6:40 [m. 176]--Arrival on C and tonal ambiguity.

Entry of arpeggios from Theme 1

in harmony, as at 2:36.
6:47 [m. 184]--Leaping chords and heavy emphasis on motion from D-flat to C, as at
2:43.
6:52 [m. 190]--Violently insistent motion from D-flat to C over final C-major
chords,
as at 2:48.
7:03--END OF MOVEMENT [261 (+193) mm.]

4th Movement: Finale – Poco sostenuto; Allegro non troppo; Presto, non troppo
(Varied
Sonata-Rondo [Binary] form, with introduction and extended coda). F MINOR, Cut time
[2/2], 2/4, and 6/8 time.
INTRODUCTION – Poco sostenuto, Cut time [2/2]
0:00 [m. 1]--The left hand of Piano I begins the groping, mysterious introduction.
The opening is a series of rising octaves each leading to two rising half-steps.
The first begins on the home keynote F, leaping up an octave and then sliding up
a half-step. It is followed by other voices, each a fourth or a third away from
the last one. Each voice enters as the last one slides the half-step. The left
hand of Piano I is followed by its right hand, then the left and right hands of
Piano
II. The second half-step comes after the previous note has been sustained (longer
in the first voice, the Piano I left hand) and with the entry of yet another voice.
The right hand of Piano I is the exception. It expands its second half-step into
a melodic turn figure as the left hand begins another sequence an octave higher.

0:17 [m. 6]--The right hand of Piano I again follows the left, again in the higher
octave, but at a different distance (a third instead of a fourth). It is followed
by the Piano II right hand, which is even higher, and the Piano II left hand at the
previous level of its right hand. The Piano I right hand again expands into a turn
figure. The notes following the rising octaves break the pattern somewhat. The
Piano II right hand rises a half-step, then a whole step. The Piano II left hand
moves down an half-step, then back up. A third, abbreviated sequence follows as
the Piano I right hand makes its turn. The Piano I left hand begins a step lower,
and the volume builds.
0:31 [m. 10]--The Piano I right hand follows its turn with another octave leap and
then a simple downward half-step. The Piano I left hand follows its half-step with
a whole step, as the Piano II right hand had done before. This is passed to the
right hand, creating a new lower voice in that hand. The Piano II right hand
enters
again, now dispensing with the rising octave and simply repeating the turn figure
just heard in Piano I. The Piano I right hand, in its new lower voice, then
imitates
the Piano II turn as both left hands enter. The left hand of Piano II is an octave
plus a minor third above that of Piano I. The resulting harmony veers toward E
minor,
a half-step below the home key. Both hands of Piano II leap upward on the E-minor
chord. Finally, the Piano I right hand, in its upper voice, repeats the first two
notes of the turn figure.
0:42 [m. 13]--Suddenly, both pianos land on a loud dissonant chord. The right hand
of Piano II begins to pulsate in long quarter-note triplets, with the last note of
one tied to the first one of the next, creating strong syncopation. These notes
are a “diminished seventh” chord, but combined with the bass, which holds the
chord,
then leaps down to a low octave C in Piano II, they form a “dominant” chord with
a so-called added ninth, a very unstable sonority. This chord restores F minor.
Against the low bass octave, the Piano I left hand leaps up to reinforce the Piano
II harmony. As the chords continue, both hands of Piano I, in treble octaves, ease
into a new melodic line beginning with a long note, then winding downward. The
volume
quickly diminishes, the builds again. After three measures, the syncopated Piano
II chords contract, then shift the harmony as the Piano I line concludes.
0:51 [m. 17]--The Piano I line in F minor concludes as Piano II violently changes
the chord to the “dominant” chord in D-flat. The pulsing begins again, but now the
Piano II left hand leaps up and joins the right in the pulsations. The Piano I
bass
sustains the low C. After a measure, the right hand of Piano I joins the left hand
of Piano II on the pulsations. The Piano II right hand breaks from the pulsations
and, in octaves, plays a descending D-flat-major line similar to that previously
played by Piano I. Its left hand takes the lower octave of this line after another
measure, leaving the pulsations to the right hand of Piano I. This passage again
diminishes and builds.
0:59 [m. 21]--As the Piano II line concludes, a new sequence begins. The
pulsations
move to the left hand of Piano I, then pass to that of Piano II. The Piano I right
hand plays another descending line, now in E-flat major (over its “dominant” chord)
as the low bass (moving from Piano II to Piano I as the former takes the
pulsations)
becomes more active and rises by steps and thirds. The Piano II right hand
interrupts
the Piano I line, and the harmony moves a level on the circle of fifths, to the
“dominant”
chord in A-flat. The Piano I line continues. In a role reversal, it then
interrupts
the Piano II line in the same manner. At first, it seems that the harmony will
move
up the circle of fifths again, but it actually moves back to E-flat, now E-flat
minor,
as the bass reverses and descends by half-steps (the left hands again reversing
roles).
The lines in the right hands continue in imitation for two statements. At the
very
end of the sequence, the harmony lurches up a half-step to an E-minor chord.
1:14 [m. 29]--The left hand of Piano I leads back to the opening music. It plays
the rising octave on E, but now both right hands enter before it moves up. They
play the opening fragment of the “turn” figure harmonized by a descending octave
(in Piano II). They slide the music back home to F minor. The Piano II bass
enters
with a rising octave on D-flat. After the turn figure fragment, the Piano II right
hand comes in against the bass with slow, syncopated chords. At the same time, the
Piano I right hand plays another descending octave against the chords.
1:27 [m. 33]--The right hand of Piano II begins the syncopated pulsations on slow
triplets. These are now a background for brief figures combining the rising
octave/half-step
and the turn. The left hand of Piano I leads the right hand. The left hand plays
the rising octave/half-step while the right plays the turn fragment. Piano II
follows
with its hands taking the same roles, the pulsations passing to Piano I. The whole
sequence is repeated, with a slightly more active turn fragment in both right
hands.
When Piano I takes the pulsations for the second time, they are in the left hand,
as the right is finishing its more active turn.
1:38 [m. 37]--The turn figure in the right hand of Piano II is expanded into a
rising
figure. The pulsations, passing from Piano I to Piano II, are reduced in both
thickness
and activity. They begin to leave off the first note of each triplet rhythm.
Piano
I, in octaves, imitates the rising line. The Piano II left hand has the bass. The
volume diminishes and everything thins out. Piano II, in octaves at a lower level,
plays one more rising half-step as the pulsations and bass move back to Piano I.
Both pianos then dissolve into isolated “dominant” chords together. After the
last
isolated chord, a half-measure pause (m. 41) precedes the entry of the main theme
at the beginning of the main “Allegro” section.
EXPOSITION – Allegro non troppo, 2/4 time
1:56 [m. 42]--Theme 1. The exposition begins on an upbeat, or the second half of
m. 41 (which is notated in 2/4 time). The first full measure is m. 42. The theme
is broadly spun-out and has a sort of “leisurely intensity.” Brahms even marks it
tranquillo. The lead role is given to Piano II, which begins on the upbeat and
marches
forth over a percussive accompaniment from Piano I. Its right hand, in the tenor
range, provides the driving, active impetus while the foundation in the bass
consists
of isolated, detached off-beat notes. The first Piano II phrase establishes F
minor
and includes a brief trill in the second statement of the main gesture. The left
hand of Piano II does not play in this phrase.
2:02 [m. 46]--The next phrase moves toward C minor with a new left hand harmony in
Piano II a third below the melody. Both hands have distinctive upward-sliding
grace
notes. In a third phrase, the lower left hand harmony drops out and Piano I stops
its driving propulsion. Both pianos, in arching lines (the Piano I bass in
contrary
motion), reach a full C-minor cadence with yet another brief trill in the melody.

2:13 [m. 54]--After the melody reaches the C-minor cadence, Piano II continues with
a transitional phrase that moves back to F minor. It uses the rhythm of the
opening
and is played in thirds. The driving force now moves to the Piano I bass, which
establishes a steady oscillation on a low C octave, supported by long Piano II left
hand notes. The Piano I right hand, still in the tenor range, answers Piano II
with
a similar gesture (also in thirds) that moves in the opposite direction. The
exchange
is played twice.
2:18 [m. 58]--The theme begins again, now taken by the Piano I right hand in
octaves.
The active accompaniment is now presented by Piano II, also in octaves. The Piano
I bass is slightly more active, moving away from the C. The first phrase
essentially
follows the previous pattern with the exception that the melody adds a new upper
note (an appoggiatura) in place of the trill during the second statement of the
opening
gesture.
2:24 [m. 62]--The second phrase begins as it had before, with the motion toward C
minor. There is, however, no lower parallel harmony in thirds. Already in the
second
measure, Brahms introduces a surprise with a slide up a half-step, to D-flat, and
a brief turn to major. Piano I does play the brief trill here. The third phrase
with the arching lines continues in D-flat major with chromatic inflections. This
time the arching lines alternate between the top lines of the two pianos, starting
with Piano I (both pianos provide harmony throughout). Piano II’s statements are
an octave lower. When Piano I takes the arching lines a second time at a higher
level, it diverts the cadence gesture back home to F minor (with the trill). This
cadence is reiterated by Piano II, thus extending the phrase.
2:38 [m. 72]--The transitional phrase is completely transformed into an epilogue.
 It enters with the cadence again, but it surprisingly and sweetly changes from F
minor to F major, and does not shift the key center. The rhythm and contour are
the same, and it is played in thirds and sixths. As before, one piano answers
another,
but this time Piano I takes the lead. The bass oscillation (which remains in Piano
I) is on both C and F, giving the F-major key a strong confirmation. The long
notes
are again in the Piano II left hand. Piano II extends its answer on the second
exchange,
slowing and diminishing. In a further extension, the Piano I bass slows down its
oscillation to triplets while its right hand adds gradually dissolving harmonies.
For a moment, all is suspended on a half-close.
2:51 [m. 80]--Transition. With sudden impetuousness, the transitional material
begins
with three upward steps in both pianos in octaves. On the second, Piano I adds a
third, higher octave, and on the third, the right hand of Piano I shoots up an
octave
while the Piano II bass moves down (creating a total of five octaves), all creating
a sense of increasing force. The step is clearly derived from the opening upbeat
of the main theme. The pianos burst into an intense series of upward gestures and
scale runs, also derived from the main theme. At first, the left hands are in
contrary
motion with the right hands, then Piano II follows Piano I in imitation. Piano II
is in low octaves, but Piano I adds harmonies. There are three waves moving toward
C minor, the third intensifying and extending the second.
3:01 [m. 89]--Piano I puts the brakes on the motion with four cadence gestures.
Meanwhile, the right hand of Piano II continues the propulsive material derived
from
the main theme. The arrival on C minor seems to be confirmed (and this would be
an expected key for the second theme), but after the fourth gesture, Piano I drops
out and Piano II, suddenly quiet, has three rising fourths, each an octave higher
than the last, that appear to move a level beyond C and strongly emphasize its
“dominant,”
G. In fact, Piano II holds and sustains each G after the rising fourth lands on
it. Brahms places the marking “un pochettino più animato” (“a little more
animated”)
at this point.
3:08 [m. 94]--Theme 2: Part 1. While Piano II holds its octave G’s, Piano I alone
begins the lyrical, yearning theme. It is highly chromatic and syncopated, with
almost tortured lines. The main argument in the top voice consists of a descending
melody punctuated by small upward leaps in a clipped short-long rhythm. The left
hand plays a rising line against it. The right hand of Piano II leaves the G to
its left hand and adds another active harmony to the Piano I melody. The key that
was prepared in the transition, C minor, is undermined in favor of G, and the Piano
I melody cadences there twice in a repeated pattern. The descent is extended, and
Piano I comes to a half-close in G minor as the right hand of Piano II drops out.
Then Piano II forcefully asserts itself again, repeating the pattern of rising
fourths.

3:22 [m. 108]--A second statement of the theme appears to begin, with the Piano I
left hand taking the lead and the right hand providing the rising counterpoint.
This is aborted after four measures. The right hand of Piano II then starts the
theme again a third higher, with the rising counterpoint in its bass. Piano I
provides
internal harmony. The Piano I left hand takes over the rising line from the Piano
II bass after another four measures, exchanging it for slow cadence gestures.
There
are two cadences in B major. The extension moves yet again, now suggesting another
major key, D. In the extension, with the melody still in Piano II, the Piano I
right
hand provides the harmonies leading to an incomplete close, now in D.
3:39 [m. 125]--Part 2. With a great outburst of passion, Piano I develops the
cadence
gestures from the end of the lyrical theme. It passes these gestures between the
hands. Sometimes the gestures are faster, particularly in the left hand at the
beginning.
Meanwhile Piano II begins a series of scale passages in both hands, sometimes with
doubled thirds and always in triplets. These are also passed between the hands,
with changes of direction. The triplet scales are passed to the Piano I right hand
as well when it is not playing the cadence gestures. The key finally moves
decisively
toward C minor. After eight measures and two rising sequences, the shorter version
of the cadence gesture takes over completely and is passed between the hands of
Piano
I with great intensification. Piano II adds a solid bass in octaves here.
3:49 [m. 137]--In an enormous climax, the triplet scales completely take over in
both pianos. The right hand of Piano I, then the left hand of Piano II play
cascading
chromatic descents in octaves with syncopated rhythms that incorporate the triplet
division. The scales are passed among all four hands. The right hand of Piano II
suddenly becomes static, and the other hands add doubled notes and contrary motion,
taking a brief detour to D-flat major. C minor returns promptly, the Piano II
right
hand becomes active again, the pianos enter into an alternating dialogue, and two
emphatic cadences in C minor, the first one incomplete, punctuate the motion.
4:00 [m. 149]--Both right hands expand the cadence with harmonized descending
arpeggios
and supporting chords in the syncopated triplet rhythm. The left hands play rising
scale fragments in triplets. As the right hands twice approach another cadence
(the
second time more expansively), they briefly shift to the more decisive straight
rhythm
against continued triplets in the bass. The second cadence is again extended with
a rapid diminishing of volume and slowing of speed. The bass, now in straight
rhythm,
is also active in this approach to the closing material.
4:11 [m. 161]--Closing section. The music is suddenly restrained. Both hands of
Piano I and the right hand of Piano II play a dolce transformation of Theme 1,
infusing
it with a “Hungarian Dance” or “gypsy” flavor. It includes distinctive sliding
grace
notes. The Piano II bass plays a solid foundation on the downbeats, leaving the
upbeats to the thematic fragments. After six measures, the theme takes a smooth,
expressive turn. The entirety of this first statement remains in C minor.
4:23 [m. 169]--A second statement of the closing material begins. It first six
measures
are a repetition, but then there is a slight alteration that brings it from C minor
back to the home key of F minor. Instead of the smooth, expressive turn, the upper
voices continue the patterns with sliding grace notes. The connection to the
opening
upbeat of Theme 1 becomes more explicit. The upbeat figures then move to the
original
pitches from Theme 1. After two statements there, Piano I drops out and passes the
figure on to the right hand of Piano II, which plays it twice in rhythm, fading
away.
Then a remarkable transition occurs. Piano II slows the upbeat figure down to two
full measures, with pauses between the notes and their harmonization. This slowed
down version becomes the actual upbeat to the reprise.
REPRISE/DEVELOPMENT
4:45 [m. 184]--Theme 1. The first phrase is presented by Piano II with active
Piano
I accompaniment, largely as at 1:56 [m. 42] but without the upbeat, which occurred
as a slowed-down version in the previous transitional passage. The bass uses the
same foundational notes, but it is shifted from off the beat to on the beat, and
the upbeats have two notes. Now it is also doubled in the left hand of BOTH
pianos.

4:50 [m. 188]--The second phrase is harmonized in thirds, as at 2:02 [m. 46]. The
Piano II left hand briefly abandons its doubling of the Piano I bass, but resumes
it after two measures at a higher octave while still harmonizing the melody. The
third phrase has the same harmony and substance, but slightly different scoring.
Piano II leads on one arching figure, then Piano I, at a higher level, the second,
and finally Piano II leads the third figure with the C-minor cadence. Piano II had
led on all these figures before. The alternation resembles the statement of the
phrase in D-flat from the passage at 2:24 [m. 62]. Also new, in keeping with this
section, the bass is mostly doubled in both pianos and the harmony is generally
richer.

5:01 [m. 196]--Development. Here the music diverges from the exposition, beginning
the long digression that takes the place of the development section. Piano I
overlaps
and echoes the Piano II cadence, subtly altering the notes so that it arrives on
a half-close in A-flat major (the “relative” key to the home key, F minor). There
then begins a series of exchanges between the two pianos based on the third,
cadence
phrase of Theme 1, all overlapping and at a quiet level. Piano II begins,
following
the Piano I motion toward A-flat. Piano I echoes Piano II again, and again makes
a subtle shift, this time to a minor key, B-flat minor. Piano II follows again,
remaining in B-flat minor. Finally, the last Piano I echo moves to D-flat major,
which is the “relative” key of B-flat minor.
5:16 [m. 206]--Again overlapping with Piano I, Piano II confirms the motion to D-
flat,
a key where the music will linger. Piano I, beginning with the left hand and
following
with the right, imitates this Piano II motion in the treble range. Piano II
continues
to meander in D-flat major, and as Piano I enters in imitation, the volume builds.
With the two instruments essentially joining, the overlapping exchanges now cease.

5:25 [m. 212]--Beginning on the upbeat, and suddenly subdued again, Piano II, with
the left hand of Piano I, begins to meditate on a prominent figure from Theme 1,
its swaying motion now transformed into an almost lullaby-like version. It is
imitated
and followed by both hands of Piano I (the left hand taking part in both sides of
the alternation. There are two such exchanges, still in D-flat major. After the
second exchange, Piano II slides down a half-step in harmony, to C major. The two
exchanges are repeated in that key at an even quieter, more mysterious level. This
time, the pianos are completely separate on the exchanges. At the shift to C, each
left hand subtly adds bass drones when the other piano is taking the lullaby
figure.
The lullaby character prevails.
5:39 [m. 220]--Beginning a third series of paired exchanges, Piano II changes the
direction of the upbeat, introducing a more subtle harmonic shift to F major (the
major version of the home key), which Piano I, moving in the original direction,
confirms in its first imitation. The second Piano I imitation reaches a full,
albeit
brief, close in F major. The left hands continue to alternate on drone bass
octaves
when not taking their turns at the exchanges.
5:45 [m. 224]--Re-transition. The music gradually becomes animated, awakening from
its lullaby-like trance. The right hand of Piano I follows the other hands in
another
pair of harmonically unstable exchanges. The harmonies follow both the leading
lower
voices and the following top voice. The two exchanges build in intensity and rise
in pitch. One voice in the Piano II right hand sometimes doubles the top Piano I
voice. After the exchanges, the Piano I right hand continues to rise two more
levels,
and the lower voices revert to an accompanying role.
5:53 [m. 230]--A climax of pitch and volume is reached with the top voice in Piano
I arriving at a dissonant high E-flat. The Piano I right hand plays a series of
short rising figures that gradually descend. Piano II harmonizes and overlaps with
them on falling figures harmonized in thirds, the hands an octave apart. The Piano
I left hand establishes a “dominant” pedal point on C. This prepares another
presumed
arrival on F major or minor. Over the course of eight measures, the pitch and
volume
levels of both pianos become lower as the pedal point C is held and reiterated.
At the end, the lower Piano II octave drops out and its bass joins the “pedal
point.”
Everything is suspended on a half-close, with great expectation for a resolution
to F.
6:04 [m. 238]--Reprise Resumed. Transition, analogous to 2:51 [m. 80]. The
arrival
on F is thwarted, but only temporarily. In a very elegant construction, Brahms
resumes
the reprise with the forceful original transition from the exposition. The
preceding
development has taken the place of all the material from 2:13 [m. 54] through to
the transition. That material was primarily the restatement of the theme and a
lullaby-like
epilogue that ended a suspended half-close similar to the one here, a very neat
parallel.
There, the transition began with the resolution on F, moving to C for Theme 2.
Here, Theme 2 must appear in the home key, so the original transition is played in
B-flat minor (a key prepared in the “development”), which will lead to F in a
delayed
arrival. This transition follows the pattern from the exposition quite closely,
but after the forceful upward steps (which are themselves thinned out, the last
gesture
avoiding the lowest octave), the piano parts are reversed. Piano II leads and is
harmonized, while Piano I follows in octaves.
6:15 [m. 247]--Cadence gestures, with propulsive motion from the main theme now in
Piano I, analogous to 3:01 [m. 89], but continuing the reversal of the piano parts.
The bass in Piano I does add low octaves, and the chords, now in Piano II, are
doubled
in octaves between the hands. The arrival on F minor seems confirmed, then the
rising
fourths follow, now in Piano I. Continuing the pattern of transposition, these
rising
fourths land on a sustained octave C, now the “dominant” note of the home key.
6:21 [m. 252]--Theme 2: Part 1. Analogous to 3:08 [m. 94]. The theme’s outlines
are the same. It is presented in the new key (ostensibly the home key of F minor,
but heavily emphasizing C minor, ironically the expected key in the exposition) at
a higher pitch level. The parts continue to be reversed from the exposition almost
exactly. Piano II plays the theme and the bass counterpoint while Piano I sustains
the octave C’s and adds the higher counterpoint in its right hand. The pattern of
rising fourths follows as expected, again in Piano I.
6:35 [m. 266]--Analogous to 3:22 [m. 108]. Again, the previous pattern of the
theme
is followed except for the reversal of parts and slightly thicker scoring. The
reversal
is very close in the first four measures with the “aborted” statement. When the
theme restarts a third higher (with the major-key cadences now in E), the parts are
still basically reversed, but the main melody, in Piano I at this point, has octave
doubling. After two measures, the rising “bass” counterpoint is doubled for
reinforcement
in both left hands (rather than passed from one to the other), and the right hand
of Piano II takes both voices of the previous Piano I part from the corresponding
exposition passage. The key suggested in the extension is now G instead of D.
6:52 [m. 283]--Part 2. Analogous to 3:39 [m. 125]. The passionate material is now
established in the home key of F minor. For the most part, the pattern follows as
expected, continuing with the reversal of parts from the exposition. The cadence
gestures, along with the rest of the Piano II part, are transposed higher than the
Piano I part from the exposition, while the constant triplets, now in Piano I, are
moved lower, creating a larger sonic space than in the exposition. The second
“faster”
cadence gesture in the left hand of Piano II is omitted for practical reasons
having
to do with a leap down to a bass octave. Throughout of the passage, some of the
doubled thirds in the triplet figuration are converted into sixths and vice versa.

7:03 [m. 295]--Analogous to 3:49 [m. 137]. Enormous climax, as in the exposition.
The reversal of parts from the exposition continues, but the scoring becomes
thicker,
especially after the brief harmonic diversion (this time to G-flat), in the
approach
to the two huge cadences (now in F minor). There, Piano II joins in two brief
scale
figures where Piano I had briefly paused before, resulting in even more intense
activity.

7:13 [m. 307]--Analogous to 4:00 [m. 149]. The reversal of parts continues, but
with some redistribution of the harmony, including the thinning to simple octaves
in the syncopated descents, now in Piano II. After the second cadence, the
reversal
of parts from the exposition breaks. Piano I, in octaves, takes the straight-
rhythm
figures while Piano II plays the supporting chords. Previously, the straight-
rhythm
figures were distributed to both pianos. The second cadence itself is extended
even
more by an additional two bars beyond the F-minor arrival. These prolong the
retreat
in volume and speed. The active straight-rhythm bass stops in the second of these,
leaving an isolated, detached upbeat “dominant” chord.
7:31 [m. 321]--Closing section. It is analogous to 4:11 [m. 161], and follows the
same harmonic pattern, but is radically different in character. The dolce
“Hungarian
Dance” with its sliding grace notes is replaced by a tranquil, mysterious
interlude.
The bass, played by Piano I, is low and ominous, and the right hand plays dark
chords
in the tenor register. Piano II plays upbeat figures that seem like the ghosts of
the formerly playful sliding grace notes. Its left hand includes doubling of the
Piano I right hand an octave lower. The skeletal “melody” is audibly similar to
the contours of the “Hungarian Dance,” retaining its prominent notes transposed to
F minor.
7:43 [m. 329]--Analogous to 4:23 [m. 169]. As in the model, the first six measures
of this second statement are a repetition. After that, there is a harmonic
divergence,
as there was before. But because the music is already in F minor, the motion away
from there is a surprise. It was already prepared in the sixth measure, where the
melody and bass were inflected downward. It is not the same motion as was heard
in the corresponding passage, which would result in a move to B-flat minor.
Instead,
in a concise, highly chromatic, and very mysterious seven-bar transition, the Piano
II upbeats and the Piano I harmonies move decisively toward the key of C-sharp
minor
(notated in the transition as D-flat minor). This key has already played a
prominent
role in the piece (having served for the second theme of the first movement). The
preparation is masterful, with a suspended, hushed approach and a slowing at the
end.
CODA – Presto, non troppo, 6/8 time
8:12 [m. 342]--Section 1. The change in tempo and meter is not as surprising as
the change of key. Brahms must now work his way back to F minor from C-sharp
minor.
The “theme” of the coda is a 6/8 transformation of the movement’s main theme
(Theme
1). At first, it is presented in a hushed manner by Piano II alone. The
breathless
pauses give it a distinctive character. After four measures, the harmony briefly
moves toward G-sharp minor. After two more, Piano I enters with slower chords, the
right hand of Piano II begins to oscillate, and the harmony shifts yet again, this
time making a complete motion to B minor (through unusual “plagal” cadences), a
whole
step lower than the coda’s opening key.
8:18 [m. 350]--The previous pattern is repeated in B minor. This time, Piano I
adds
light support to Piano II, which still leads. The harmonic motion is the same.
It first hints at F-sharp minor, then fully moves to A minor. The Piano I chords
enter in their expected place. At the end, the isolated oscillation is doubled in
both hands of Piano II an octave apart, and the volume begins to build.
8:25 [m. 358]--The pattern appears to begin again in A minor, but the Piano I
chords
are now present from the outset and the low bass is not. Piano II plays the main
melodic line in octaves. There is a powerful and steady crescendo. After three
measures, Piano II breaks away from the pattern, reaching higher. The continuing
“plagal” cadences in Piano I first suggest E minor, then C major. Piano II adds
another higher octave to the right hand. The C-major harmony begins to function
as the preparatory “dominant” to F, the ultimate goal. The crucial note B-flat is
introduced as Piano II begins an extended buildup on the familiar oscillation. The
Piano I chords hover on C major and G minor, harmonies that suggest F major. At
the top of the buildup, though, the note D-flat signals an arrival on F minor, and
the C harmony becomes an explicit “dominant.”
8:33 [m. 368]--The tension is released by a suddenly cascading unison scale in both
hands of both pianos, stretched over three octaves with the lowest doubled in the
left hands. It finally confirms F minor. The scale leads directly into a powerful
version of the coda “theme” in the home key. Piano I plays it, harmonized in
thirds
with the hands doubled an octave apart. Piano II adds a thundering foundation that
almost seems to imitate the timpani playing the home and “dominant” keynotes. The
original pattern is followed at first, including the expected hint at C minor.
8:42 [m. 378]--There is an unexpected bump a half-step to D-flat on the
oscillation.
The oscillation itself gradually climbs upward, supported by the continuing
timpani-like
bass, now in both pianos doubled in octaves. The right hand of Piano II takes over
the doubling of the Piano I right hand on the thirds. When this steady upward
climb
reaches its high point, the bass has established a “pedal point” on the “dominant”
note C, nearly making a full motion there. In the last measure, the Piano I left
hand breaks away from the “timpani” figures and adds solid chords in the middle
register.

8:47 [m. 384]--Another forceful arrival is marked by a cascading scale, this one
adding chromatic notes to F minor. The right hands of both pianos play it in
unison
octaves. The left hands continue with the timpani-like bass. The scale breaks in
the right hands after three measures. Now the left hands (starting with just that
of Piano I) continue the downward motion of the scale, still with the added
chromatic
notes and some octave doubling. The right hands make strong gestures derived from
the “timpani” figures that seem to point toward an arrival. After three more
measures,
the right hand of Piano I moves up in octaves against the descending scale in the
left hands, and the right hand of Piano II adds supporting chords. Both pianos
then
come to an extremely emphatic cadence in F minor with two punctuating chords on
weak
beats. In fact, by adding one last downbeat chord, Brahms could easily have ended
the movement at this point.
8:56 [m. 394]--Section 2. What might be called the coda’s huge “extension” begins
here. Instead of a downbeat chord to end things, Brahms remains on the weak beat
and makes a motion toward the “dominant” on a slur to the downbeat. On the next
weak beat, he seems to begin this again, but, led by the right hand of Piano I in
high octaves, a totally unexpected and forceful statement of the opening material
from Theme 2, the lyrical, yearning chromatic melody, begins. The cadences are on
F, not C, and F is presumably still in force as the home key. This clarifies the
key ambiguities in the earlier statements of the melody. The left hand of Piano
I and the right hand of Piano II provide harmonic support and counterpoint. The
bass, in low octaves of the Piano II left hand, has the familiar rising line
against
the Theme 2 melody.
9:05 [m. 404]--The Theme 2 material leads into an exciting sequence of chords. The
right hand of Piano I plays these chords while its bass holds long notes. Piano
II propels the 6/8 motion with continuous neighbor-note figures in octaves. The
sequence moves upward in waves. The first two, over bass pedal points on the
“dominant”
notes (C and D-flat) of F minor and F-sharp/G-flat major, have a longer downward
motion. The third “wave” consists of two almost identical units emphasizing B
major
and minor. The fourth is similar to the third, but emphasizes C major and minor.
This leads back home to F minor with a fifth “wave.” This is similar to the first
two, but is more emphatic. The Piano I bass and both hands of Piano II (abandoning
the running motion) join the hammered, detached chords.
9:21 [m. 424]--In a tour de force, the “coda” theme and the Theme 2 melody are
combined.
The left hands play a variant of the former in octaves. The right hands play the
latter in unison. This is presented in four “waves.” The second is a fourth
higher
than the first, with new harmony (thirds and sixths) in the left hand of Piano I
and both right hands. The third is at the same basic pitch level as the first, but
the melody is an octave higher. Full chords are introduced in the right hands.
There is a great buildup in volume and agitation. The fourth “wave” is a half-step
lower than the second, but in the higher octave. The full chords are spread out
between the right hands, and the left hand of Piano I introduces the harmony in
thirds
again. It arrives at the remote key of B major.
9:33 [m. 440]--Suddenly, all becomes quiet. The B-major arrival is brief, and the
harmony effortlessly slides up to C. Piano II plays a harmonized version of the
Theme 2 melody. Piano I, in harmonies of thirds and sixths, plays fragments of the
“coda” theme marked dolce. The harmony quickly shifts from C major up to G major,
where it briefly lingers.
9:39 [m. 446]--The Theme 2 melody moves back to Piano I. The Piano II right hand
moves to the tenor range and plays the “coda” theme harmonized in thirds. The
Piano
II bass begins to establish a very extended “pedal point” low C, which is quickly
passed to Piano I and then shared by both left hands. The harmonization of the
“coda”
theme in Piano II expands to sixths and is split between the hands. The Theme 2
material in the Piano I also settles on C as the “dominant” not of F minor, but of
F major. After eight measures, it expands upward, then fragments and isolates its
distinctive downward leaps. The music begins to die away, turning toward minor at
the end of another eight measures.
9:54 [m. 462]--The hands of Piano II subtly separate, and the left hand moves away
from the long C “pedal point.” It plays widely arching arpeggios against the
continuing
“coda” theme figures in the right hand. Piano I plays the downward leaps over low
bass octaves. There is a mixture of F minor and F major here. The bass in both
pianos settles on a highly anticipatory “dominant” preparation, with the “leading
tone” at the bottom. The right hand figures in Piano II are reduced to three
rising
notes harmonized in thirds. The Piano I right hand departs from its unison notes
and octaves and pauses on a third from the “dominant” chord. In addition to fading
away, the music also slows as it fragments, pausing on a tension-filled fermata.

10:04 [m. 467]--The run-up to the close is an extended pattern of syncopation that
steadily builds in volume and intensity. After the fermata, Piano I quietly enters
first. The right hand plays a chromatic descent off and in anticipation of the
beat.
The left hand keeps the actual beat with detached notes, mostly two-note harmonies
or octave leaps. Piano II follows a measure later and a fifth higher in quasi-
imitation
of the syncopated pattern in the right hand, its left hand supporting that of Piano
I. Piano I begins the pattern an octave higher. Piano II also repeats its pattern
an octave higher with fuller harmony. In the third round, Piano I leaps another
octave, adding lower octaves and other harmonies, mostly thirds. Piano II follows,
only a fifth higher, but with the same expanded harmony. The patterns now include
downward leaps. Piano I has two more, Piano II only one, each beginning a third
higher than the last and starting with an octave leap. The syncopated chords
become
thicker and louder as the pianos come together.
10:11 [m. 478]--Now loud and very agitated, the right hands continue their
syncopated
chords, Piano I an octave above Piano II. The left hands play octaves on the
beats,
following the syncopated chords. After four measures, the octaves in the left
hands
(doubled an octave apart) take over the syncopated off-beat entries and the thick
right hand chords (with Piano II now moving above Piano I) are on the beats. The
pattern is less regular. There are still chromatic descents, but these become
shorter,
often only two chords, and they reach higher. The leaps between the patterns
become
wider until, at the end, there are huge leaps of an octave and more as the right
hands switch position four more times. Finally, the chords stop. Piano I, doubled
in three octaves, plays the final, highly distinctive gesture, beginning on a two-
note
upbeat. This rises up three notes, then turns to a plunging descent, ending with
the bottom three notes of the F-minor scale. These three notes mirror the opening
of the coda in C-sharp minor, which started with the bottom three notes of that
scale,
albeit harmonized. Piano II punctuates this final gesture with chords and low
octaves
on the two downbeats.
10:35--END OF MOVEMENT [492 mm.]
END OF SONATA

BRAHMS LISTENING GUIDES HOME

VARIATIONS ON A THEME OF PAGANINI (STUDIES FOR PIANO), OP. 35

Recording: Martin Jones, pianist [NI 1788]
Published 1866.

This work stands at the end of the line of large-scale piano variation sets Brahms
composed in the late 1850s and early 1860s. It seems to be a direct response--or
opposite--to the Handel Variations, Op. 24. Whereas that work, difficult as it is,
never utilizes virtuoso showmanship for its own sake, Brahms in his Op. 35 directly
engages himself with the brilliant, fiery virtuoso pianism of Liszt and the Weimar
school, an aesthetic with which he would not normally be associated. The composer,
however, almost undermines this by titling the variations “Studies” for piano, as
if they were meant for technical practice rather than public display. In
actuality,
the title draws attention to the fact that the variations deal with specific
challenges
of piano technique, in a similar manner to Chopin’s Etudes, which are very much
concert
pieces. Moreover, the arrangement into two books, each with an extended coda or
finale,
clearly indicates that they are meant for performance, as does, in fact, the
assignation
of an opus number. They were composed for Carl Tausig, one of Liszt’s most notable
pupils, for whom Brahms had great admiration. The theme chosen is Paganini’s most
famous violin caprice, on which Liszt and Schumann had already written variations
(both of which were surpassed by Brahms in difficulty and content) and would reach
its apotheosis years later in the piano/orchestra rhapsody by Rachmaninoff. The
two sets can be performed as individual units or, as is common, as two separate
items
on the same concert. The old practice of selecting individual variations from
either
book and combining them in a “selection,” while common with Clara Schumann and
other
contemporary pianists, does violence to the carefully planned structure of each
book.
Each book presents the theme, fourteen variations, and a large three-part coda
connected
to the fourteenth variation. The variations all preserve the structure of the
theme.
A first part with a four-bar phrase that is repeated either literally or in varied
form, then a longer eight-bar second part, also repeated or varied. In one
instance
(Book I, No. 10), Part 2 is lengthened to sixteen bars. While some variations
highlight
particular technical problems, others, such as the “waltz” variation in the second
book (No. 4) are adaptations of the theme to popular styles. Rhythmic devices
such
as two-against-three are common (the most complex example being No. 7 in Book II),
as are studies in octaves or double notes (often thirds or sixths). The meters
vary,
but 2/4 (as in the theme) and 6/8 are the most common. Two variations in Book I
use the home major key, as does one in Book II. No. 12 in Book II is the only
variation
that ventures away from the central key of A. The finales build on the final
variations
and embed additional unmarked complete variations along their course.

In the guides below, Part I and its repetition are always treated as a single unit,
whether or not the repeat is literal or varied. Part II and its repetition are
treated
as two units, since it is twice as long. Tempo markings are only given if they are
indicated in the score, and the key is only given if it is not A minor (four
instances).
Meters are always indicated for each variation. Generally, the repetition of each
part is quieter.

IMSLP WORK PAGE

ONLINE SCORE FROM IMSLP (First Edition from Brahms-Institut Lübeck)
ONLINE SCORE FROM IMSLP (From Breitkopf & Härtel Sämtliche Werke):
Book I
Book II

BOOK I
0:00 [m. 1]--THEMA. Non troppo presto. A MINOR, 2/4 time. Part 1. The familiar
theme is played in octaves, with decorations. Part 1 consists of a short, open
four-bar
phrase that is repeated. The first three bars of the phrase begin with a detached
dotted (rhythm) and continue with a group of four notes. The fourth bar is a
longer
descending octave.
0:12 [m. 9]--Part 2. A contrasting, closed eight-bar phrase that uses the same
rhythmic
pattern, closing with an ascending octave. For this part, the octaves are
decorated
with rolled chords (emulating the violin) in the left hand at the beginning of each
bar, and more rolled chords in both hands for the last two bars.
0:21 [m. 17]--Repetition of Part 2. The entire Theme is 24 bars long.
0:30 [m. 25]--VARIATION 1. 2/4 time. Part 1. Churning, steady oscillating motion
with strong accents. The right hand plays doubled notes, mostly in sixths until
the descent at the end of the phrase. The left hand has a single line in contrary
motion with the right hand over low bass notes. The repetition of the phrase is
an octave higher and adds doubled thirds to the left hand.
0:39 [m. 33]--Part 2. The pattern continues with doubled sixths in the right hand
and doubled thirds with bass notes in the left. The doublings become more varied
in the second half, including fourths in the left hand and thirds, fourths, and
fifths
in the right.
0:48 [m. 41]--Part 2 repeated, with the repeat written out.
0:58 [m. 49]--VARIATION 2. 2/4 time. Part 1. The churning sixths with heavy
accents
are still used, but they are transferred to the low bass in the left hand. The
right
hand plays four heavily accented three-note short-short-long figures that move up
an octave each time. The repetition of the phrase is highly varied. The volume
decreases to a piano level, the left hand sixths are shifted up an octave, and the
right hand plays high music-box like octaves embellished with a third below the
high
note. These move steadily.
1:07 [m. 57]--Part 2. The pattern of the first half of Part 1 is re-established.
The churning sixths move back down to the low register of the left hand, and the
right hand plays the short-short-long figures in octaves, this time moving steadily
down by fifths. The second half adds more notes to the right-hand figures as the
cadence is approached, but they are still in octaves and the basic rhythm is
preserved.
The left hand abandons the sixths in favor of downward cascading notes at the very
end.
1:17 [m. 65]--Part 2, Varied repeat. A quieter level is again established. As in
the second half of Part 1, the left hand is transferred up an octave and the right
hand plays very high octaves embellished by thirds. These move steadily with some
interruption, particularly some syncopation at the very end.
1:29 [m. 73]--VARIATION 3. 6/8 time. Part 1. A single line divided between the
hands scurries along in the new 6/8 meter with upbeats. The strong beats are
marked
with sharp accents. Repeated notes are rapidly divided between the hands. All
remains
in the upper register. The repetition of the phrase is varied by adding a second
voice playing high rising octaves on strong beats and lower falling octaves on weak
beats. The original line is the same, but it is quieter, without the sharp
accents.

1:38 [m. 81]--Part 2. The pattern is based on the first half of Part 1, with sharp
accents on strong beats and a single line in the upper register.
1:47 [m. 89]--Part 2, Varied repeat. Based on the second half of Part 1, with a
second voice playing high rising octaves on strong beats and low falling octaves
on weak beats. Again, it is at a quieter level.
1:58 [m. 97]--VARIATION 4. 12/8 time. Part 1. The new 12/8 meter essentially
doubles
the length of each bar. The left hand plays very wide arching arpeggios while the
right hand plays sharply accented trills linked by short notes and harmonized
underneath.
In the repetition of the phrase, the pattern is reversed, with the right hand
playing
the wide arpeggios and the left hand the accented trills, harmonized beneath with
rolled chords.
2:16 [m. 105]--Part 2. The pattern of the first half of Part 1 is used, the left
hand playing the wide arpeggios and the right hand the accented trills.