STRING QUINTET NO. 1 in F MAJOR,
OP. 88
Recording: Amadeus Quartet (Norbert Brainin, 1st
Violin;
Siegmund
Nissel, 2nd violin; Peter Schidlof, viola; Martin
Lovett,
cello) with
Cecil Aronowitz, 2nd Viola [DG 419 875-2]
Published 1883.
The string quintet
was
the last mainstream chamber music genre to which Brahms
contributed. An earlier abortive attempt to write a
quintet with
two cellos (the “Schubert” quintet ensemble) eventually led to
the
Piano Quintet, Op. 34. When
again embarking on a string quintet
in the spring of 1882, he opted for the more common “Mozart”
ensemble
of two violins, two violas, and cello. After straining
his medium
in the three string quartets,
the quintet allowed him more freedom
along the lines of the earlier sextets that preceded them. The
F-major quintet is a special work in many ways. It is
the only
chamber work outside of the sonatas for solo instrument and
piano that
is in three movements instead of four. The extremely
complex
structure of the second movement, which combines the functions
of slow
movement and scherzo, reaches back to the composer’s early
years.
The movement uses as its source material two of a series of
neo-baroque
keyboard dances that he wrote in the 1850s but never
published,
specifically a sarabande and a gavotte, both in A major. They
are
completely translated into the string idiom. A similar
structure
on a smaller scale would later be used in the A-major Violin
Sonata
(Op. 100), a work that, like this
one, has a brief finale. The
first movement is gloriously melodious and pastoral while
presenting a
tightly argued form. The combination of fugue and sonata
form
used in the finale seems directly inspired by the finale of
Beethoven’s
third “Rasumovsky” Quartet (Op. 59, No. 3). Another
prominent
feature of this satisfying but rarely performed work is the
ubiquitous
use of an unusual secondary key, A major, in all three
movements.
The second themes of the outer movements are both in this key
(not the
expected “dominant,” but the “mediant” to F major), as well as
the
contrasting sections of the second movement. That
movement even
ends in A major instead of its nominal “home” key of C-sharp
(which
vacillates between major and minor throughout the slower
sections). The finale is often criticized as being too
brief to
balance the other two movements, but Brahms tended steadily
toward
short finales in his later chamber music.
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1st
Movement: Allegro non troppo ma con brio (Sonata-Allegro
form). F
MAJOR, 4/4 time.
EXPOSITION
0:00 [m. 1]--Theme
1. All
instruments except second violin begin with an extremely
pastoral tune,
richly harmonized between first violin and first viola.
The open
fifths in the cello and second viola add to the pastoral
flavor.
At the second phrase, the second violin enters, presenting the
tune an
octave higher. The end of this phrase takes a harmonic
detour
toward D major.
0:17 [m. 9]--A
contrasting
phrase begins in D major, again without second violin.
That
instrument enters after two bars, again an octave above the
first
violin. The music then begins to build, with scale
fragments and
off-beat accents. The syncopation in all instruments
becomes
quite heavy as the key moves back to F major. The main
tune then
emerges at full volume with lush harmony. It is brought
to a
satisfying cadence.
0:44 [m. 22]--Transition.
It
begins with an echo of the cadence an octave lower. Then
the
violins begin to play in detached dotted rhythm
(long-short). The
cadence is echoed again, and then the violins, now joined by
the second
viola, begin an extended passage of dotted rhythm. First
viola
and cello provide solid accompaniment in straight notes.
The
instruments arrive at a half-cadence in A major (the key of
Theme 2).
0:56 [m. 28]--The
second
violin, accompanied by first viola, plays a jaunty phrase in
the dotted
rhythm. The rest of the strings join in a powerful
response. The “jaunty phrase” is repeated again a third
higher,
on C. The powerful response is extended, breaking into a
downward
scale from the violins in dotted rhythm.
1:07 [m. 34]--A
somewhat more
static melody begins in A minor, with syncopated accompaniment
from the
violas and cello. The pattern of statement and response
continues, with the second “response” being more
elaborate. This
minor-key melody is spun out somewhat, becomes quieter, and
reaches an
arrival point, but the apparent cadence in A minor is cut off
right
before that arrival.
1:34 [m. 46]--Theme
2. An
animated theme played by the first viola in a rocking triplet
rhythm. The second violin and cello are plucked.
The first
violin and second viola accompany, the former in faster note
values,
the latter with a distinct countermelody. All
instruments except
the second violin play in “straight” rhythm clashing with the
first
viola’s triplet melody (A major).
1:42 [m. 50]--Halfway
through
the tune, the first viola abandons the triplets and the melody
becomes
more halting and breathless. The other instruments, all
bowed,
accompany together on short groups of two repeated
notes. The
volume suddenly rises, and the first viola melody soars toward
its
conclusion. The accompanying figures of the other
instruments are
less short and less together under this.
1:55 [m. 58]--The
first violin
takes over the Theme 2 melody from the first viola, repeating
the
opening section with triplets. The second violin plays
the
countermelody formerly played by the second viola. The
lower
three instruments are all plucked, the violas playing
arpeggios and the
cello providing a steady bass.
2:02 [m. 62]--The
first violin
continues with the “halting, breathless” portion of Theme 2,
but it has
reached higher than the viola statement did. The lower
three
instruments play the short repeated notes, but the second
violin joins
the first in harmony on the “breathless” music after two
bars.
The following smooth, high-reaching lines are extended and
become very
quiet, including some echoes of the note B-flat from the
“home” key of
F. These lines settle down to the final cadence
gestures.
2:20 [m. 73]--The
first violin
leads the final cadence gestures (there is no real “closing
theme”), in
pure A major. The first gesture is echoed by the violas
in
harmony, the cello providing a solid bass. The first
violin then
reiterates its cadence an octave lower to close the
exposition.
The violas then seem to bring their response up an octave from
where it
was, but the harmony shifts and leads back to F major for the
repeat of
the exposition. The first violin melody in the
transitional bar
[m. 77] confirms this motion.
EXPOSITION REPEATED
2:35 [m. 1]---Theme 1,
as at
the beginning.
2:51 [m. 9]--Contrasting
phrase,
syncopation, return of main melody, and cadence, as at 0:17.
3:18 [m. 22]--Transition.
Echo,
dotted rhythm, and half-cadence in A major, as at 0:44.
3:30 [m. 28]--Jaunty
phrase
with powerful responses, as at 0:56.
3:41 [m. 34]--Melody
and
arrival point in A minor, as at 1:07.
4:07 [m. 46]--Theme
2.
Viola in triplets, as at 1:34.
4:15 [m. 50]--”Halting,
breathless”
melody and soaring response, as at 1:42.
4:28 [m. 58]--Theme 2
from
first violin in triplets, as at 1:55.
4:35 [m. 62]--”Halting,
breathless”
melody, high-reaching lines, and arrival at cadence
gestures, as at 2:02.
4:53 [m. 73]--Cadence
gestures,
as at 2:20. The transitional bars are altered in a
second ending
leading to the development. In m. 76, the first violin
plays the
modulating response formerly taken by the viola, but the other
instruments are the same. The measure with the violin
melody
leading back to the exposition (m. 77) is replaced by the
first measure
of the development (which is also counted as m. 77).
DEVELOPMENT
5:02 [m. 77]--The
development
begins with very quiet, almost mysterious echoes of Theme 1
fragments. These move to C-sharp minor (a prominent key
in the
second movement). The violas play the fragments in
octaves, and
the other instruments play slow, syncopated chords.
These become
more detached, and the second viola passes its line to the
cello before
the next section based on the minor-key transition melody.
5:15 [m. 83]--The
first violin
begins a statement of the minor-key melody from 1:07 [m. 34]
in C-sharp
minor. The other instruments vacillate between a new
counterpoint
in fast triplets and straight harmony with the melody.
The first
violin itself takes up the triplets as the second violin and
viola take
over the melody. The triplets even creep into the cello
part. They make a powerful motion toward G-sharp minor,
but this
is arrested by an unexpected “deceptive” shift to E major.
5:26 [m. 89]--The
instruments
suddenly become very quiet, and the preceding powerful
triplets are
given a brief, but serene moment in E major, led by first
viola and
first violin. This does not last, as E major quickly
shifts to E
minor, the volume dramatically increases, and the transition
melody is
further developed in E minor along with the triplets.
5:37 [m. 95]--A
cadence in E
minor is immediately followed by a shift to B minor and
further
development of the transition melody and triplets. The
instruments suddenly come together.
5:46 [m. 100]--In a
similar
shift to that at 5:26 [m. 89], the harmony moves to G major
and the
instruments have another similar “serene” moment led by the
first viola
and first violin. This is unexpectedly extended in a
change of
key to C major. This is the “dominant” of the home key
of F, and
raises expectations that the home key, and the recapitulation,
are at
hand.
5:59 [m. 106]--The
home key of
F does in fact arrive, and the volume dramatically
swells. The
violas continue with the fast triplets, but the violins break
into
leaping syncopations, expanding into double-stops (harmony
with two
strings on one instrument). This music continues to
build,
anticipating a huge arrival on Theme 1. This would,
however,
result in an unusually brief development section.
6:09 [m. 111]--
Although the
opening melody of Theme 1 does arrive in the home key, there
is a huge
diminishing right before this, something that would not be
expected at
a recapitulation. Indeed, the development has not
ended.
The Theme 1 material, with the second violin on top, has an
immediate
response from the first violin and first viola. This
response is
on the “jaunty” melody from 0:56 [m. 28] in the
transition. A
second statement of Theme 1 material is followed by another
response of
the “jaunty” melody that is much more biting and
chromatic. The
volume level is very soft in a transitional bar.
6:23 [m. 118]--A
third,
minor-tinged statement of the Theme 1 material is given yet
another
response from the “jaunty” melody in the “chromatic”
version.
This is now further developed and extended, passed from first
violin to
first viola to second violin, then back to first viola, and
finally
back to first violin. These exchanges are all over a
very soft
harmonic background. The harmony is very unstable,
moving through
keys on the “flat” side, D-flat, E-flat, and A-flat.
6:34 [m. 124]--The
second
violin joins the first violin in harmony on the continuing
development
of the “jaunty” melody. The harmony is later joined by
the first
viola. There is an extended, gradual, and dramatic
crescendo. The music moves from A-flat to the “dominant”
chord of
the home key of F major. This time, there is no doubt
that the
recapitulation is coming, as the approach is extremely
powerful.
6:43 [m. 129]--Re-transition.
The
cello leads a dramatic preparation of Theme 1 beginning on the
“dominant” chord and including minor-key and chromatic
tinges.
The other instruments respond to the cello. The tension
is built
to the breaking point as the instruments come together in
unison, still
with notes from the minor key. Then there are two
chromatic
chords that ratchet up the expectation even more, so that the
arrival
at the recapitulation is a truly glorious moment.
RECAPITULATION
7:00 [m. 137]--Theme
1.
It is given in a much more full and brilliant presentation
than before,
with sonorous triplet fifths in the cello and second viola and
full
doubling in sixths of the melody from both violins, the first
viola
providing additional harmonies in triplets. The second
violin
part becomes more independent after two bars, but the rich
scoring
continues throughout.
7:15 [m. 145]--The
full, rich
scoring with low fifths in triplets continues through the
contrasting
phrase beginning in D major.
7:26 [m. 150]--Transition.
The
heavy syncopation from the end of Theme 1 and the dotted
rhythms
from the beginning of the transition are combined and
abbreviated. The restatement of the main melody and full
cadence
are skipped. The passage is short, but intense, and ends
up where
it began, in F major. The dotted rhythms are heard
mainly from
second violin and first viola.
7:39 [m. 157]--The
“jaunty”
melody from the transition at 0:56 [m. 28], which had such a
large role
in the development section, now begins as it had in the
exposition, but
in F major instead of A. This portion, however, is also
abbreviated. The “powerful response” is extended by a
bar, but
then the second statement of the “jaunty” melody is completely
skipped,
and the music emerges into the “downward scale” in dotted
rhythm from
the violins, now with new syncopations in the first viola.
7:47 [m. 161]--The
“static”
melody from 1:07 [m. 34] begins, and is surprisingly in the
“wrong”
key. Since Brahms had avoided the cadence of Theme 1 in
F major
in order to have part of the transition appear there, and
since the
home key normally dominates in the recapitulation, the setting
of this
melody in the “relative” minor key (D minor) instead of the
“home”
minor key (F minor) is unexpected. The passage itself is
unabbreviated from the exposition, and the only changes are in
scoring. At the opening, the second violin and first
viola
reverse their parts from before, for example, as do the second
viola
and cello. At the end, an expected cadence in D minor is
cut off,
as was the A-minor one in the exposition.
8:13 [m. 173]--Theme
2.
It is scored exactly as in the exposition, but it is now in D
major. This seems unusual, as the second theme is
normally in the
“home” key in the recapitulation, but the typical relationship
between
keys of the second theme in the exposition and recapitulation
is
actually preserved. Since the second theme in the
exposition was
not in the expected “dominant” key, its appearance in D major
here
follows the same pattern that an F-major appearance would have
had if
the exposition second theme had been in the expected C-major
key
instead of A major.
8:20 [m. 177]--At the
very last
minute, the previous music makes a shift to the “correct” key
of F
major. The “halting, breathless” portion of the theme
from 1:42
[m. 50] follows in that key. The only substantive
difference
(other than key) between here and the exposition presentation
is that
the second violin does not play with the others on the first
three bars
of the “short repeated note” groups and the second viola adds
some
double stops there. The volume rises and the viola
melody soars,
as before.
8:32 [m. 185]--First
violin
statement of the Theme 2 melody, as at 1:55 [m. 58], now in F
major. From here, that key will remain in force until
the end of
the movement. It is scored as it was in the exposition.
8:39 [m. 189]--The
first violin
moves to the “halting, breathless” portion, as at 2:02 [m.
62].
Smooth, high-reaching lines become quiet, with some chromatic
notes
(G-flat replacing the former B-flat), and settle toward the
cadence
gestures, as in the exposition. The scoring is mostly
the same,
with some minor alterations to account for instrument range in
the home
key.
8:57 [m. 200]--Cadence
gestures. They are more similar to the second ending at
4:53 [m.
73] than the first at 2:20. The first gesture is echoed
by the
violas in harmony. The second gesture is begun by the
second
violin instead of the first violin, and it is not an octave
lower. The transitional response to this second gesture
is played
by the first violin instead of the first viola, as at the
second
ending, without key change.
CODA
9:06 [m. 204]--The
coda begins
with the first violin holding a high C. The second viola
also
holds a long note. The second violin and first viola
extend the
cadence gestures under this, gradually descending, with some
chromatic
notes. The first violin and second viola move down as
well, with
slower notes, some held over bar lines. The cello
provides a
steady bass, slowly moving with the harmony of the upper
instruments. The volume level begins at a quiet level
and becomes
even more quiet.
9:17 [m. 209]--Brahms
indicates
a slower tempo with “Più moderato.” The two violins lead
a
transformed version of the minor-key melody originally heard
at 1:07
[m. 34], now serenely and beautifully in major. The
lower
instruments provide static harmonies, then gradually start to
become
more active. There is a strong buildup to a louder level
for a
repetition of the “transformed” melody, now an octave higher
and with
more active lower instruments. There are some chromatic
notes and
minor-key vestiges, but they are only shadows of the formerly
melancholy melody.
9:37 [m. 217]--Echoes
of the
“transfigured” melody continue as the music quiets down again
gradually
and steadily becomes even slower. The first violin then
reaches
very high and “stretches” out the music. The other
instruments
remain in the ranges where they have been. They all
reach a point
of quiet suspension.
9:52 [m. 222]--As the
previous
passage reaches an extremely quiet low keynote in the cello,
the main Allegro
tempo suddenly returns, as
does a strong volume, as if to “wake up” the players. A
flourish
of a broken F-major chord in triplets is followed by three
closing
chords, the last one sustained.
10:07--END OF MOVEMENT [224
mm.]
2nd
Movement: Grave ed appassionato - Allegretto vivace - Tempo
I - Presto
- Tempo I (ABA’B’A” form, alternating slow and fast
sections).
C-SHARP MAJOR/MINOR--A MAJOR, 3/4, 6/8, and Cut [2/2] time.
A Section--Grave ed
appassionato, C-sharp major/minor, 3/4 time.
0:00 [m. 1]--The
material of
the A sections is
derived
from the early A-major piano sarabande,
transposed to C-sharp.
The beautiful, melancholy theme, which includes some
passionate
triplets, is presented as a duet between first violin
and cello,
mostly in thirds, with the cello playing the melody above the
violin
harmony. The other instruments provide more static
harmony.
The first phrase is in a clear C-sharp major.
0:16 [m. 5]--The duet
is passed
to the two violas, playing in sixths, the cello moving to its
normal
bass role. Their presentation is in C-sharp minor
instead of
major, and most of the following music will remain in
minor.
After two bars, the first violin takes over from the violas,
who
continue in a flowing counterpoint. This phrase builds
with a
motion toward the “dominant” harmony, G-sharp.
0:30 [m. 9]--The upper
instruments expand the passionate triplet rhythm. The
cello
enters with a low trill and a fast upward arpeggio. This
happens
twice in an ascending sequence, passing over A major (a very
important
key in this movement) before moving back to C-sharp.
0:43 [m. 13]--In a
transitional
passage, the upper instruments become more hesitant and
halting,
playing after the beat. The second violin drops out
here.
The cello has the main line, a steadily descending bridge that
touches
on F-sharp minor. It passes this line to the second
violin, who
enters after two bars, as it moves to a smooth bass
harmony. The
music becomes steadily quieter. The other three
instruments
continue their after-beat notes before a triplet leads to the
next
theme statement.
0:58 [m. 17]--The
theme is
again stated in C-sharp minor, with the duet between the first
violin
and first viola, the first violin playing the melody and the
viola
playing a third below. It is now much quieter than
before.
The second violin has a counterpoint line including triplets
and the
second viola plays steady and detached triplet arpeggios, the
cello
providing a slow-moving bass. The melody builds,
expanding itself
higher than before, the first viola lagging a bit behind the
first
violin. The phrase is extended by a bar.
1:17 [m. 22]--The last
statement of the theme (still in minor), is given by second
violin and
first viola, the first viola moving above for the melody and
the second
violin taking the viola’s previous lower third line. The
first
violin plays a prominent counterpoint. The second viola
and cello
continue their previous roles. The theme expands higher
again,
the first violin counterpoint taking a leading role before all
instruments except the first viola break into triplets.
The
statement builds and recedes.
1:32 [m. 26]--The
music arrives
at a series of slow cadence gestures in short-long rhythm, the
second
viola retaining two vestiges of the triplet rhythm. They
include
dissonances such as an “augmented” chord. These cadence
gestures
gradually recede. After four bars of cadence gestures,
the lower
three instruments arrive on an octave C-sharp, the second
violin
providing a weak harmony a fifth above. This is followed
by two
bare, detached C-sharp octaves from first viola and cello,
closing the
section in a stark manner.
B Section--Allegretto
vivace,
A major, 6/8 time.
1:57 [m. 32]--The
first part of
the new section pivots abruptly, but gently to A major and a
rocking
6/8 meter. The opening dotted (long-short) rhythm,
often, but not
always followed by a longer syncopated note held across a
strong beat,
is the main characteristic of the section. The style is
that of a
leisurely baroque gigue. The leading violin lines are
decorated
by short trills in the first three bars. The second
viola and
cello are plucked at the beginning, and the first viola only
enters
after two bars. The dynamic is very quiet.
2:06 [m. 37]--The
second phrase
begins after five bars. It emphasizes the syncopations
more
heavily, stressing them and holding them over bar lines.
It also
makes a wistful turn to the minor key and back. Like the
first
phrase, it is an irregular five bars. The second violin
takes the
dotted rhythm to lead into a repeat of the first two phrases.
2:16 [m. 32]--Repetition
of the
first phrase.
2:25 [m. 37]--Repetition
of the
second phrase, with varied last bar to lead into the following
developmental passage.
2:35 [m. 42]--The
heavy
syncopation of the second phrase is developed with somewhat
more
intensity. A three-bar sequence is varied beginning a
step
lower. The two statements move toward the related keys
of D major
and B minor.
2:47 [m. 48]--The
arrival point
of the last phrases is interrupted by the sudden entry of the
cello in
the dotted rhythm with the decorative short trill. The
cello
moves up a half-step on the syncopated note following the
rhythm.
The first violin responds with a descending line using both
syncopation
and the dotted rhythm. The other instruments support the
violin
responses. There are four of these exchanges. The
cello
only uses the trill on the first two. Between the first
three
exchanges, there are octave or near-octave leaps in both the
cello and
the violin. The music becomes steadily quieter and more
gentle.
2:55 [m. 52]--An echo
of the
syncopation in the violins leads seamlessly into a full
restatement of
the first phrase, now shifted up to D major. The second
violin
now stays together with the first violin on the dotted rhythm
throughout the phrase, and the first viola line is different,
adding a
syncopated note to the first two bars.
3:06 [m. 58]--The
second phrase
is also given at the new pitch level. It is expanded at
the fifth
bar, with the dotted rhythm being passed twice from the second
to the
first violin and back. The second violin statements
begin with A,
and the first violin statements with E. The second viola
is
plucked during this extension.
3:22 [m. 66]--The
syncopation
again becomes very heavy and held over bar lines, with
emphasis on the
descending version. The figures are passed between the
two
violins, with each stating four of them and gradually moving
down, the
two instruments separated by an octave. The lower three
instruments provide vital, but unobtrusive support.
Again, the
second viola is plucked.
3:30 [m. 70]--The
opening
gestures return as the key turns back to A major. The
first viola
and cello alternate with the two violins The first viola
has the
short trill on its first and third gestures. The figures
step,
skip, and leap, both up and down, but stick to the opening
dotted
rhythm with syncopation. The second viola drops out
briefly
during these four bars.
3:37 [m. 74]--As A
major
completely arrives, the dotted rhythm with syncopation
continues to be
passed between instruments, but now the second viola enters
and plays
with the first viola and second violin. These now
alternate with
the first violin and cello. These “outer instruments”
cut off
without holding notes over bar lines. After two
exchanges, the
second viola and cello drop out of the last two, moving to
plucked
notes on strong beats. The first violin line leads to
the short
final chord of the section and a general pause. The
entire last
passage moves again away from A and suggests D major again.
A’ Section--Tempo I,
C-sharp
major/minor, 3/4 time
3:48 [m. 80]--The
sarabande
material and the key of C-sharp return in a striking harmonic
shift
from the previous music. The initial phrase is played in
C-sharp
major, as it was in the first A
section, but this time the first violin has the melody instead
of the
cello, and the harmony in thirds is provided by the second
violin. The harmony is given more fullness by the
addition of
another parallel line in the first viola that moves in the
same rhythm,
but not the same direction as the violins. The second
viola and
cello provide bass support that includes repeated-note
triplets.
The statement is gentle and quiet.
4:04 [m. 84]--The
second violin
holds a note over and very quietly echoes the closing gesture
of the
phrase, accompanied by the two violas and turning toward the
minor
key. The first violin, initially playing alone, repeats
and
abbreviates the echo with light, but sharp accompaniment
entering from
other instruments. Then the cello introduces an
inversion of the
figure, turning it upside down. The first viola follows
with the
original version. This begins a rapid and powerful
dynamic
buildup culminating with the entry of the first violin on the
inverted
version accompanied by all other instruments in syncopation
4:25 [m. 90]--A new,
highly
dramatic and active developmental passage begins, with the
violins
playing triplet octaves with syncopated notes, the cello and
the two
violas continuing to develop the main material in straight
rhythm. The volume suddenly quiets again in preparation
for a
slower, steady buildup. The original main melody begins
to emerge
in the first viola. The violins remain on octaves of the
note
G-sharp.
4:37 [m. 94]--As the
triplets
continue, the violas and cello take over. Mixing triplet
rhythm
and straight rhythm, the first viola plays a version of the
second
phrase from the first A
section (0:16 [m. 5), which has been delayed by the new
insertions. After one bar, the violins abandon their
syncopated
G-sharp octaves and begin to provide breathless responses
after the
beat, resting on the first notes of triplet groups to preserve
the
syncopated feel. In this rhythm, the first violin makes
the
connection to 0:16 [m. 5] clear by embedding its original
notes from
that passage. This becomes even more explicit at the
point where
triplets entered the original first violin line. The
agitated
buildup continues.
4:40 [m. 98]--At a
dramatic
arrival point, the music emerges into a virtually exact
repetition of
the expansion with cello trills and arpeggios from 0:30 [m.
9].
5:02 [m. 102]--The
virtual
repetition continues with the music from 0:43 [m. 13], the
diminishing
transitional passage. The parts of the two violins are
exchanged,
which has minimal aural effect. The first viola also
exchanges
some notes with the violin parts. The second viola and
cello
lines are identical.
5:17 [m. 106]--The
passage from
0:58 [m. 17] is skipped, and the instruments continue with
the
last statement from 1:17 [m. 22]. This is again
virtually
identical, with some minor differences in the first bar.
The
second viola begins its “steady triplets” here.
5:31 [m. 110]--The
cadence
gestures from 1:32 [m. 26] are highly varied, yet still
recognizable. The instruments play in a gentle
syncopation,
compressing the material of two bars into one and preserving
the
structure through repetition and variation, with some new
chords and
major-key hints. The closing octave C-sharps are
decorated by
falls from a third above. The harmony a fifth above is
also
preserved. These are expanded from two bars to three
bars, the
third bar finally settling on C-sharp alone. All are
stated by
the lower three instruments except for a brief persistence by
the first
violin in the first of the three bars.
B’ Section--Presto, A
major,
Cut [2/2] time
Although this section follows the structure and harmony of the
earlier
gigue-like B section
closely
and seems to be a “variation” in a new meter and tempo, it is
also an
almost direct transcription of the early A-major
piano gavotte.
This means that B is
in fact
a “variation” of B’,
and not
the other way around.
6:01 [m. 117]--The
first violin
plays the vigorous gavotte theme, with sharp punctuations from
the
other instruments. The second violin and first viola
pluck their
accompaniments. All are played in a hushed, almost
secretive
manner. The five-bar phrase corresponds closely with
1:57 [m. 32].
6:06 [m. 122]--The
second
five-bar phrase brings back the syncopations from the first B section in the new
tempo and
meter, also turning to the minor key and back. The
second violin
and first viola are now bowed, the former joining the first
violin on
the syncopation. The other instruments play on strong
beats. The phrase corresponds to 2:06 [m. 37], but
begins at a
louder level and quiets quickly toward the end. The
first violin
leads to the repetition of the first two phrases.
6:12 [m. 117]--Repetition
of
the first phrase.
6:18 [m. 122]--Repetition
of
the second phrase, with the last bar replacing the first
violin lead-in
to the repeat with the beginning of the following syncopations
6:24 [m. 127]--As at
2:35 [m.
42], the heavy syncopation of the second phrase is developed,
but now
with much more vigor and stark contrast between loud and
soft.
Partly to accommodate the new meter and tempo, the passage is
lengthened from six to eight bars. A four-bar sequence
(instead
of three) is varied beginning a step lower. The
two
statements still move toward D major and B minor.
6:34 [m. 135]--The
cello/violin
exchanges of 2:47 [m. 48] are replaced in the analogous
passage with
skittish leaping figures passed between the instruments and
harmonized,
beginning with the two violas, who continue with harmony when
the
violins enter. When the cello comes in with the violins,
it
provides a slower-leaping solid bass support. This
bridge passage
is doubled in length from the B
section, expanded from four to eight bars. Also, that
passage
became quieter, while this one begins quietly and lightly, but
builds
steadily and powerfully as the main gavotte theme
emerges. As in B,
the motion is to D major here.
6:44 [m. 143]--At full
volume,
two preliminary gestures precede the full gavotte theme in D
major. A new counterpoint is added in the second violin
at first,
then it joins the churning chords of the violas The
cello plays
first a hollow drone, then joins the churning in the last two
bars. The “preliminary” gestures are analogous to the
“echo of
the syncopation” at 2:55 [m. 52], and the statement in D major
is
analogous to the succeeding music.
6:51 [m. 150]--The
second
phrase with the syncopations is given at the new pitch level,
analogous
to 3:06 [m. 58]. It begins at full volume and
speed.
Suddenly, a new internal and mysteriously quiet phrase is
given in A
minor. Then a second loud statement of the syncopations
occurs
(also with the quiet internal response, which now suggests F
major). This replaces the extension in the B section. Then
follows, in a
departure from the B
section,
the turn to (D) minor from the original phrase. It
diminishes
more and moves toward A major, suddenly pausing after four
detached
chords. The section ends here, considerably abbreviating
the
original B.
A” Section--Tempo I,
A
major--C-sharp minor/major, 3/4 time
7:12 [m. 164]--The
initial
phrase of the sarabande melody is now played for the first
time in A
major instead of C-sharp major. The harmony in thirds is
between
the two violins, as in A’,
but the accompaniment from the lower instruments is less
active,
similar to the first A.
There
is slightly more motion in the lower instruments at the end of
the phrase than there was in A.
7:28 [m. 168]--The
second
phrase is played in A minor by the first viola, as it was in
C-sharp
minor in the initial A
section. This time, it is a solo line, without the
harmonization
in sixths from the second viola. The first violin takes
over
after two bars, as it had in A.
There is the same build toward “dominant” harmony, which in
this case
is E.
7:42 [m. 172]--The
expansion
with triplets and cello trills is very similar to 0:30 [m. 9]
and 4:40
[m. 98], but it is not exactly analogous. The large leap
and
descent after the first bar of triplets is much wider and
descends
initially by skips instead of steps. This happens again
in the
second sequence, and more notes are added to the ascending
cello
arpeggio. The alterations help facilitate a motion away
from A
major, not yet to the supposed “home” key of the movement,
C-sharp, but
to its “dominant,” G-sharp.
7:56 [m. 176]--The
passage is
analogous to the transitional passage at 0:43 [m. 13] and 5:02
[m.
102]. The cello has the initial descending line, as in
both
places, but this time the continuation is from the first viola
rather
than either of the violins. The after-beat notes are
heard as
before, but the first violin rests under the first viola’s
continuation, resulting in a thinner texture. The music
is moving
toward C-sharp minor.
8:11 [m. 180]--A new
extension
to the transitional passage places the main line high in the
first
violin and inverts it, so that it is moving up instead of
down.
The second violin has a downward motion against it. The
after-beat notes continue, but the music builds and after two
bars, all
instruments except first violin and cello break into a large
descent in
two-note groups, the volume diminishing after the
climax. There
is finally a clear arrival on C-sharp minor.
8:27 [m. 184]--Where a
statement of the original sarabande melody would be expected,
Brahms
surprises by turning to the previously unused second half of
the piano
sarabande, with its florid melody (which briefly turns to E
major)
played by the first violin. The cello enters with a bass
line and
the other instruments continue their two-note descents.
The cello
joins the moving harmony under the C-sharp minor
cadence. The
cadence itself is echoed an octave lower by the second violin
(the
first violin dropping out) extending the phrase to five bars.
8:48 [m. 189]--The
first viola
begins a statement of the sarabande melody with its new
decorations. The second violin repeats this an octave
higher
after one bar, the first viola harmonizing directly in
sixths. In
a third sequence, the first violin enters at an even higher
distance,
an octave plus a fifth, and the second violin harmonizes
directly in
sixths. The other instruments continue in block
harmony.
This last statement is expanded, as the violins separate more
widely
and the first violin reaches very high with the florid
decorations. This builds to another climax and
culminates in
triplet descents.
9:09 [m. 194]--In a
transition
to the final cadence gestures, the cello plays its descent
last heard
at 7:56 [m. 176]. The second violin has triplets on a
C-sharp
major chord, and the minor version of that key will not appear
again. The volume rapidly diminishes. The first
violin and
violas hold long notes.
9:17 [m. 196]--The
final
cadence gestures are greatly altered from their previous
appearances. The C-sharp chords are now all major.
The
dissonance from the previous appearances (the “augmented”
chord) is
altered to a pure A-major chord, and these are juxtaposed
directly
against the C-sharp chords, creating an entirely different
sound, but
using the same basic notes between the two chords. The
other
chords from the previous gestures, D major and a G-sharp
dominant
chord, remain the same. Two full four-chord sequences
are played
at a very quiet level.
9:36 [m. 200]--The
chords are
now slowed to a full bar length, and the pulse itself slows
greatly. C-sharp and A-major chords alternate
twice. Then,
in a great surprise, the harmony moves to D minor, where the
first
violin plays an arpeggio. This leads, through a plagal cadence, to an
A-major
chord, punctuated twice by shorter notes in the lower
instruments
before the last chord. Thus, the movement ends in A
major, the
key of the B
sections (and
the first part of the A”
section) instead of in the expected C-sharp. Brahms
would
frequently make his final cadences and arrivals work hard in
such a
manner as this.
10:27--END OF MOVEMENT [208
mm.]
3rd
Movement: Allegro energico - Presto (Combination of Fugue
and
Sonata-Allegro form). F MAJOR, 3/2 and 9/8 time.
EXPOSITION
0:00 [m. 1]--Theme 1
(Fugue
subject and exposition). All instruments play two sharp,
descending hammer-like chords. These will punctuate the
entrances
of the subject. The first viola then presents the
vigorous
three-bar subject, which is characterized by steady, straight
rhythm,
large upward leaps, and downward motion including both scale
descents
and more winding descents. The 3/2 bars create a sense
of breadth.
0:07 [m. 5]--The two
punctuating chords are heard again in an altered form to
change the
harmonic movement. The second violin then plays the
subject in
the “subdominant” key of B-flat while the first viola
continues with a
“countersubject,” an important melody with a very prominent
dotted
(long-short) rhythm and a jagged figure leaping up an octave
from two
short downward-skipping notes.
0:14 [m. 9]--Only the
first
violin, second viola, and cello are left to play the weakened
chords,
albeit in their original harmonic form. The first violin
then
plays the subject in the home key of F while the second violin
continues with the countersubject. The first viola
continues with
new counterpoint consisting of three isolated gestures with
wide upward
and downward leaps.
0:20 [m. 13]--With
only the
second viola and cello remaining to play the chords (in their
“altered”
form), they are both given quadruple and triple stops to do
this.
They then together play the final “bass” entry of the subject
an octave
apart in B-flat. The first violin plays the
countersubject.
The second violin and first viola pass short figures between
them. These are derived from the subject and include
wide leaps.
0:27 [m. 17]--The
“bass”
subject is extended. The second viola and cello continue
their
“subject” patterns in running rhythm while the first violin
joins the
second violin and first viola on short, detached
figures. The
harmonies are very active and the volume steadily
increases. At
the climax, the opening chords emerge in a very powerful
form.
The first chord is of D minor (the “relative” minor) rather
than F
major and the two chords are separated by a longer rest.
The
second chord creates great tension and expectancy.
0:34 [m. 22]--A unison
scale in
three octaves from all instruments leads to an exuberant and
strong
“Theme 1” derived from the fugue subject and the
countersubject,
particularly emphasizing the dotted rhythm. The first
violin
leaps up and the cello leaps down so that they play the
“theme” in
unison four octaves apart (except for a few notes where the
cello
deviates because of range and other factors). The first
violin
soars above the texture. The middle three instruments
play
counterpoint clearly derived from both themes. At the
midpoint of
the “theme,” a strong F-major cadence is followed by a
decisive motion
to A minor.
0:46 [m. 29]--Transition
(A
minor). All instruments except the second viola drop
out, and
that instrument suddenly becomes hushed, playing double stops
in dotted
rhythm. The cello then enters quietly below, and the
other three
instruments hesitantly play light figures derived from the
subject. The viola then plays its double stops
again. These
are also followed by the responses, but at a higher level in
all the
instruments. Finally, the second viola moves up, and all
instruments arrive smoothly on A major for the second theme.
0:56 [m. 35]--Theme
2.
The first violin plays a broad, songful melody that eventually
breaks
into a wide triplet rhythm. Against this, the first
viola plays a
version of the original fugue subject, thus maintaining the
blur
between fugue and sonata form. The cello is plucked
before
dropping out under the triplets, and the other two instruments
play
longer-held notes (A major).
1:03 [m. 39]--The
music has
moved to E major, where the second violin takes the new
version of the
fugue subject. The first violin drops out. The
lower three
instruments (the cello bowed again) hesitantly hint at Theme 2
before
the first viola breaks out into its broad triplets. The
first
violin, entering again, takes over the triplets as the second
violin
continues on an extension of the fugue subject. The
harmony moves
back to A, but it is now minor again.
1:11 [m. 44]--All
instruments
except the second violin play “surging” short-long motion,
with a mild
increase in intensity. The second violin continues its
steady and
faster motion. Suddenly, the harmony veers toward an
unexpected C
major. The second violin finally breaks, and the faster
“subject”
motion is taken over by the first violin, second viola, and
cello. The second violin and first viola play the
“surging”
figures. The faster motion stops, but hints at the
subject
persist. The patterns following the “surges” are
extended,
passing through C-sharp minor. The first violin,
reaching high,
gently leads back to A major.
DEVELOPMENT
1:30 [m. 55]--At the
A-major
cadence, the second violin begins to play the “head” of the
fugue
subject. The first viola, then the second viola follow
with
imitative responses. The first violin and later the
cello,
continue with “surging” figures. The fugue responses are
passed
back up to first viola and second violin. For now, the
music
remains in A major.
1:37 [m. 60]--The
first violin
joins the second violin in harmony (sixths), and then the
violas enter
against them in thirds, the cello providing a slow bass.
The
volume swells from the hushed level to a forte. The violins
cascade
downward, punctuated by chords from the lower
instruments. These
join in the downward motion. The arpeggio is A major,
but that
chord has now taken a “dominant” function leading to the main
key of
the development section, D minor.
1:43 [m. 64]--The
music becomes
quiet again, and the second violin plays the broad triplets
from Theme
2 in D minor. The other instruments accompany with
slower lines
of counterpoint. The cello only enters at the very end
with two
low plucked notes. Motion to A minor.
1:51 [m. 68]--The
first violin
takes over the triplets, which now begin in A minor. The
pattern
of the other instruments is similar to the second violin
statement, but
the cello plays (bowed) from the outset. Motion back to
D minor.
1:57 [m. 72]--The
first viola
begins another statement of the triplet rhythm, but soon the
first
violin also joins the triplet rhythm, and the two instruments
alternate. The intensity gradually increases. The
second
violin also joins the triplets, leaving the harmonic support
to second
viola and cello (which is plucked throughout the
passage). At the
climax, the second viola joins the triplet rhythm, creating a
dense web
of counterpoint. The very active harmony has arrived at
B-flat
minor.
2:11 [m. 81]--An
extended
passage of counterpoint based on the fugue subject begins in
B-flat
minor. The second violin leads, followed at short
distance by the
first violin and bowed cello, who enter together a tenth
apart, then
diverge. The violas, at some distance, enter together a
tenth
apart. The first viola briefly plays in octaves with the
first
violin. The volume and intensity are strong
throughout. The
counterpoint continues at length in B-flat minor before an
arrival
point on F minor.
2:23 [m. 88]--The
arrival on F
heralds the impending recapitulation. The counterpoint
continues
in F minor, now incorporating the dotted rhythm of the
countersubject. The first viola and cello rest briefly
before
their respective entries.
2:28 [m. 91]--Re-transition.
The
instruments are suddenly quiet as the first violin reaches a
high
point. That instrument gradually descends in a winding
motion in
dotted rhythm. The cello holds a low C. The second
violin
and first viola pass smooth lines between each other.
After
resting for two bars, the second viola joins the low cello
note in
harmony. The volume increases at the second viola
entry.
The harmony moves to C major. Suddenly, the instruments
all break
into fast, highly syncopated arpeggios and chords. These
arrive
at the home key of F major (with a prominent D-flat from F
minor) over
a powerful crescendo.
RECAPITULATION
2:41 [m. 98]--Theme
1. At
full volume, the instruments superimpose the fugue subject and
countersubject. The violins and first viola play the
countersubject, the second viola and cello the subject.
After one
bar, the first violin switches to the subject, but all other
instruments have moved to the countersubject. The
“jagged”
leaping figure from the countersubject then takes over, passed
from
bottom to top and back again. It serves to propel the
key once
more to A major.
2:47 [m. 102]--Mass
statement
of the subject and countersubject, this time with the violins
taking
the subject and the lower instruments the
countersubject. The
second viola and cello take over the subject after one bar,
the violins
moving with the first viola to the countersubject. As
before, the
“jagged” figure takes over, this time moving from top to
bottom and
back. This passage is the last appearance of A major,
the key
that has had such importance throughout the quintet.
Motion back
to F major.
2:56 [m. 107]--Suddenly,
the
instruments emerge into the “extension” from 0:27 [m.
17]. The
only major difference is that the second viola and cello begin
their
running motion an octave lower than in the exposition.
The first
viola moves up to the original octave after three bars, the
cello at
the very end. The “climactic” chords are heard at the
end in the
same form, again creating tension and expectancy.
3:03 [m. 112]--The
“exuberant
and strong” theme from 0:34 [m. 22] emerges. After four
bars, it
is varied and extended by a bar, so that the decisive arrival
is in D
minor rather than A minor. At the point of deviation,
the first
violin leaps down so that it is separated from the cello by
three
octaves instead of four.
3:17 [m. 120]--Transition.
It
is similar to 0:46 [m. 29], with some important
differences.
Most importantly, the double stops previously played by second
viola
are now split between the two violas. Because of that,
the first
responses of the second violin (who had entered last) and
first viola
are reversed. The second series of responses are altered
to
create a motion from D minor to F major (where previously it
was simply
a change from minor to major on the same keynote), the violas
rearranging their previous material.
3:27 [m. 126]--Theme
2.
Broad melody in the first violin with triplets, subject in the
first
viola, and plucked cello notes. Essentially a direct
transposition to the home key of F major from 0:56 [m. 35].
3:34 [m. 130]--First
violin
drops out, second violin takes fugue subject beginning in C
major, and
triplets from first viola, then first violin. Directly
analogous
to 1:03 [m. 39]. Motion to F minor.
3:42 [m. 135]--Surging
figures
and continuing “subject” extensions. Essentially, this
is a
direct transposition of 1:11 [m. 44], with the expected
analogous
motions to A-flat major and A minor. The major
difference is that
the cello does not play the fast “subject” material at the
corresponding point, and the second viola compensates by
playing much
material an octave lower. The cello simply plays plucked
C’s in
that spot, then moves to its corresponding line. The
upbeats from
the second violin that led into the development section are
omitted. The transition into the new tempo and meter of
the coda
is very abrupt.
CODA--Presto, 9/8 time
4:01 [m. 146]--The
shift to 9/8
time retains the basic triple meter, but moves to a
subdivision of
beats into three instead of two (in this piece usually four)
parts. The speed is also increased. It begins with
a light,
but somewhat uneasy upward chromatic motion from the first
violin,
supported by the second violin and first viola. The
other two
instruments provide light bass punctuation until the cello
breaks into
an echo of music from Theme 2 in a clashing duple
rhythm. The top
three instruments continue to move steadily, now mostly in
descending
lines.
4:08 [m. 152]--The
first violin
begins another chromatic ascent, then itself emerges into the
Theme 2
echo. It stays in the basic rhythm, however, repeating
notes when
necessary to maintain the constant motion. As the first
violin
reaches ever higher and the lower two instruments join in the
steady,
constant 9/8 motion, the volume increases dramatically from a
very
quiet, secretive level to a large climax at the top.
4:17 [m. 160]--The
climax
arrives with a large series of descending unison scales passed
between
the instruments from high to low. These gradually obtain
harmony
and arch back upward before the violins begin another
descent.
The instruments then emerge into a series of strong
syncopations in
full chord harmony as the lower instruments continue to
descend.
4:24 [m. 166]--There
is a
sudden drop in volume and a more skittish descent begins with
repeated
notes, still in full harmony. The second viola and cello
begin
equally skittish chromatic ascents. The violins begin to
leap
widely, including several octave jumps, but they do not move
in
unison. Another huge crescendo
leads to a sudden arrest of the motion on five strong,
expectant chords.
4:33 [m. 174]--At a
large
arrival point, the theme from 0:34 [m. 22] and 3:03 [m. 112]
is adapted
to the new 9/8 meter and played at a very powerful
level. At
first, the cello doubles the first violin four octaves lower
as
before, but after four bars, it joins the harmony and
light
counterpoint of the other instruments. The constant
motion in
groups of three continues in at least two instruments
throughout the
passage. Descending arpeggios are heard in the inner
instruments,
and then they culminate in a unison descent.
4:44 [m. 182]--The
final
cadence gestures include sharp chords from the outer
instruments
against continuing motion in the other three. When the
first
violin and cello finally join the motion, they quickly lead to
the last
four emphatic F-major chords, the last of which is briefly
held.
4:55--END OF MOVEMENT [185
mm.]
END OF QUINTET
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