Part 22 (1/2)

SONATA FOR VIOLIN AND PIANOFORTE

Of Brahms's three Sonatas for violin and pianoforte, respectively, in D minor, A ive some idea of his chamber music, on account of the spontaneous appeal of its melodies and because its performance is possible for fairly well equipped executants In reatest of the three, but it is a work exceedingly difficult of execution and interpretation The A major Sonata needs few comments, as the music speaks for itself The work is in three movements, the first in complete sonata-form with the two customary themes, each of distinct lyric char qualities of the violin; the second movement a fusion of the two normal middle ones, and the Finale a Rondo, freely treated The first _,

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the first interval of which, a descending leap fro tone, always seems to make a distinct appeal[265] After the customary transition appears the second the_,

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showing Brahms's fondness for contrasted rhythainst two in the other After a repetition by the violin there is a spirited closing thereat importance later The Developrowth; there is nothing labored or perfunctory It is based on the first the_

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[Footnote 265: It is used at the beginning of three other well-known _, the slow movement of Beethoven's _Ninth Sy_ and in the first phrase of Wagner's _Preislied_]

The Reprise beginning in measure 158, shows the usual treat and, like codas of Beethoven, has features of a second developios in the pianoforte against octaves and double stops in the violin In the second moveether the moods usually associated with the slow ainst the other; the slow the three times--at its final appearance with eloquent ained the second tih pizzicato effects on the violin The two themes are as follows:--

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[Footnote 266: This practice he has adopted in several other works and it is also the structural feature in the slow movement of Cesar Franck's DCoda is based on the vivace theme, with sonorous chords on the violin, both pizzicato and arco

The Finale, Allegretto grazioso, is a convincing exaid form as the Older Rondo can be freshened up and revitalized by the hand of a _

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has such genuine melodic life that ays recur to it with pleasure and yet at each appearance it is so deftly varied that nocontrasts and need no comment The main theme at its third appearance is in the subdominant key, with effective rhythmic modifications The movement is a remarkable illustration of idiomatic style for each of the instruments: the violin part, sustained and cantabile; the pianoforte part, broken up and of ree of the Coda, als a rousing close to a masterpiece

BALLADE IN G MINOR FOR PIANOFORTE

(SEE SUPPLEMENT NO 60)

Although the most important factor in Brahms's pianoforte pieces is Brahms himself, a careful examination of his works in this field shows that his style is fashi+oned froent, and by no means slavish assireat predecessors Thus we find the same melodic warmth as in Schubert, the rhythmic vitality and massive harios and chords, the color and richness, peculiar to Chopin Fro the numerous and beautiful compositions of Brahms for solo pianoforte we have selected the Ballade in G minor because it represents a soenius--the specifically dramatic When a composer calls his piece a Ballade, as in the case of compositions so entitled by Chopin and Liszt, webehind the notes; and the hearer is at liberty to give play to his own i more than music in the ordinary abstract or absolute sense From the inner evidence of this Ballade of Brahms it seems to the writer[267] not too fanciful to consider it a picture of a knight-errant in orous swing of the opening theme in that five-measure rhythm so dear to Brahms But in the middle portion, in the romantic key of B major,[268] the woman appears--perhaps soht a song of such sweetness that he would fain forsake duty, battle, everything!

The contrast of opposing wills[269] is dramatically indicated by an interpolation, after the ht, as if he felt he should be off instead of lingering, enchanted by her song Notwithstanding a still ht is firreat the wrench, being clearly indicated by the unusual , however, still lingers with hione scenes and dreams which were unattainable In this piece is seen Brahram music The subject is portrayed broadly--there are no petty details--and the ination, tells the story clearly Hence a detailed poetic interpretation is out of place, since only to the suggester would it have

[Footnote 267: It is to be understood that this is a purely personal interpretation and if any one wishes to consider the piecemasculine theme in the minor, a lyric melody in the eneral way to the first theme, there is no way to disprove the contention That Brahrammistic treatment is seen from his two pieces on specific poetic texts, _ie_, the first number in op 10 on the _Scottish Ballads of Edward_ and the _Lullaby_ in op 117 on the Scottish Folk-song _Sleep Soft, My Child_]

[Footnote 268: The saner uses for the end of _Tristan and Isolde_ and Cesar Franck for the gorgeous Finale of the _Prelude, Chorale and Fugue_]

[Footnote 269: The subject is the same as the story of the Sirens in the _Odyssey_ or of the _Lorelei_ in Gerend]