Well, a ‘most impoverished invention’ is certainly something that cannot be discerned in Violin Sonatas Nos 2 and 3. What Brahms makes of the basic idea of a fourth and a second in the opposite direction in the main theme and development of the Allegro amabile is admirable and, in the energetic and melancholy parts of the movement, takes the listener far beyond its essentially amiable mood. The close melodic and harmonic relationship between the second subject and the song Wie Melodien zieht es, Op. 105 No. 1, is often mentioned in literature about Brahms; its importance in the course of the movement is, however, limited. The middle movement combines the characters of a slow movement (Andante tranquillo) and scherzo (Vivace sections). Both sections recur in varied form twice; the Andantestarting in D major instead of F major, whilst the D minor Vivace is ultimately trans- planted to F major. In the final bars the Vivace scherzo character retains the upper hand – in the key of the Andante. The Allegretto grazioso (quasi Andante) is set aglow by the mellow, sonorous songfulness of the main theme, presented by the violin and piano in alternation. The movement proceeds as a sonata rondo, with a more sombre second-subject domain and a couplet-like middle section that also serves as a development section. In the Allegro of the D minor Sonata, the shadowy and expressive opening theme soon releases more energetic forces. Of special interest are two extended passages with pedal points: one (above the dominant, A) covers the entire development, the other (above the tonic, D) covers most of the coda. One is inevitably reminded of the legendary ‘pedal point fugue’ in the third movement of Ein deutsches Requiem although, in the sonata, Brahms demonstrates even greater harmonic subtlety. In the Adagio pleasant melodies are combined with sophisticated construction; the melodies of the middle section are derived from the piano accompaniment at the opening. One would almost think that this D major movement might originally have belonged to the A major Sonata. The Un poco presto e con sentimento has an inimitably Brahmsian intermezzo character, playing melancholically with its motifs of thirds and striking opening rhythm. The Presto agitato combines sombre scherzo-like
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