2-2-yd– | # 2- a- -- 52: 2 ºr -> ! ". ºp" | | | etc. 1 s N * sº. - —O. — . *E=- - - # ==º-E wº- H tº a # *:::= - - - ºgº E--- I # #s-f *-- -*. C- tº == for the first statement) it does not seem to present any feature for special attention. The Codetta with which the movement concludes is simply twelve bars of reminiscence of second subject. On the question of key refer to paragraph 2. 2O. Epitome. (a) Subjects. See Ex. 391 and 393. (b) Key, E major; no recognised change. (c) Time, common; no change. (d) Length, 122 bars; no repeats. Ex. 395. Op. 60, Andante. Outline. FIRST SUBJECT SECOND STUBJECT BRIDGE RETURN CODA 34 28 15 33 12 * 'Cello part octave lower and viola, with double stoppings. Note the approach of 'cello part to melody of first subject. t Note that these, being mormal quavers, represent a graduation of approach to the pulsation of first subject, compared with the triplet quavers of the first bar of the example. OP. 60. THIRD PIANO QUARTET. 27 I IV. FINALE (ALLEGRO COMODO). 2I. This is too straightforward a movement to provoke much comment; even its rhythm offering no speciality, consisting as it does of one dull succession of phrases without a single ex- tension or modification of any kind until the Coda. It is true that the third subject is in five-bar sets; but this promise of novelty remains unfulfilled by the chorale character of the theme converting each fifth bar into a mere written-out pause; and, whilst the piano moto perpetuo figure which always accom- panies the first subject is admittedly interesting, the interest is not of the kind to be expected in the finale of so serious a work. Other traits pointing to the same conclusion might be cited; but they may be all summed up in the observation that this movement does not leave us with any such impression as that only Brahms could have written it. REIYTHMICAI, TABLE, Ex, 396. Op. 60, Finale. EXTEND- PORTION MATERIAL BARS CONSISTING OF ING TO 1st section 1st subject W. 42 2 × 21 42 Motive º, 12 2 × 6 54 2nd subject 'º', 20 2 x 10 74 º 3rd subject | 20 5 × 4 94 Bridge s' _4 4. 98 2da Volta, l__ 1 99 Totals. 99 99 Durchführung Bridge 4 4. 103 All subjects 2 × 24 151 y 5 3 j 22 2 × 11 173 3 y 3 y 2 X 22 217 Totals. 118 217 Return 1st subject 42 2 X 21 259 Motive 12 2 × 6 271 2nd subject 20 2 × 10 291 3rd subject 25 5 × 5 316 Totals. 09 316 Coda, Bridge 2 3 × 4 328 (1st subject ) 23 2 x 11 + 1 351 \ and motiveſ 29 2 × 15 + 1 380 Totals. 52 380 272 HANDBOOK TO BRAHMS (ORCHESTRAL). 22. A glance at the summary of the movement suffices to show the painfully Orthodox nature of its proportions and to create the suspicion that only the brilliant instrumentation is of later date. Treatment of all the subjects during Durchführung Smacks also of youthful obedience to precept; besides which the Mendelssohnian handling of the piano figure suggests a period of Comparative subjection to outer influences. In any case the movement remains a sample production of high-class musician- ship—but nothing more. Ex. 397. Op. 60, Finale. First subject. d | | | | | # Tº CIT2:. #EEEE**EHz # i -v- =#. e Tºº e IIT"- T cº-o-º-o- el/ —----e *:::::: •. #Fº –––. ºfºº - -is-s-s | -*. |- tº-- I - | ! | , ºr l º ** | | \mu= p leggiero al --~ ––. ... 2 : l _ Esº-º-º-º-Eł EHE – fly-P-p-' —º-º-e =E=- s—f *s-s— O ºf sº- ºr * zººl ºf [". Tº | | | y --> si " . - * | L-- • * * * * —— |- * === ~ etc. 23. Only one intermediate motive is employed, and that ap- parently with a view to the provision beforehand of a triplet- Crotchet pulsation as formula for the accompaniment of second subject. Ex. 398. Op. 60, Finale. Intermediate motive. -º-Eb-H––3—1–––––– --bh-2––––– H==EE {#t=#EEEEEEEEE 3 3 - J- _- --~ | | (ºb I- v. D. I | | | | * –—º O- *—-—ſº ſº s-º-TETI'ss. ILP-IIIsº-Tº-Tº-TIATI =s=>=====T ºts===E g=-s= t==== == E–2 p L--. *Tit. Iſ s—z *Fs >s-– 3 | -O. | | O — * FF § 3 | OP. 60. THIRD PIANO QUARTET. 273 b.------— –9-b-E s O I––-s— b-n [ E—EEEEEE § DZ #5 IIITT – | G ==== == =#E #1-#t===== # #7 ; #, r * | $ } 24. The same formula provides material for the piano inter- ludes with which the chorale phrases of the third subject are interspersed. Ex. 400. Op. 60, Finale. Third subject. 25. The conventional character of the movement does not of course prevent its resonant effect from being Superb, Or, in many cases, the pleasure of a first hearing from surpassing that likely to be produced by work of greater originality. Every real stu- dent however knows that too favourable a first impression is a sure sign of that only having been stated for which the mind has already been prepared by previous experience; and, alto- gether, this finale leaves it to be regretted that Brahms never returned to the handling of the same combination of instruments. 26. Epitome. (a) Subjects. See Ex. 397–4OO. (6) Key, C minor; changing to C major for Durchführung and resuming C minor for Return. During the latter the major again enters at statement of intermediate motive and remains until the Coda which resumes the original key. I9 274 HANDBOOK TO BRAHMS (ORCHESTRAL). (c) Time, allabreve; no change. (d) Length, 380 bars; or 477 with repeat of first section. Ex. 401. Op. 60, Finale. Outline. FIRST SECTION DURCHFüBIRUNG RETURN CODA 99 118 99 52 ,----, ,-----~ I II III I II III 54 20 25 OP. 67. THIRD STRING QUARTET IN B FLAT. (For Two Violins, Viola and Väoloncello.) Dedicated to his friend, Prof. Th. W. Engelmann, in Utrecht. I. VIVACE. II. ANDANTE. III. AGITATo (ALLEGRETTO NON TROPPO). IV. ( § POCO ALLEGRETTO con VARIAzIONI. (B) DOPPIO Movim ENTO. Published by N. Simrock in 1876. Arranged by the Composer for Piano Duet. I. VIVACE. I. AS Brahms-music this movement is exceptional—princi- pally for the importance laid by the composer upon securing effects pleasant to the ear. This is exhibited not only in the choice of subjects courting immediate if not enduring sympathy, but also by some almost humorous contrasts; besides which the scoring is more than usually conventional. A new feature is however presented by the introduction of what may be called the combined intermediate motive. 2. Hitherto Brahms's use of the intermediate motive had always been as an independent, though subordinate, subject. Here, however, it is combined with its theme, and might indeed be considered as mere counterpoint but for a separate indi- viduality. That this procedure was adopted with a view to ear- pleasure is fairly certain—especially when considered in con- junction with frequent introduction of the hunting strain of the first subject—with which, by the way, we never part company for very long. There is furthermore the introduction of a jovial new subject for the Durchführung—one not very decidedly in 276 HANDBOOK TO BRAHMS (ORCHESTRAL). keeping with the composer's usually deep methods in that de- partment—and finally, it must be confessed, a diminished regard for that symmetrical beauty which associations cause us to look for as a matter of right in a Brahms movement. 3. It is noticeable that Brahms in writing about this quartet to Joachim expressly hopes that it will “sound * well,” and RFIYTHMICAI, TABLE. Ex. 402. Op. 67, Wivace. EXTEND- PORTION MATERIAL BARS CONSISTING OF ING TO 1st section 1st subject 20 2 x 10 20 - Combined motive 12 2 x 6 32 2nd subject 25 | [3 × 8 + 1) 57 l 2 × 4 ſ 3rd subject 5 2 × 2 + 1 62 , , y jº 22 2 × 11 84 Combined motive 16 2 × 8 100 Bridge 3 2 + 1 103 Totals. 103 103 Durchführung Bridge 4 2da Wolta 1 + 3 107 Special subject 21 2 × 10 + 1 128 1st subject 21 2 × 10 + 1 149 2nd subject 36 2 x 17 -- 2 185 Special subject 20 2 × 10 +/-N 205 Totals. | 102 205 Return 1st subject 21 2 × 10 + 1 226 3 * > y 4. 2 × 2 230 Combined motive 10 2 X 5 240 2nd subject as ſ2 × 8 + 1) 265 l2 × 4 ſ 3rd subject 5 2 x 2 + 1 270 y jº y J 22 2 x 11 292 Combined motive 16 2 × 8 308 IBridge 6 2 x 3 314 Totals. | 109 314 Coda. 3rd subject 10 2 × 5 324 ſ 1st subject with l 10 2 × 5 334 \ combined motive ſ 1st subject 7 2 x 3 + 1 341 Totals. - 27 341 * “Recht schön und deutlich in den Ohren klingen.” Joachim Cor- respondence II, p. 113 OP. 67. THIRD STRING QUARTET. 277 that round about the same period he seems to have been gener- ally more mindful of Klangreiz” than formerly. It is therefore pardonable to regard the traits mentioned as so many bids for favour; but, as Fuller-Maitland observes, this quartet is not a very general favourite in spite of the attractiveness of its material. 4. The outline being commonplace deprives our summary of the usual degree of instructiveness; but at all events the dis- proportionate allotment to third subject is shown by it; this subject being allowed for some not very appreciable reason to disturb the form.f The different dispositions of first subject and combined motive in first section and return respectively (which is also visible in the summary) is another symptom of the looser kind of writing adopted for this quartet—the diver- gence not being caused by any logical requirement of the theme, but by quite avoidable necessities. Figures however completely fail to show the frequent interspersions of fragments of the first subject by which, in our view, the purity of themes is vitiated. It may well be that these reminders facilitate the work for some listeners. But they repel those of a keener sort, for whom—to say the least—they are superfluous. 5. The fact of the hunting character of the first subject not being sustained evidently counts for nothing in the composer's intention. This first manifests itself at introduction of the Ex. 403. Op. 67, Vivace. First subject. 2nd Vln. Vla. — = { | T ====######## Zº-5'------ e-ILE-ITEEE2:2::1:2:::::::::::2- ==== #– #: #######: *########### p = • * - = P + i = <= * * * * : *-*-* |--" -- | | * * t 'Cello 8ve lower *~! f tº º tº tº –––. N-º-º-,------- # ===== ####### E ---, -o-º-o-t-e-o g sºme ºm- * :=: # :a-s-º: - sº –Tºº-T -Q- yº F ; * | * e. • | Wº oto * See Op. 34, par. 1. f It is sometimes mistaken for second subject—see par. 6. 278 HANDBOOK TO BRAHMS (ORCHESTRAL). intermediate motive, which, as mentioned, is now combined with, instead of following its subject. A purposeless modulation Ex. 404. Op. 67, Vivace. Combined intermediate motive. m =m —— - J.L.-Jaº. |TF -RSSss ! = |-e-a-e' ... ſºlºs -- *# s--- -º-e. ... l i i l, — ba | b? —l-—--———º: * —-— al--lºsſTº 2– — `-- —— # Ełºż. E*:53– Tº ––– a – Il- T *ILLETT. (ºpº ITITILEFTITI QL ==== + I–H->|--|-- sºft#EE | | ss. -* etc. (commencement of which is shown in our quotation) here leads to the use of two redundant bars—obviously redundant as shown by their omission in the return group"—though their use is now compulsory. By their aid however we emerge from the desert in time to meet the second subject in the dominant. 6. A very natural misconception has occurred with regard to this subject; which some describe as episodial, or as a preamble Ex. 405. Op. 67, Wivace Second subject. ! __– -- fº. E==E_E==_Tº_. . . . . x 1– —I 1–-l u --|--|--|--|-- ----1- vºy w -- ºf-54 T #######, EE::::::::::========# EEEEEEEEEEEEEEEEEEE| : s: + º- ----- ––– T- #. _- - t | ] —k—-l—---------------> ------"— *== :::::: -º-º-º-º-e wº –H–C– Tºº-ſºº. TTTTT2: EFE el/ -*.* -- * * D is © º ſº | * The bars in question are 27, 28, which in the Return are omitted, causing (see Ex. 402) the combined motive to occupy only ten bars in the Return as against twelve in Tirst Section. . OP. 67. THIRD STRING QUARTET. 279 to second subject—meaning by “second subject” that which we range as third.” The undue attention given to the latter how- ever is of no influence in this case—beyond leading to deceptive appearances. 7. The second subject consists strictly of only eight bars, but these (by inversion of the quaver-motion) become converted into seventeen—the difference between this and the twenty-five shown in the summary being occupied by allusions to first subject. Stranger still, the third subject proceeds for only two bars before the first again appears. Ex. 406. Op. 67, Vivace. Third subject (a). 8. The third subject is of dual character—its second member Combining with the florid first-violin passages now evidently Ex. 407. Op. 67, Wivace. Third subject (b). #######EE WJZ– EEEEEEłº- --~ O tº it *=--it- steering toward repeat of first section. For this, however, the irrepressible first subject cannot wait; but, by entering six bars before the section is complete, diminishes the effect of its own return. 9. For the Durchführung allusions to all subjects are natur- ally appropriate, and it would not be wise to deem some pre- * See par. 4. 28O HANDBOOK TO BRAHMS (ORCHESTRAL). ferable to others. Two things must, however, occur to every student—firstly, that the Durchführung's natural point of de- parture is from the end of third subject—(bars facilitating the repeat of first section being due to “Ima Volta”); and secondly, that the effect of the first subject's ultimate re-entry is best promoted by abstention from it until due. At all events when, as here, a special subject is given to the Durchführung there is every reason for allowing it to remain pure, and so to attain its Ex. 408. Op. 67, Wivace. Durchführung special subject. 2- -N 2- -e- -2. -e- -º-, -º- -O- * –5–2–4–5– --—º-º-º- #E4+E CITIZ-T :* -e- *-ā- -------2–s- Eāī-2-ETY:Tri-V-E-ºf-E-º-º: =###E: ºil-r- ſº cº-º: #################### -> - --~ , ºf - ..mmma mºm * - -----L----------|--|-------. I.----- - —— C, +H: =====Fº #: * =##### : # – E E : •= • # Tº .#EE Fº == #s --- T. E. be. -º- if. º 2-bi-º-º-c-º-I-P. #### Q_/ I etc. object—that of affording the listener some relief. In this case, moreover, the subject so incessantly repeated being of no par- ticular interest prevents even the freshness of suggestion which might have become an atoning feature. Moreover, its sudden exclusion for the remainder of the Durchführung shows clearly enough that the composer suspected its being somewhat over- worked. Most pointed in the latter sense is the appearance of the special Durchführung subject at bar 185 (just before the return) where it shakes itself completely free. IO. It goes without saying that, with so much sacrificed for “sound-charm,” the scoring is brilliant, the ordinary listener being well studied throughout. For his benefit even the artistic traits of the work seem to have been carefully prepared—such, for instance, as the semi-humorous change to # for introduction of third subject. The return groups and Coda contain only what must necessarily happen in a movement of this kind. II. Epitome. (a) Subjects. See Ex. 403-408. OP. 67. THIRD STRING QUARTET. 28I (b) Key, B flat major; changing to A and returning to B flat during Durchführung—otherwise no change. (c) Time, g; occasional changes to # for third subject. Ex- ceptionally both times occur simultaneously when subjects combine. (d) Length, 34I bars or 443 with repeat of first section. IEx. 409. Op. 67, Vivace. Outline. FIRST SECTION DURCEIFüHRUNG RETURN CODA 103 102 109 27 I II III I II III 32 25 46 35 25 49 II. AND ANTE. 12. The summary of this movement at once shows its con- struction to be of the simplest, though two features call for T.HYTHMICAL TABLE. Ex. 410. Op. 67, Andante. POIRTION MATERIAL mans consisting of | * ſ ING TO 1st statement Prelude 2 2 2 First Subject 28 16 2 × 8 18 x 3 3 y 8 i 2 × 4 26 . Postlude 2 2 28 TMiddll ſ Second Subject 28 ſ 16 2 × 8 44 i CICl 1 tº: Quasi Cadenza | 12 undissected 56. ... Return First Subject 28 ſ 16 2 x 8 ...sº 3 y j ñ, l 12 2 × 4\ | 84 | 2 × 2 ſ - Coda, 3 x y 3 1l 2 × 6 – 1 95 Totals. 95 95 special attention. The first is the little prelude and postlude (bars 1, 2, and 27, 28) each of two bars by which the first state- ment of the subject is, so to speak, enframed; and the second is 282 HANDBOOK TO BRAHMS (ORCHESTRAL). the sub-section consisting of what is practically a “Quasi- Cadenza” of the same nature (though not of character) as that occurring in the finale of Op. 25.” I3. The prelude and postlude in question need not be quoted as the Only point attaching to them is the idea of surrounding a theme and thus isolating it from the rest of the movement; but the first subject is a really beautiful melody readily lending itself to modulative treatment. Fx. 411. Op. 67, Andante. First subject ... ." | | * = ... Tº O *. ** # * * tº-' - | | etc. I4. The “postlude” by concluding with the chord of A pre- pares us for the second subject in D minor. This opens with two bars of rather martial character which are at all events useful in calling attention to its entry. The remaining six bars of the Strain revert to the opening legato style, after which there Ex. 412, Op. 67. Andante. Second subject. e *- 2- S. --- 5-Haraz-e:-i-2:===-2-ti-jº-º-º-º-º- #EEE ====##- ==#= **-ā- —-º-º:-- I.--- * * -- *— jº |- - - - –––E– a- - =se = . +- * TºI. ~7 Tº “Tº wº T º **=p-gº-º-; tº f sº ise º | Scº º Fº =. follows a second and rather more demonstrative eight bars singularly tapering off upon the chord of C dominant without any attempt to cadence. This is where the episode here called “Quasi Cadenza” occurs, which, although barred, seems by every feature of its contents to be endeavouring to become free. Iºx. 413. Op. 67, Andante. “Quasi cadenza.” 2–= 2^T = ~gºmºljpg|Jalºd ºfttºº, ppg, iſ . Ts sº == Ex- ſº º-cº º - 94' y * º [...] - # If “Tº fin ºf in TEEſºf ITH - S-' 413 ,” i. —-----& * See Op. 25, pars. 33 and 34. OP. 67. THIRD STRING QUARTET. 283 It also carries its listlessness so far as to be careless of returning to the original key. Taken in conjunction with the fact that when the first subject returns it is not only in the key of D but also in free elaboration, this portion of the movement gives us a good glimpse of Brahms's liberty within form. Iºx. 414. Op. 67, Andante. Free form of first-subject return. 18W 1st win — Free form o! do. ſ 4 4 Cello (amplifying parts by 2nd Vln and Vºtola omitted) I5. The return to the original key being thus delayed for the sixteen bars corresponding to bars 3 to 18 of first statement the subsequent formal re-entry of the theme (bar 73) is all the more imposing. In addition to this gain the rhapsodic freedom of the “Quasi Cadenza” has been enjoyed for twenty-eight bars, notwithstanding that unity has been entirely preserved. Unity is still further favoured and Brahms's attachment to it rather amusingly illustrated by the fact that the Coda concludes with the substance of the little prelude-postlude which so fostered the principal subject. 16. Epitome. (a) Subjects. See Ex. 4II and 412. (b) Key, F major; no recognised change. (c) Time, common; with two bars of , in free portion of middle section. (d) Length, 95 bars; no repeats. Ex. 415. Op. 67, Andante. Outline. FIRST STATEMEN2 MII) D.I.E. T.ETURN CODA 28 28 28 11 284 HANDBOOK TO BRAHMS (ORCHESTRAL). III. AGITATO (ALLEGRETTO NON TROPPO). I7. The peculiar plaintiveness of this movement is due to the prominence of its viola melody—the viola alone of the four in- struments being unmuted. This prominence is further increased by the rhythm of the accompaniment, which to a great extent allows the viola to be heard alone upon the strong beat. Ex. 416. Op. 67, Agitato. First subject. r F. p. 416 % &ve higher, con espress. 18. The broader rhythm opens with groups of three four-bar phrases; for the second of which the violin is allowed the melody, whilst the viola (in preparation for the new prominence it is about to assume in a new subject) changes to a florid accom- paniment. The violin, however, in addition to being muted, is deprived of “first-beat” prominence; this remaining with the viola notwithstanding the altered character of its part. The movement thus remains a sort of viola solo with trio accompani- ment; and, with the appearance of second subject, the rhythm Ex. 417. Op. 67, Agitato. Free form of first subject. 1st Vin and Via parts only. -o-,+,+,+,+,+2+ I becomes practically #. The disposition of the phrases is now no longer in groups of three, so that this portion of the move- ment is of somewhat more masculine effect. The new subject, moreover, is dual, with a second member gracefully preparing OP. 67. THIRD STRING QUARTET. 285 REIYTHMICAL TABLE. Ex. 418. Op. 67, Agitato. *… EXTEND- PoRTION & MATERIAL BARS CONSISTING OF § { ING TO 1st section 1st subject 12 4 × 3 12 x 2 5 4 12 4 × 3 24 2nd subject 32 4 × 8 56 3rd subject 20 4 × 5 76 bridge 12 4 × 3 88 1st subject 12 4 × 3 100 ſ parenthetical \ 9 4 × 2 + 1 109 phrase ſ 1st subject 12 4 × 3 121 3 x 5 y 8 4 X 2 129 Totals 129 129 Trio subject 16 4 × 4 145 32 16 || 4 × 4 161 3 x 16 || 4 × 4 177 x 3 8 4 × 2 185 Totals 56 185 Coda, cadence 18 1 + (4 × 4 + 1) 203 Totals 18 203 the way for the Sostenuto passages intended later on for cadence and bridge purposes. These occur firstly as the fourth Jºx. 419. Op. 67, Agitato. Second subject. (a) - (b) via (8ve lower)' 419 t Set of eight bars in the second subject's development and rather unexpectedly introduce a third subject; which, fortunately for the outcome of this section, is of short duration. We incline to consider this subject de drop; and in any case the listener is Ex. 420. Op. 67, Agitato. Third subject. Cello f 42O 286 HANDBOOK TO BRAHMS (ORCHESTRAL). gratified when again greeted by the Sostenuto work—this time to introduce an elaborate organ point for violin and viola serving as bridge for re-introduction of the first subject. From Ex. 421. Op. 67, Agitato. Organ-point. Y! It -- 42 l this point the treatment is new, but the novelty relates merely to details of scoring as compared with the opening—with the exception of a parenthetical phrase marked as such in the sum- mary (Ex. 418). This interpolation makes it probable that Brahms regarded the remainder of this section as Codetta. 19. The Trio opens quaintly with eight bars by the violins and 'cello before the viola enters with the subject, the same eight bars again serving as accompaniment to the opening of the melody. The style continues the same during eight four- Ex. 422. Op. 67, Agitato. Trio-subject. 2- Fr ### = N- N-> .122 ^--> bar phrases; when, for the rest of the section, the melody is given to the first violin and the instrumentation gradually approaches that of the opening. The perfection of this Trio prevents the application to it of any kind of criticism, as from whatever point of view we might regard it we could wish for neither a note more nor one less. The few bars of Coda being in the major are in fitting apposition to the trio-key, which is that of the dominant minor. OP. 67. THIRD STRING QUARTET. 287 2O. Epitome. (a) Subject. See Ex. 416, 419, 42O and 422. (b) Key, D minor and A minor for first section and Trio respectively. The Coda is in D major. (c) Time, #, without change. (d) Length, 203 bars as printed. To this must be added 124 for D.C. as far as the Coda sign, making 327 in all. IEx. 423. Op. 67, Agitato. Outline. FIRST SECTION | TRIO I).C. CODA 129 56 124 18 2–~\-> (to coda-sign) I II III I 24, 32 32 41 IV. POCO ALLEGRETTO CON VARIAZIONI. 21. Again we have a melody of Volkslied character—a melody which modulates independently of exterior aid” and suddenly returns to its burden. We have already seen how much of Brahms's success in variation-form was due to his theme-selection, and we are here reminded of how much his Selection was guided by recognising that the equivalent of every augmented and diminished interval is contained in the ordinary diatonic scale. A wandering of the untutored voice is therefore happily represented by chromatics, and its natural endeavour to finish at the first pitch rightfully given as a sudden tonic cadence. It is easy to see how in the hands of a master a simple tune so treated acquires artistic interest; and this, once created, Seems to forbid our tracing it back to its origin. The interest of the student however requires us to show how what we have described might feasibly happen by presenting side by side with the Brahms theme what may be supposed to have been its germ. *-- * See Op. 18, par. 22. 288 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 424. Op. 67, Finale. Theme.* It may be remembered that a similar wandering of the voice took place in the theme of the Op. 18 Variations,i and that this was attended with each of the present results—viz., an unwonted modulation and sudden return to the key. 22. The Volkslied trait just mentioned is one not only very beautiful in view merely of the melody as such, but it also immeasurably enhances the latter's value as material for varia- tions; and it is scarcely too much to affirm that the greater part of Brahms's success as a variationist depends upon this very fact. For, truth to tell, there is nothing specially wonderful in the workmanship of the present movement. We see the com- poser still haunted by the old “five-orders-of-counterpoint” tradition; and, just as in the slow movement of Op. 18, he starts his first variation with “two-notes against one.” What saves it from being commonplace and whets our appetite for more Ex. 425. Op. 67, Finale. Variation 1. pizz pizz 4.25 development is precisely the individuality due to its modulation and broken rhythm, by which we are always open to be called back to the theme in spite of all elaboration. g 23. For the reasons stated these Variations do not otherwise possess much interest. Nos. 2 and 3 are of “two and three notes * The large notes show the Brahms theme and the small the suggested origin. The supposition is that the voice having wandered at (a) continues involuntarily in the new key; and that (b) is the attempt to return, which succeeds at (o). + See Op. 18, Ex. 98, third and fourth bars from the end. OP. 67. THIRD STRING QUARTET. 289 against One” respectively, and carry on a simple process of elaboration without change of mood. The composer's plan seems to have also been to feature the viola in No. 1 with No. 2 Ex. 426. Op. 67, Finale. Wariation 2. Ex. 427. Op. 67, Finale. Variation 3. *N tº as ~ a N “concertante”; then to feature the first violin in No. 3 with No. 4 “concertante”; then to feature the violoncello in No. 5 with No. 6 in the fourth order of counterpoint consisting of continued syncopation, and then to follow on with No. 7 as a florid or “fifth order” variation. A most orderly scheme in any event. 24. The fourth, being the first Concertante variation, is a point of new departure—the three variations 4, 5 and 6 forming a separate group, each member of which is in a new key.” The characteristic is the same for variations 4 and 5—except that in the latter the triplets given exclusively to the 'cello cause it to stand apart. The speciality of Var. 6 is that the syncopations of which it consists are accompanied pizz. by 'cello and viola, for the first and second sections respectively. —s * The keys are B flat minor, D flat and G flat. For some strange reason the B flat minor of Variation 4 is represented completely by accidentals, but for the others the key-signatures are given. 2O 29O HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 428. Op. 67, Finale. Variation 4. 6?!C. 428 Cello Vla. enters with Vln. Ex. 429. Op. 67, Finale. Variation 5. Cell () Ex. 430. Op. 67, Finale. Variation 6. ~~ 2-> 2-\ 62t C 430 25. Variation 7 (in §, “doppio movimento") has been much commented upon on account of its introducing a scrap of the first subject of the opening movement, the principal rhythmical attributes of which are however entirely absent. It is claimed that, by this means, unity is given to the entire work; and there can, of course, be no objection to so amiable an interpretation of the expedient. But it is doubtful after all whether Brahms is really honoured by elevating what was evidently a mere after- thought to such importance; for it implies that even with this serious intention he could do no more. In such an event We should not only expect to find much more, but there is a feature in this variation which we should then expect not to find; and that is that the third bar of the second section is made to repre- sent a full bar of the theme, whereas according to its standard relation to that theme it is the equivalent of only a half-bar. The effect is disturbing even to the listener—that is, if he carries OP. 67. THIRD STRING QUARTET. 29I the theme in mind. To the analyst it must not only appear worse, but also in marked contrast to the precision which has been everywhere else observed. Ex. 431. Op. 67, Finale. Variation 7. s Cúc , 431 26. Variation 8 reverts to B flat minor and is based upon the figure represented by the scrap of first subject used for Varia- tion 7. Its principal interest however is in its cadence, which for the first section is in D flat—that of the second being interrupted as a join to Coda.” * Ex. 432. Op. 67, Finale. Variation 8. ~ etc ~ * ~ *-*. 432 27. Interruption of the Cadence is immediately followed by union of the same first-subject passage with the present theme in augmentation—this forming the leading trait of the entire Coda. Mention should however be made of its extraordinary Ex. 433. Op. 67, Finale. Coda. * *TE ſºlºſſ: 4-HEATElº" 433 * It has been remarked of this variation that in it the leading note of the key never occurs, its absence contributing to the beauty of the cadences—just as omission of the third in the final chords adds to the effect of the interruption for Coda. 292 HANDBOOK TO BRAHMS (ORCHESTRAL). rhythm, which, especially for Brahms, is of the most erratic character. The theme has prepared us to expect some freedom in this respect, it is true, but scarcely so much as we actually find. The summary is admittedly only a tentative dissection, but it will at least serve to indicate the peculiar rhythmical difficulty of this department. REIYTHMICA1, TABLE. Ex. 434. Op. 67, Finale. PORTION RHYTHM BARS Theme and Wariations 2 × 4 l 20 each 1 to 6 { 2 × 6 ſ including repeats Variations 7* and 8 the same 40 each doubled including repeats 1 Y * . . . 4 x 3 + 2 4 × 2 Coda { 2 × 4 75 3 × 2 + 1 4 × 2 + 3 2 x 7 | 1 28. Epitome. (a) Theme, Ex. 424. Var. I to 8, Ex. 425-432. Coda, Ex. 433. - (b) Key, B flat major for Theme, Var. I to 4,t 7, and Coda after the first II bars. B flat minor for Var. 5 and 8, and first II bars of Coda. G flat major for Var. 6. (c) Time, # for Theme, Var. I to 6 and Coda; ; for Var. 7 and 8. (d) Length, 227 bars, as printed; the number in performance being 295. Ex. 435. Op. 67, Finale, outline. THEME VAR. 1 TO 6 v.AR. 7, 8 20 120 80 75 * War. 7 is one. bar short for the reason mentioned in par. 25. f War. 4 is really in B flat minor. (C) ANALYTIC. INCLUDING CLASSIFICATION OF WORKS, INDEX TO MUSIC EXAMPLES, RHYTHMICAL TABLES, ETC. I CLASSIFICATION OF THE CHAMBER AND 5 ORCHESTRAL WORKS IN GRADUATED ORDER AS TO MEANS. FOR TWO INSTRUMENTS : Op. 38. Sonata for Violoncello and Piano. Op. 78. Sonata for Violin and Piano. Op. 99. Sonata for Violoncello and Piano. Op. 100. Sonata for Violin and Piano. Op. 108. Sonata for Violin and Piano. Op. 120, No. 1. Sonata for Clarinet (or Viola) and Piano. Op. 120, No. 2. Sonata for Clarinet (or Viola) and Piano. FOR THIREE INSTRUMENTS : — Op. 8. Trio for Piano, Violin and Violoncello. Op. 40. Trio for Piano, Violin and Horn. Op. 87. Trio for Piano, Violin and Violoncello. - Op. 101. Trio for Piano, Violin and Violomcello. Op. 114. Trio for Piano, Clarinet (or Viola) and Violoncello. FOR, FOUR INSTRUMENTS : — Op. 25. Quartet for Piano, Violin, Viola and 'Cello. Op. 26. Quartet for Piano, Violin, Viola and 'Cello. Op. 51, No. 1. Quartet for two Violins, Viola and 'Cello. Op. 51, No. 2. Quartet for two Violins, Viola and 'Cello. Op. 60, Quartet for Piano, Violin, Viola and 'Cello. Op. 67. Quartet for two Violins, Viola and 'Cello. FOR FIVE INSTRUMENTS : — Op. 34. Quintet for Piano, two Violims, Viola and 'Cello. Op. 88. Quintet for two Violins, two Violas and 'Cello. Op. 111, Quintet for two Violins, two Violas and 'Cello. Op. 115. Qº for Clarinet (or Viola), two Violins, Viola and - 'Cello. FOR SIX INSTRUMENTS : — Op. 18. Sextet for two Violins, two Violas and two 'Cellos. Op. 36. Sextet for two Violins, two Violas and two 'Cellos. FOR SOLO INSTRUMENT (OR INSTRUMENTS), WITH OR- CHESTRAL ACCOMPANIMENT : — Op. 77. Concerto for Violin with Orchestra. Op. 102. Concerto for Violin and Violoncello, with Orchestra. TOR, ORCHESTRA : — Op. 11. Serenade in D. Op. 16. Serenade in A. Op. 56a. Variations on a Haydn Theme. Op. 68. First Symphony in C minor. Op. 73. Second Symphony in D. Op. 80. Academic Festival Overture. Op. 81. Tragic Overture. Op. 90. Third Symphony in F. Op. 98. Fourth Symphony in E minor. Note.—The Hungarian Dances, No. 1, in G minor, No. 3, in F, and No. 10, in F, were also orchestrally arranged by the composer. II. INDEX TO MUSIC EXAMPLES. OP. 8. TRIO. ALLEGRO. Ex. 1, First subject, 17. Ex. 5, Rhythmic significance of the pause, 20. Ex. 6, Rhythmic basis, 21. Ex. 7, Pause by delay of rhyth- mic pulsation, with continued motion, 22. Ex. 8, Third subject (crude form), 23. Ex. 9, Third subject (elabora- tion-figure), 24. Ex. 10, Second subject, 24. Ex. 11, Outline, 25. SCHERZO. Ex. 15, First section subject, 27. Ex. 16, Trio-subject, 27. Ex. 17, Subjects combined, 27. Ex. 18, Outline, 28. ADAGIO. Ex. 20, Piano chorale with string interlude, 30. Ex. 21, Independent string in- terlude, 30. Ex. 22, Variety of return-group without change of material, 31. Ex. 23, Second subject, 31. Ex. 24, Second subject (expan- sion), 32. Ex. 25, Outline, 33. ALLEGRO (FINALE). Ex. 27, First subject, 35. Ex. 28, First subject member), 36. Ex. 29, Second subject, 36. . Ex. 30, First subject (conclusion of first period), 36. (second Ex. 31, First subject (statement conclusion), 36. Ex. 32, Third subject, 36. Ex. 33, Outline, 37. OP. 11. SERENADE. ALLEGRO MOLTo. Ex. 34, Divergent rhythm, 41. Ex. 35, First subject, 42. Ex. 36, Second subject, 42. Ex. 37, Outline, 43. SCHERZO (No. 1). Ex. 38, Non-effect of tion, 44. Ex. 39, Use of syncopation, 44. Ex. 40, Subjects of first section and trio, 45. Iºx. 41, Outline, 45. Syncopa- ADAGIO NON TROPPO. Ex. 42, Syncopated bass, 46. Ex. 43, First subject and epi- sode, 47. Ex. 44, Second subject and fu- gato, 47. Ex 45, Outline, 48. MINUETS 1 AND 2. Ex. 46, Subjects, 48. Ex. 47, Outline, 49. t Scherzo (No. 2). Ex. 48, Subjects, 49. Ex. 49, Outline, 50. RoNDo. Ex. 50, Subjects, 51. Ex. 51, Outline, 52. MUSIC EXAMPLES. 297 OP. 16. SERENADE. Ex. 52, Affinity between subjects of Op. 11 and 16, 54. ALLEGRO. Ex. 53, Dual character of first subject, 56. Ex. 54, Echo-passages in exten- sion of first subject, 56. Ex. 55, Second subject, 56. Ex. 56, Third subject, 57. Ex. 57, Displacement of bar- line, 58. Ex. 58, Durchführung, 58. Ex. 59, Subdivisions of the minim pulsation, 59. Ex. 60, Outline, 59. SCHERzo. Ex. 61, Distribution of the bar in gavotte notation, 60. Ex. 62, Duple character of mo- tives, 61. Ex. 63, Conflict of duple motive with triple measure, 61. Ex. 64, Mixture of duple and triple motives, 61. Iºx. 65, Triple melody with duple accompaniment, 62. Ex. 66, Outline, 62. ADAGIO. Bºº, Theme-model from Bach, 6 Tºx. 68, Combination of Brahms and Bach themes, 64. Ex. 69, Second subject, 64. Ex. 70, Third subject, 65. Ex. 71, Outline, 66. QUASI MENUETTo. Ex. 72, Comparison of 6/4 and 3/4 minuet notation, 66. Ex. 73, Sample phrase in 6/4, 4, 67 Ex. 74, Further phrase of 6/4, 9/4, 67. Ex. 75, First subject, 68. Ex. 76, Trio subject, 68. Ex. 77, Outline, 69. RoNDO. Ex. 78, “Call,” 69. Ex. 79, First subject, 70. Ex. 80, Episode, 70. Ex. 81, Augmentation of first subject, 70. Ex, 82, Second subject, 71. Ex. 83, Third subject, 71. Ex. 84, Modulative sequence, 71. Ex. 85, Outline, 72. …” OP. 18. SEXTET. ALLEGRO NON TROPPo. Ex. 87, First subject, 77. Ex. 88, Figure in preparation for second subject, 80. Ex. 89, Counter p o in t upon rhythm of first sº 80. Ex. 90, Intermediate motive, 81. Ex. 91, Second subject, 81. Ex. 92, Third subject, 82. Ex. * Third subject (treatment Of), 82. Bºº. Three degrees of motion, Ex. 96, Treatment of first sub- ject at return, 84. Ex. 97, Outline, 85. ANDANTE MA MoDERATO. Ex. 98, Theme, 86. Jºx. 99, Material of theme, 87. Ex. 100, Variations 1 to 6, 89. SCHERzo. Ex. 102, Subjects, 91. Ex. 103, Outline, 91. RONDO. Ex. 104, First subject, 92. Ex. 105, First intermediate mo- tive, 92. Ex. 106, Second subject, 93, º 107, Development of same, 3. Ex. 108, Second motive, 93. Ex. 109, Third intermediate mo- tive, 94. Ex. 112, Outline, 95. intermediate Op. 25. PIANO QUARTET. ALLEGRO. Ex. 115, First subject, 99. Ex. 116, First intermediate mo- tive, 100. 298 HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 117, Second subject, 100. Ex. 154, Third subject, 124. Ex. 118, Second intermediate Ex. 155, Outline, 125. motive, 101. Ex. 119, Third subject, 102. POCO ADAGIo. Ex. 120, Third intermediate mo- Ex. 157, First subject, 127. tive, 102. * - - Ex. 158, Second subject, 127. Ex. ižI. Extension in lieu of Ex. 159, Outline, 128. Tallentamdo, 102. Ex. 122, Extension in lieu of SCHERZO. pause, 103. Ex. 161, First subject, 130. Ex. 162, Intermediate motive, INTERMEZZO. 130. Ex. 125, First section (first sub- Ex. 163, Second subject, 130. ject), 106: Ex. 164, Trio, first subject, 131. Ex. 126, Trio (first subject), 106. Ex. 165, Trio, second subject, Ex. 127, First section (second 131. subject), 107. Ex. 128, Trio (first and second subjects), 107. Ex. 129, Outline, 108. Ex. 167, Outline, 132. ALLEGRO, FINALE. Ex. 169, First subject, 133. Ex. 170, Second subject, 134. Ex. 171, Third subject, 134. Ex. 172, First intermediate mo- ANDANTE CON MOTO. Ex. 131, Normal phrase lengths, 109 tive, 134. Ex. 132, First subject, 110. Ex. 133, Second subject, 110. Ex. 134, Middle-section subject, 111. Ex. 135, March in triple time, 112. Ex. 136, Middle-section, inter- mediate motive, 113. Ex. 137, Conclusion, 140. Ex. 138, Outline, 140. RONDO ALLA ZINGARESE. Ex. 139, Order of subjects, 116. Ex. 141, First subject, 117. Ex. 142, Second subject, 117. Ex. 143, Third subject, 117. Ex. 144, Fourth subject, 118. Ex. 145, Fifth subject, 118. Ex. 147, Outline, 119. Op. 26. PIANO QUARTET. ALLEGRO NON TROPPO. Tºx. 149, First subject, 121. Ex. 150, First intermediate mo- tive, 122. Ex. 151, Second subject (a), 122. Ex. 152, Second subject (b), 123. Ex. 153, Second intermediate motive, 124. Ex. 173, Second intermediate motive, 135 Ex. 174, Third intermediate mo- tive, 135. Ex. 175, Counter-subject, 135. Ex. 176, Outline, 136. Op. 34. PIANO QUINTET. ALLEGRO NON TROPPO. Ex. 177, Broadening of common time into 3/2 (original), 138. Ex. 178, The same with 3/2 no- tation, 139. Ex. 180, First subject, 141. . . Ex. 181, Intermediate motive, 141. Ex. 182, Second subject (a), 141. Ex. 183, Second subject (b), 142. Ex. 184, Third subject, 142. Ex. 185, Outline, 144. ANDANTE UN Poco ADAGIO. Bºx. 186, Subject, 144. Tºx. 188, First intermediate mo- tive, 146. Ex. 189, Second motive, 146. Ex. 190, Third intermediate mo- tive, 147. - Ex. 191, Outline, 147. intermediate MUSIC EXAMPLES. 299 SCHERzo. Ex. 193, First subject, 149. Ex. 194, Second subject, 149. Ex. 195, Third subject, 150. Ex. 197, Trio subject, 150. Biºlº, Intermediate motive, Ex. 199, Outline, 151. FINALE. Ex. 200, Introduction, 153. Ex. 202, First subject (a), 154. Ex. 203, First subject (b), 155. Ex. 205, Second subject, 155. Ex. 206, Third subject, 156. Ex. 207, Intermediate motive, Ex. 209, Subjects of Allegro and Presto compared, 157. Ex. 211, Final cadence, 158. Ex. 212, Outline, 158. Op. 36. SEXTET. ALLEGRO NON TROPPO. Ex. 213, Semitomic rise and fall, 161. Ex. 214, Illustration of same by first subject, 161. Ex. 216, Semitomic 163. Ex. 217, First intermediate mo- tive, 163. Ex. 218, Semitonic wave in aug- nºtation, with repeated notes, 163. Ex. 219, Second subject, 164. Ex. 220, Second intermediate motive, 164. Iºx. 221, Bridge, 164. Ex. 222, Canon, 165. Ex. 223, Depression of subdom- inant, 166. Ex. 224, Cadence, 166. Ex. 225, Outline, 167. depression, SCHERZO. Ex. 226. Subject, 167. Ex. 228, Contrapuntal Fughetta, 168. Ex. 229, Continuation of ject, 169. Ex. 230, Evolution of Fughetta- subject, 169. basis of sub- Ex 231, Composite episodial mo- tive, 169. Ex. 232, Affinity with coming movement, 170. Ex. 233, Trio subject, 170. Ex. 234. Contrapuntal bridge- passage, 170. Ex. 235, Trio, intermediate mo– tive, 171. Ex. 236, Outline, 171. POCO ADAGIo. Ex. 238, Theme, 172. Ex. 239, General motive, 172. Ex. 240, First variation, 173. Ex. 241, Second variation, 173. Ex. 242, Third variation, 174. Ex. 243, Fourth variation, 174. Ex. 244, Fifth variation, 175. Ex. 245, Outline, 175. PoCO ALLEGRO. Fº 246, Introductory motive, 176. IEx. 247, First subject, 177. Ex. 248, Second subject, 177. Ex. 249, Durchführung a n d Coda-motive, 177. Ex. 251, Outline, 178. OP. 38. 'CELLO SONATA. ALLEGRO NON TROPPO. Ex. 252, First subject, 179. Ex. 253, Second subject, 179. Ex. 254, Third subject, 179. Ex. 257, Outline, 181. ALLEGRO QUASI MENUETTO. Ex. 258, First section (subject), 181. Ex. 259, Trio (subject), 181. Ex. 262, Outline, 182. ALLEGIRO. Ex. 263, First subject, 183. Ex. 264, Second subject, 183. Ex. 265, Third subject, 183. Ex. 267, Outline, 184. Op. 40. HORN TRIO. ANDANTE. Ex. 268, Beethoven, Op. 54, 186. Iºx. 269, Form-diagram, 187. Ex. 270, Form-diagram, 187. 3OO HANDBOOK TO BRAHMS (ORCHESTRAL). Ex. 272, First subject, 188. Ex. 273, Second subject, 188. Ex. 274, Third subject, 189. Ex. 275, First intermediate mo- tive, 189. Ex. 276, Second motive, 189. Ex. 277, Outline, 191. intermediate SCHERzo. Ex. 278, First subject, 191. Ex. 279, First intermediate mo- tive, 192. Ex. 280, Second subject, 192. Ex. 281, Second intermediate motive, 193. Ex. 282, Diagram of first sec- tion, 193. Ex. 284, Trio subject, 194. Ex. 285, Outline, 195. ADAGIO MESTO. Ex. 287, First subject, 197. Ex. 288, Second subject, 197. Ex. 289, Outline, 198. FINALE. Ex. 291, First subject, 200. Ex. 292, First intermediate mo- tive, 200. Ex. 293, Second subject, 200. Tºx. 294, Second intermediate motive, 201. Ex. 295, Third subject, 201. Ex. 296, Durchführung, 202. Ex. 297, Outline, 203. Op. 51. STRING QUARTET (No. 1.) ALLEGRO. Ex. 299, First subject, 206. Ex. 300, First intermediate mo- tive, 207. Ex. 301, Second subject, 208. Ex. 302, Second intermediate motive, 208. Ex. 303, Third subject, 208. Ex. 304, Conclusion of first sec- tion, 209. Ex. 305, Outline, 210. ROMANZE. Ex. 307, First subject, 211. Ex. 308, Second subject, 212. Ex. 309, Return to first subject, 213. Ex. 310, Outline, 213. ALLEGRETTo. Ex. 312, First subject, 215. Ex. 313, Second subject, 216. Ex. 314, Paraphrase, 216. Ex. 315, Subject of second sec- tion, 216. Ex. 316, Outline, 217. ALLEGRO. Ex. 317, First subject, 217. Bºls Rotation of subjects, Ex. 320, Second subject, 219. Ex. 321, Third subject, 220. Ex. 322, Fourth subject, 220. Ex. 323, Fifth subject, 220. Ex. 324, Sixth subject, 220. Ex. 325, Outline, 221. Op. 51. STRING QUARTET (No. 2.) ALLEGRO NON TROPPo. Ex. 326, First subject, 223. Ex. 327, Opening tonic state- ment, 223. Ex. 328, Interior extension of the phrase, (a) phrase without extension, 224. Ex. 329, (b) phrase with ex- tension, 224. Ex. 330, First intermediate mo– tive, 225. Ex. 331, Second subject, 225. Ex. 332, Second intermediate motive, 225. Ex. 334, Cross-rhythms on same, 226. Ex. 335, Interior phrase exten- sion with free bar-length, 227. Ex. 336, Third subject, 227. Ex. 338, Outline, 229. ANDANTE MODERATO. Ex. 340, First subject, 230. Ex. 341, First intermediate mo- tive, 231. MUSIC EXAMPLES. 3O1 Ex. 342, Second subject, 231. Ex. 343, Second intermediate motive, 232. Ex. 344, Outline, 232. QUASI MINUETTO. Ex. 346, First subject, 234. Ex. 347, Subject of middle-sec- tion, 234. Ex. 348, Contrapuntal inter- mezzo, 235. IEx. 349, Outline, 236. FINALE. Ex. 350, First subject, 237. Ex. 352, First intermediate mo- tive, 239. Ex. 353, Second subject, 239. Ex. 354, Second intermediate motive, 239. Ex. 355, Third intermediate mo- tive, 240. Ex. 356, Outline, 240. Op. 56A. ORCHESTRAL VARI- ATIONS ON HAYDN THEME. IEx. 357, Theme, 243. Ex. 358, Variation 1, 244. Ex. 359. Variation 2, 245. Ex. 360, Variation 3, 246. Ex. 361, Variation 4, 247. Ex. 362, Variation 5, 248. Ex. 363, Variation 6, 249. Ex. 364, Variation 7, 250. Ex. 365, Variation 8 Dialogue in contrary motion (a) and (b), 250. *::: gº Basso ostinato (Finale), Ex. 368, Basso ostinato, setting 1 and 5, 253. Ex. 369, Basso ostinato, setting 9, 253. Jºx. 370, Basso ostinato, setting 14, 253. Ex. 371, Outline, 254. Op. 60. PIANO QUARTET. ALLEGRO NON TROPPO. Ex. 373, Introductory state- ment, 257. Ex. 374, First subject (compari- . of opening and return), ö. Ex. 375, First intermediate mo– tive, 258. Ex. 376, Second subject, 259. Ex. 377. Second intermediate motive, 260. Ex. 378, Second subject in stretto on dominant pedal, (a) at 3 beats distance, 260. º (b) at 2 beats distance, 1. Ex. 380, (c) at 1 beat distance, Ex. 381, Outline, 262. Ex. 383, First subject, 264. Ex. 384, Second subject, 264. Ex. 385, Contraction of second subject, 264. Ex. 386, Re-statement of first subject, 265. Ex. 387, Gradual expansion of phrase, 265. Ex. 388, Third subject, 266. B.º. T'inal phrase expansion, 6. IEx. 390, Outline, 267. ANDANTE. Ex. 391, First subject, 268. Ex. 393, Second subject, 269. Ex. 394, Recitative-like d i a- logue, 270. IEx. 395, Outline, 270. FINALE (ALLEGRO COMODO). Ex. 397, First subject, 272. Ex. 398, Intermediate motive, 272, Ex. 399, Second subject, 273, Ex. 400, Third subject, 273. Ex. 401, Outline, 274. Op. 67. STRING QUARTET. VIVACE. Ex. 403, First subject, 277. Ex. 404, Combined intermediate motive, 278. Ex. 405, Second subject, 278. Ex. 406, Third subject (a), 279. Ex. 407, Third subject (b), 279. Ex. 408, Durchführung, special subject, 280. Ex. 409, Outline, 281. 3O2 HANDBOOK TO BRAHMS (ORCHESTRAL). ANDANTE. Ex. 411, First subject, 282. Ex. 412, Second subject, 282. Ex. 413, Quasi Cadenza, 282. Ex. 414, Free form of first-sub- ject return, 283. Ex. 415, Outline, 283. AGITATO. . 416, . 417, . 419, . 420, . 421, . 422, . 423, First subject, 284. Free form of same, 284. Second subject, 285. Third subject, 285. Organ-point, 286. Trio–subject, 286. Outline, 287. POCO ALLEGRETTO. Ex. Ex. Ex. fºx. Ex. Ex. Ex. Ex. Ex. Ex. Ex. 424, Theme, 288. 425, Variation 1, 288. 426, Variation 2, 289. 427, 428, 429, 430, 431, 432, 433, 435, Variation 3, Variation 4, Variation 5, Variation 6, Variation 7, Variation 8, Coda, 291. Outline, 292. 289. 289. 290. 290. 291. 291. III. OP. 8. TRIO. Allegro, Ex. 2, Statement of first subject, 18. Allegro, Ex. 3, St a t e m ent of second subject, 19. Allegro, Ex. 4, Statement of Durch- führung, Return and Coda, 19. Scherzo, Ex. 12, First section, 25. Scherzo, Ex. 13, Trio, 26. Scherzo, Ex. 14, Return and Coda, 27. Adagio, Ex. 19, 29. Allegro finale, Ex. 26, 34. OP. 18. SEXTET. Allegro, Ex. 86, First section and Durchführung, 77. Allegro, Ex. 95, Return and Coda, 83 Scherzo, Ex. 101, 90. Scherzo, Ex. 110, Opening tions, 94. Scherzo, Ex. 111, Concluding sec- tions, 95. - Sec- Op. 25. PIANO QUARTET. Allegro, Ex. 113, First section, 98. Allegro, Ex. 114, Durchführung to Coda, 99. Intermezzo, Ex. 124, 105. Andante, Ex. 130, 109. Rondo-finale, Ex. 140, 116. Rondo-finale, Quasi-cadenza tion of same, Ex. 146, 119. SeC- INDEX TO RYTHMICAL TABLES, Op. 26. PIANO QUARTET. Allegro, Ex. 148, 121. Poco Adagio, Ex. 156, 126. Scherzo, First section, Ex. 160, 129. Scherzo, Trio, Ex. 166, 132. Allegro (Finale), Ex. 168, 133. Op. 34. PIANO QUINTET. Allegro, Ex. 179, 140. Andante, Ex. 187, 145. Scherzo, Ex. 192, First section, 148. Scherzo, Ex. 196, Trio, 150. Finale, Introduction, Ex. 201, 154. Finale, First section, Ex. 204, 155. Finale, Second section, Ex. 208, 156. Finale, Presto, Ex. 210, 157. OP. 36. SEXTET. Allegro, Ex. 215, 162. Scherzo, Ex. 227, 168. Poco Adagio, Ex. 237, 172. Poco Allegro (Finale), Ex. 250, 178. OP. 38. 'CELLO SON ATA. Allegro, Ex. 255, First section and Durchführung, 180. Allegro, Ex. 256, Return and Coda, 180. Allegretto quasi menuetto, Ex. 260, First section, 182. Allegretto quasi menuetto, Ex. 261, Trio, 182. Allegro finale, Ex. 266, 184. 3O4 HANDBOOK TO BRAHMS (ORCHESTRAL). OP. 40. HORN TRIO. Andante moderato, Ex. 339, 230. Quasi minuetto, Ex. 345, 233. A#te (first movement), Ex. 271,- Allegro (Finale), Ex. 351, 238. 1 - Scherzo, Ex. 283, 194. Adagio mesto, Ex. 286, 196. Finale, Ex. 290, 199. OP. 51, No. 1, STRING QUARTET. Allegro, Ex. 298, 206. Romanze, Ex. 306, 211. Allegretto, Ex. 311, 214. Allegro (finale), Ex. 319, 219. OP. 51, No. 2, STRING QUARTET. Allegro, Ex. 333 (first section and Durchführung), 226. A#9. Ex. 337, Return and Coda, 8. OP. 56A. HAYDN, ORCHESTRAL VARIATIONS. Final Variation, Ex. 367, 252. OP. 60. PIANO QUARTET. Allegro, Ex. 372, 256. Scherzo, Ex. 382, 263. Andante, Ex. 392, 268. Allegro (finale), Ex. 396, 271. OP. 67. STRING QUARTET. Vivace, Ex. 402, 276. Andante, Ex. 410, 281. Agitato, Ex. 418, 285. Poco Allegretto, Ex. 434, 292. PRINTED BY THE NEw TEMPLE PRESS, NoRBURY CRESCENT, LONDON, S.W.16, GREAT BRITAIN, Selections from Catalogue of MUSICAL WORKS published by WILLIAM REEVES BOOKSELLER LTD., 83 Charing Cross Road, London, W.C.2. (All prices quoted are met and postage extra). MEND ELSSOHN’S “SONGS WITHOUT WORDS.” How to Interpret Them. Gives the Piano Student Helpful Insight into the First Principles of Form in Music. A readable and useful Guide for all. Crown 8vo, cloth, 4s. ; paper covers, 2s. 6d. THE BOWED-HARP. A Study in the History of Early Musical Instruments, by OTTO ANDERsson, Ph.D. (Pre- sident of the Swedish University at Abo). From the original Swedish Edition, revised by the Author. The Translation edited with additional footnotes by RATH- LEEN SCHLDSINGER. 116 illustrations. Thick 8vo, cloth, 21s. [1930] STUDIES IN THE MUSIC or TTIE MIDDLE A GEs. HISTORICAL FACTS FOR THE ARABIAN MUSICAL IN- FLUENCE. By H. G. FARMER, M.A., Ph.D. Thick crown 8vo, cloth, 12s. 6d. PRINCIPLES AND METHOD OF SING ING-CLASS TEACH- ING. With a Course of Outline Lessons as Examples for the Use of Teachers. 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