14 / 40
14
Thefirstmovement,
allegromanon troppo
, insonata form, calls tomind the Viennese
waltz. Three themes are developed alternately; two evoke the spirit of a lied and
the third is dance-like. This combination of ideas is reminiscent of Schubert’s style:
limpid and nostalgic, sometimes humorous. The Viennese signature is even more
obvious at the end of the movement, with its waltz in a slower tempo.
The
Andantemamoderato
consists of a set of variations. Brahmswas very fond of this
form, which he mastered perfectly and used frequently in his piano and orchestral
works. The play of modulations and dynamics evokes a chamber orchestra spurred
by youthful energy. At no point does the listener have the impression of hearing
a texture anything like that of the string quartet. The first variation, for example,
subdivides the rhythmand swells to such breadth that one can imagine supporting
wind instruments. Brahms was probably thinking of Beethoven’s use of rhythms,
drawing their energy from multiple folk elements. In the fourth variation, the
climate is more sober, acting as a prelude to the last two variations, ending the
movement with
pizzicati
from the strings.
The
scherzo
, a vigorous, concise
allegro molto
, takes its tension from a dance step.
The determination felt here is similar to that of Beethoven’s Fifth Symphony. There
is possibly some humour in this tribute.
BRAHMS