An analysis of

Johannes Brahms’s
Symphony No. 2 In D major, Op 73
1st Movement

Davide Catina
The second symphony was composed in the summer of 1877, during Brahms’s visit to
Pörtschach am Wörthersee, a town in the Austrian province of Carinthia. It is frequently said
in fact that the pastoral, peaceful character of the symphony might have some aesthetic
connections with Brahms’s summer stay in this beautiful, rural little town of Austria.

The symphony also represents an important step in Brahms’s musical life. It was composed
in a couple of months, unlike his first, that took him twenty-one years to be completed,
alongside great struggles; Brahms, as many other composers in the nineteenth century, had
a profound admiration and fear towards the self-comparison with the “giant of the
symphony”, Ludwig van Beethoven.

The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3
trombones, tuba, timpani and strings.

In the following paper I will discuss the 1st movement, focusing on some issues and
ambiguities that naturally arise when having a close look at the score.

More in detail, I will investigate form, thematic material, relationships and transformations
of it, harmony/counterpoint and rhythm.

The first movement is in sonata form. Actually, the form of the whole symphony has a pretty
classical layout: two lively movements frame a slow second movement which is followed by
a short Scherzo. Nevertheless, the architecture of the first movement turns out to be very
complex and ambiguous, especially when compared with the archetype of classical sonata
form we all are familiar with.

1 Exposition
1.1 Themes, Motivic Material, relationships and transformation.
When looking at romantic symphonic repertoire, and especially at a composer like Brahms,
we have to put special attention on the way motives and themes are treated and
transformed: in fact, beside sharing many similarities between each other, they also concur
in the creation of form and in building a unifying sense of completeness that is so
characteristic of romantic sonata forms. The themes (and key areas) are so not opposed, but
rather always connected and in an eternal dialogue between each other. Let’s then go
deeper into the way in which motives are presented, interconnected and transformed.

The exposition of this intricate sonata form movement presents three main keys areas,
namely the expected D Major and A Major plus an intermediate f# minor, which connects
tonic and dominant. The issue of three-key exposition (or three-stages exposition) is not
consistently mentioned in the modern academic literature, in fact few has been written
about it1; nevertheless, it enjoys quite a long presence in the history of sonata form: really
early instances of hints at three-keys(stages) sonatas can be found already in Mozart or
Schubert.

Having said that, let’s go deeper into the form of this beautiful piece.

The movement opens with a three-quarter notes upbeat played by the double basses and
celli, motive that will be discovered to be of vital importance during the whole movement.

Example 1. The “motto”

From now on, I will refer to it as the “motto” of this first movement, since this really short
and characteristic motivic cell will come back over and over during the course of it.

The abovementioned motive functions as an upbeat for a 16 bars modulating period that
eventually turns out to be the presentation of a larger sentence, which goes up till bar 44.
We can clarify the structure as follows:

8 bars antecedent/8 bars modulating consequent (A Major) + continuation + cadence.

The structure of the antecedent and consequent (4basic idea+4contrasting idea) is

underlined from the instrumentation: Horns and bassoons, with their dark and warm sound
present the basic idea, answered from the higher winds in the contrasting idea.

Example 2.

Modulating period
(bb 2-17)

All of this happens on a pedal point (see chapter on harmony), another central feature of
this movement.

1
References to the discussion about three keys/stages exposition can be found in modern literature:
-Rosen, Charles (1985) Sonata Forms (Norton)
-Caplin, William (1998) Classical Form (Oxford University Press)
-Kessler, Deborah (1996) Schubert’s late three-key exposition: influence, design and structure. (City university of
NY)
-Hunt, Graham (2009) The three-key trimodular block and its classical precedents: Sonata exposition of Schubert
and Brahms. Integral (Eastman School of music), Volume 23.
The continuation of the sentence (bb. 17 onwards) takes a very singular path: in bar 23
winds and low strings leave the scene on a tonicized A major sonority, giving space to the
first violins and violas which have in the meantime started playing descending triads in
arpeggiation: this motive seems to evolve from the motto (look at bar 20, E-D#-E) but it soon
takes his own life as the intervals get bigger; the motive suddenly stops on an almost creepy
suggestion of a diminished triad (1st violins and celli in octaves).

In bar 32 a timpani roll introduces the cadencial progression of this first section; protagonists
here the trombones and tuba, which have a very special role in the symphony (NB, the 2nd is
the only Brahms symphony which involves a Tuba). Bars 33-39 are just a prolongation of
(VII)->V, which comes in bar 40 (KB pizzicato + timpani). Notice the presence of the motto in
the woodwinds as an answer to the low brass (35-39), and, still in the woodwinds, in
augmented values (with a strong hemiolic character – see chapter on Rhythm) in bars 42-43.

Bar 44 marks the beginning of a new section (for formal issues, see chapter on form).

The new motive, (this time a pure sentence) presented first in the 1st violins (presentation)
and then in the first flute (repetition), sounds fresh and melodious, very different from what
we heard before, but giving it a closer look it shows to have a lot in common with the motto
(bar 1), and with the consequent of the first modulating period (in the winds - bar14). For
reasons of clarity, I will refer to It from now on as the “ascent” motive.

Example 3. The “ascent” motive

In bar 52 the fragmentation process starts, introducing the transition (bar 59 + upbeat) that
will bring us to the intermediate key area (f# minor).

We can divide the transition in two parts: the first part presents a “tutti” setting involving a
voice exchange between lower and higher section of the orchestra; in 64 the voice exchange
(a “quasi” canonic setup) stops and bars 64-65 display an omophonic setting, motivically
anticipating the second section of the transition (66-81).

This transition contains two derivations of the two main motives presented so far (the motto
and the horn motive) which will be of great importance during the piece: in fact, despite
being clearly connected to the abovementioned motives, they get since this moment a life
on their own, and they will be later used alone or again combined in a dialogue (derivation
of the horn motive: bar 59 in bassoons, 61 in the violins, 67 onwards in the violins.
Derivation of the motto: 64 violins and flute, 66 onwards winds).
 Example 4.

Two motive’s derivations.

After a very spicy preparation (see chapter on rhythm), the theme in the second key area is
presented. Curiously, the strongest theme is the one on the weakest scale degree (III in D
major). Between the motives of the whole movement, the f# minor is for sure the one that
most sticks to our ears as listeners, we could say the most melodious one. This motive is an
actual “auto-quote” from Brahms, since it clearly is a reworked version (in minor) of the
most famous “Wiegenlied” op. 49 n. 4, widely known as “Brahms’ Lullaby”.

Example 5.

Wiegenlied-
2nd theme

This “lullaby” motive is first presented by the celli (which are playing above the violas and
have the actual melody – an instrumentation expedient that contribute in reinforcing the
pathetic, almost longing character of this theme); while celli and violas are busy with playing
the melody, the violins accompany it with the transition motive we mentioned before (see
from bar 82).

The phrase (again a clear sentence – 4presentation+4continuation+fragmentation+cadence)

is eventually repeated after a weak plagal close in D major in bar 98 and a very weak close in
f# minor in bar 102 (the key of this second theme is quite ambiguous – see chapter on
harmony), with different instrumentation; after a couple of bars (107 onwards), we realize
that the fragmentation process, supported by a sequence of falling thirds, hints to
transitional processes. This is in fact what exactly happens, since the third key area is being
prepared, precisely the one of the dominant.

The theme belonging to the third key area is also special for quite some respects.

A new motivic idea is brought in (bars 118-126 in fact don’t show clear connections with
anything else in the piece, we could try to hint at similarities with previous elements, but I
believe this attempt would result in pretending statements – after all was about time to
introduce something new); I see these bars as being still part of the transition (see chapter
on form), since the strongest cadence in A major didn’t come yet.

Example 6.

End of
transition/
rd
introduction of 3 key area.

We have to wait for it a couple of bars; it comes indeed in bar 127, where the A major theme
starts to unfold. The form of it is pretty understandable, namely a sentence with a very long
continuation
(4presentation+4repetition/variation+17continuation/fragmentation+4cadence).

But beside its form, It is a very special theme; It doesn’t show a clear melodic direction
(because of its fragmented character) plus the frequent “unisonos” (and therefore the
absence of real harmonic support) make it pretty evanescent to the listener.

But where does the motivic material come from? Again, on a surface level it might seem not
connected to anything else, but at a closer look we find out pretty interesting things.

Two are the basic cells that concur in creating this theme: the eight note/two sixteenth note
pattern (see bars 127-128 for instance) and the two quarter notes upbeat plus downbeat
pattern (see bars 129-131).

The first one is a clear derivation of the motto, presented now in a rhythmically
variated/diminuted version, which eventually loses its melodic profile and continues to
sound only with its rhythmic profile in the continuation of the sentence (bar 134 onwards).

Example 7.

Third theme with its two

motivic elements.
To understand the provenience of the second one we have to look a little back, to the
transition (precisely from bar 108) and follow the transformation of the upbeat of the lullaby
motive (f# minor theme).

Notice how the two eight notes upbeat (bar 108) get rhythmically transformed in bar 114
(hemiola technique) and are given to the lower register of the orchestra (bassoons and
violas); after the brief intermezzo with new thematic material (bars 118-126), we find the
same ascending pattern in augmentation, still in the low register of the orchestra (bars 129-
130 and in the whole sentence continuation, in bars 136-151).

After a long continuation we get a cadential progression ( (V7) – V – I6 ), ending on a weak I6

on the last beat of bar 155.

The last beat of bar 155 marks also the beginning of the last big formal section of the
exposition (closing section).

The closing section involves the use of material coming mostly from the second theme (see,
from upbeat to 156, pizzicato in cello-basses and melody in violas and second violins).

First flute (from bar 156) and first violins (164) are displaying a playful embellishment on the
“lullaby” theme, built on material of the Motto, the last motivic transformation of the
exposition.

Example 8.

bb. 164-168, Variation on the “Motto” (1st

violin) used as an accompaniment to the
lullaby theme (flutes and oboes)

The last bars of the closing section (bar 171 on) have the function of bringing back the initial
key of D major; the material used, descending quarter notes mainly, is actually a synthesis of
cells used in multiple of the already presented motives, namely: the Motto, contrasting idea
of the “horn” motive and “lullaby motive”.
1.2 Formal issues

As previously said, the form of the first movement is everything but obvious.

We have multiple options to consider. First of all, we have to ask ourselves which is the
status of the opening section (bars 1 till 43), considering that is followed by another section
in D major, which presents a clearly recognizable motive (“ascent” motive); this motive
however, quickly turns into a transition which will bring us to the key of f# minor.

Is then the first section to be seen as an introduction, or as the first part of the first theme
(1A)?

Adopting a phenomenological approach, and recording datas as the piece runs, we could at
this point say that both options would apply; we have to wait for the recapitulation to have
clearer answers on this issue.

Also the second theme (f# minor - starting in bar 82) rises some problems regarding form.

Hints at a tripartite sonata-exposition are already present from Schubert on (for instance,
see the famous “Quartetsatz”), but the status of the second theme in a tripartite exposition
remains uncertain until Bruckner, in which the three-themes repartition of the exposition is
crystal-clear in some of his works (for instance, in the first movements of the 7th, 8th and 9th).
Brahms, with his 2nd symphony still lies in the middle, but nevertheless develops earlier
attempts even further.

The second theme is presented in the intermediate key between tonic and dominant; it
clearly starts with a tonicized f# minor (78-81 preparation), but it ends with a weak plagal
cadence in D major (II7-I, bb 97-98), followed by an even weaker, almost non-tonicized (V is
missing) move back to f# minor (99-102).

Having made clear that the ambiguity cannot be solved (and is one of the multiple
fascinating features of this piece) I will label from now on the “lullaby” theme as 2nd theme,
because of its strong motivic identity, because of the huge influence it exerts on the whole
movement and at least the beginning of it is clearly in f# minor, the key to which the first
transition unambiguously modulates.

One last remark, concerning the 3rd theme: as previously said, I see bars 118-126 as the
second part of the transition: even if the key of A major is already reached in bar 122, the
“unisono” setting and therefore the absence of a real cadence, prevents us from feeling a
“confirmed” A major sonority. For that, we should wait bars 126-127 (I6/4 – V – I).
2 Development
2.1 Form (Key Scheme), motivic material and transformation

2.1.1 Section 1 (Falling thirds)

The development follows a pretty regular key scheme throughout. The repartition in clear
sections of it can be proposed taking into account two important form-creating parameters,
motives and harmony.

Bars 179-182 (“seconda volta”) are in the key of A major, heritage of the end of the
exposition. Since there on (up till bar 204), we find a clear modulating pattern, namely a
sequence of descending thirds, alternating Major and minor keys (and therefore thirds):
F/d/Bb/g/Eb/c. The only connection which doesn’t rightly stands in the circle is the first one,
from A major to F major, which simply makes use of the common tone A (mediant
connection-bar 183) to modulate to F major; in this spot an interesting feature of the piece is
applied, namely the pedal technique (see chapter on harmony).

Regarding the motives used at this point, we see transformations and quotes of the horn
motive, the motto, and the “ascent” motive.

We clearly see the motto in double basses and celli (bb 182-83/190-91), and part of the
“ascent” motive in the celli (184), 1st violins (186), violas (187), 1st bassoon (188) and 1st
clarinet (190).

The horn motive is presented as first by the first horn, in a way hinting at a sort of false
recapitulation, or second rotation of the material (in fact, in the recapitulation the first
motive will be played by the oboes, while the horns will have a marginal role).

After the first horn presented his motive (four bars long, basic idea of the antecedent/bb.2-
5) the first oboe immediately picks it up and develops it, (through repetition of the third bar
of the horn motive) in bar 187:

Example 9. Bb 187-190, 1st oboe.

The so constructed 8 bars are motivically repeated (everything stands on pedal points-see
chapter on harmony), we could then say that only regarding the motives the so build phrase
is periodical (not harmonically though). The second time our contrasting idea is presented
(bb. 195-198 – 1st oboe/1st clarinet/1st bassoon), it becomes the first statement of a canon,
built on the material of Example 9, that is happening between the winds and the lower
strings (bb 195-204), where the higher strings have the function of harmonic filling.

This canon closes our row of thirds, we are in fact reaching the key of c minor in bar 204.
2.1.2 Section 2 (Rising fifths)
From there on a new harmonic pattern, namely a sequence of rising 5th (c-g-d-a-e-b, all
minor keys) is displayed.

The motivic material used here, comes interestingly enough from the contrasting idea of the
period that opens the piece, as if Brahms would systematically rework in a consequent way
the whole material of the first theme.

Example 10.
bb. 2-9, antecedent of
the opening period and
derivations

During this section, the theme eventually develops through fragmentation (bb. 212-215 celli
and double basses) and passes from the higher registers of the orchestra to the lowest and
vice-versa. The accompaniment of it includes hemiolic figures (starting in the 2nd violins b.
205) running eight notes (starting in the violas in bar 204), and cadence bass-like figure
(starting in the double basses and celli in bar 204). The role of the winds is that of harmonic
filling.

Example 11.

Motive (bb. 6-8) with its

newly introduced
accompaniments (fugato
with 3 countersubjects).

All the above-shown motives are written in invertible counterpoint, and they therefore get
inverted between the different registers of the orchestra (bb.204-223).

In bar 224 we reach the key of b minor (in fact, the chord in that bar function as a pivot, I6 in
e minor and IV6 in b minor).
In bars 224-225, an abrupt entrance of the three trombones (in solo - the whole orchestra is
suddenly silent for one bar) playing in canon a version of the “Motto” built on II6/5 (in b
minor) warns us that something new is going to happen; in fact, we are entering the last
motivic unit of the development section.

Example 12.

Entrance of the
trombones on
the “Motto”
motive.

2.1.3 Section 3 (last section – Recap preparation)

The following section of the development has a somewhat transitional character: in fact
from B minor/major, via E minor, we reach C major, that eventually becomes C minor.

The original b minor key, is turned into B major (b 236). Very interesting the case of bar 238:
Brahms juxtaposes a B major chord (felt as a I in root position) and an A minor chord. This
succession is explainable as an evaded cadence in E minor (V-IV), although the E minor
chords never appears.

Example 13.

bb. 236-242
(strings)

The A minor chord is immediately reinterpreted as VI in C major, our next key; thanks to a
Major/minor switch (and to the early presence of the moll-dur tone, see the Ab in bar 239 in
the basses, II4/3MD in C major), the key of C minor is heard (b 244) and its dominant (g
major) is reached in bar 246.
Motivically, the above-discussed section points without doubts to the transition between
first and second theme (D to f# - exposition).

The “motto” in its original rhythmic version (see the winds from the entrance of the
trombones to b. 233), and the descending broken chord in eight notes (which sounds very
connected to the “ascent” motive – see strings in bb. 224 and 230) are followed by the
diminuted “motto” in hemiolic version (bb. 236-37 and 240-41 in the higher strings), as in
the transition between first and second theme (bb 59-66).

The following, last large section of the development has a clear cyclic motivic setup, (with
three thematic units) that we could schematize as follows:

A-B-C-A-B-C-B-C-C-A-A

Each unit is exactly four bars long (11 units x 4 bars makes 44 bars in total, in fact the section
goes from bar 246 to bar 289), and is characterized from a strong thematic identity.

The first A section opens with a further striking transformation of the horn motive: the
complete woodwinds, at the moment joined by the complete brass, powerfully display a
four bars elaboration of the first bar of the opening theme of the movement (1+1+2 of
hemiolic fragmentation, a sentence like structure):

Example 14.

bb.246-249, Winds.

Meantime, a timpani roll is sounding, and the strings are accompanying with the diminuted
hemiolic version of the“motto” and dotted quarter notes (which, as previously said, first
appeared in the transition bb. 59-66):

Example 15.

bb. 246-249, Strings.

These four bars prolong a G major chord, which, as an heritage of the previous established
key of c minor, would sound like a dominant to the majority of the listeners.

Nevertheless, the G major chord is not treated as a dominant: on the downbeat of bar 250,
thanks to a switch to the parallel minor key, I 6/4 in g minor is heard.

The B section displays thematic material which presents and develops the “ascent” theme
(1st B: woodwinds, 2nd B strings, 3rd B woodwinds), accompanied by a dark sounding
trombone chord and a tremolo in the high strings (example 16 shows the 1st b section):

Example 16.

First B section, bb 250-253.

-“ascent” motive in the woodwinds

-held chord in the trombones-tuba

-tremolo in the higher strings

-diminuted motto on the downbeat of the first

bar, played by celli and double basses.

The chord on the fourth bar has a pivotal function: D-Gb-Bb is both IIIAug in g minor and
VIMdAug in Bb major; or maybe better to say that the Bb major sixth chord of bar 254 is
reached thanks to the chromatic oscillation of one of the notes of the chord:

Example 17.

Chord progression , bb. 252-254

The C section is again characterized by a motive and its accompaniment.

The motive is derived from the third bar of the consequent of the “horn” theme:

Exemple 18. (bb 254-57, 1st oboe)

In bb. 254-257, together with the above-shown motive, we see some chords with harmonic
filling function (in the winds), ascending broken chords in the strings (which are again so
clearly connected to the “ascent” motive) and the “two quarter notes pattern”, (timpani)
which is one of the characterizing features of the second theme and of the transition to the
third.

Example 19.

bb. 254-257.

The harmony of this passage oscillates

between the keys of g minor and Bb major.

Bar 255 could be either heard as III in Bb or

VAeol in g (passing chord). Bar 257 instead,
is without doubts to be seen as V in g
minor, but is followed by and evaded
cadence, in fact the next A section will be
in the key of Bb major.
Now that the motivic material is clarified, let’s see what happens next:

The 2nd A section (258-61) is in the key of Bb major; we would then expect (following the
model) a shift to Bb minor in the next B section, but that doesn’t happen: instead, we go to
I6/4 in d minor (b 262). The connection between the 2nd B and the 2nd C stays unvaried (1st
time g-Bb, 2nd d-F). Bars 266-269 are then a transposition of 254-259 (slightly different
instrumentated).

At this point, following the model till now established, we would expect a third mini-rotation
of our “A-B-C” larger unit; in other words, we are waiting for an F major statement of A in
bar 270.

Instead, Brahms tricks us with another deceptive move, namely the one to f# minor: 3/5-3/6
on bass note A (269-270).

The connection between B (270-73) and C (274-77), is done once more using the
“augmented trick”, but this time the chords have a different inversion (because of the pedal
note A – see chapter on pedal points):

Example 20.

Chord progression, bb 272-274

The fact that we are reaching a triad in root position in bar 274 (instead of a 6/3 position),
makes bars 274-277 more tonally stable: I-III-IV-I in A major.

The C section is repeated one last time (278-81, f#-A-maybe d as possible tonal centers), and
it finally falls into a double statement of the A part, which was skipped before; the key is on
purpose ambiguous here, since Brahms uses dyads instead of triads, hinting at more than
one possible key.

Example 21.

bb 282-85 (winds are playing

harmonic support with dyads F-A)

The two possible keys are d minor and F major. The most logical option is of course F major,
it’s enough to look at the previous bars. In the four next bars the F changes into an F#; since
the just-heard F-A was (probably from the majority of us) interpreted as root/third in the key
of F major, we could be led to hear F#-A in the key of f# minor. Instead, Brahms uses this
ambiguity to move back to D major, preparing the recapitulation.

Example 22.

bb 286-89 (winds are playing

harmonic support with dyads F#-A)

As just said, The following 8 bars have a re-transition function.

As you can see in example 23, the complete motivic material of the D major key area comes
back: we see in fact the “motto” in hemiolic augmentation (1st and 2nd violins bb 290-91,
contrabasses celli and bass trombone bb 292-93), the horn motive (in the D horns and D
trumpets bb 290-93) and the “ascent” motive (1st and 2nd violins bb 292-93, woodwinds bb
294-95 and violins again in 296-97).

Example 23.

bb 290-297
Curiously enough, this is the first time in the whole movement in which Brahms shows us
that these three motives are combinable in double counterpoint in their original form; it is
an important feature to notice, since it will be of vital importance in the recapitulation,
where it will actively participate in the creation of the form.

The end of the development/beginning of recapitulation represents a very nice example of

overlap of formal functions.

While listening to the piece, the statement of the horn motive in bar 302 (in the oboes)
comes clearly to our ears. What is a little more hidden instead, is the “motto”, which is
indeed present: in augmentation, played by the trombones (bb 298-301).

The presence of pedal points is concurring to this overlapping; the recapitulation is in fact
starting on I6/4 in D major, following a plagal cadence (which takes place during the
trombones’ statement of the motto – II7md-V6/4-II7md-I6/4, see chapter on harmony).

3 Recapitulation
3.1 Form, motivic material and comparison with the exposition
The recapitulation starts off in the home key, D major. As far as the first bar, we immediately
notice something interesting. The “horn” motive and the “ascent” motive are presented
together, as a kind of synthesis of the two D major themes of the exposition. Because of this,
I would label the two themes as 1A (horn) and 1B (ascent) since they get the same
importance and are presented together in the recapitulation.

Celli and double basses are, as in the exposition, accompanying with the motto.

The strongest theme is, between the two, 1A. In fact, theme 1B is here melodically adjusted
in order to fit with the original harmony of the horn motive.

The structure and length of the theme is the same as in the exposition: a modulating period
of 16 bars (8+8 – see bars 302-317), which works as a presentation of a larger sentence. The
continuation however, is greatly extended and varied; let’s see what happens.

Motivically, we assist to another instance of transformation, similar to what happened to the

upbeat of the lullaby theme in the transition between theme 2 and 3 in the exposition: the
ascent motive, with its flowing eight notes, seems to give birth to a continuous prolific
stream of eight notes, which will never stop running until bar 345.
These eight notes, are sometimes part of broken chords, lying on the underlining harmony,
and sometimes decoration in heterophony of the horn motive (as in bars 305-309, 314-317
and 320-22).

As previously said, the continuation of the sentence is, when compared with the exposition,
extended and harmonically different.

We are pointing to the key of b minor, since in order to end the piece in the key of D major,
the minor third relationship between the keys of the 2nd and 3rd theme should be kept (f#-A
and b-D).

An harmonic sequence will bring us from the tonicized A major to b minor.

Mediant relationships are involved: A major is turned into its parallel key (a minor), it moves
to an F major chord (VI in a minor) which is finally reinterpreted as a V in Bb major (b 328).

The sequence is repeated, reaching then the key of b minor (Bb major-bb minor-Gb
major/F# major-B major-b minor).

The motivic material used here includes the three quarter notes motive sounding on broken
triads, which evolves from the motto and has hemiolic tendencies, as in the exposition (high
woodwinds from bar 320 on) and the fresh and newly derived ongoing eight notes, to be
found in first and second violins.

An abrupt cut off of the harmonic filling (bar 339) leaves celli and first violins alone playing
the eight notes motive on broken triads. Two timpani rolls of one bar each sound in the
meantime, a reminiscence of the first two present in the exposition (bb 32 and 36, here with
the difference of not being followed by the brass chorale).

After the last timpani roll, the low brass (now with the addition of the mellow sound of the
horns) play a three-bar chorale (in the exposition, the brass played three short chorale-like
licks, here we only get one).

Despite the arrival on V7 in B major, some of the previous chords are difficult to place in this
key: for instance g minor and g minor7 are definitely not part of it: indeed it looks as if
Brahms wants to mislead the listener with a sudden switch back to D M/m. Only the last
chord of the chorale (which comes as a surprise) is clearly part of the key of b minor (b 349).

In bar 350 we get the recapitulated 2nd (lullaby) theme, in b minor.

Brahms, having presented together theme 1A and 1B at the beginning of the recapitulation,
completely skips here the section corresponding to theme 1B and its transition to the 2nd
theme (bb 44-81 in the exposition); interesting to notice, the material of the first transition
(as previously said) has been greatly exploited in the development: one of the multiple
demonstrations of Brahms’ compositional artistry and search for balance and purity.
Bars 350-446 (2nd theme, 3rd theme and closing section) are, harmonically and motivically, an
exact transposition of the corresponding section of the exposition (82-178).

The only factor that differs is the instrumentation: Brahms is a master in always providing
new ways to make his material fresh-sounding.

Let’s then highlight the major changes in instrumentation of the abovementioned section.

The scoring of the second theme in itself is as in the exposition, with cellos above the violas
and contrabasses playing plucked repetitions. Nevertheless, violins, clarinets and flutes are
playing descending arpeggios in alternation (example 25), which is a new feature: this
gesture, once again, clearly seems to evolve from the descending arpeggios of bars 340-345,
and replace the older accompaniment of the 2nd theme, which was based on material of the
1st transition (example 24).

Example 24.

bb. 82-86, Strings.

First and second violin play an accompaniment

based on a transformation of the horn motive
(first appeared in the 1st transition). Winds are
silent.

Example 25.

bb. 350-353

Violins, flutes and clarinets play an accompaniment

based on a transformation of the descending
arpeggios (bb 340-45)
In bar 359, two horns take over the role had by the timpani in the exposition: they answer to
the double basses with the well-known two-quarter note motive.

In 362 violas and cellos are reversed: the violas take over the melodic line, while the cellos
go on with playing the bass; also in the woodwind section we notice some minor changes
(different instruments involved, in general the whole passage has a slightly darker sound
than in the exposition, due to the absence of the flutes).

From bar 375 till 424, the orchestration looks pretty much similar to the correspondent
section of the exposition, with a few slight changes: in bar 375 the clarinets are playing (they
were silent in the exposition) and in 382 they join the bassoons and violas in the syncopated
rhythm derived from the “lullaby” upbeat.

From bar 386 till 395, the timpani are joining for the preparation of the third theme.

In bars 402-403 the timpani, introduced on the last beat of b 402, playing a fortissimo roll,
concur in creating a slightly stronger climax (then in the exposition) on the beginning of the
sentence continuation.

In bar 424 starts the closing section of the recapitulation. This time, the woodwinds (instead
of the strings) have the first statement of the “lullaby” motive. The violas now play the
flowing triplet line (derivation of the motto), and the violins join the plucked notes with the
low strings.

In the second statement of the “lullaby” motive, the flowing triplet line goes to the flute,
where it originally was at first in the exposition. The lullaby theme is played by violas and
cellos, with the last on top (its original form).

In bars 441-446, the descending lines warn us that the section is about to end (in fact, we
find exactly the same gesture also at the end of the exposition and development): they are
heard first in oboe and bassoon, then clarinet and cellos, and finally violas and cellos leading
into the coda.

4 Coda
In bar 446, the material presented in the exposition is over; therefore we could label
everything that follows as coda. However, we could have another interpretation; since in bar
447 the PAC is avoided (instead we see a deceptive cadence, V-(VIIhd)->V) we could see the
section until bar 477 (where we find the structural PAC) as an extension of the closing
section. I see both interpretations as possible ones.
From bar 447 to bar 455, both bar 1 and 3 of the horn theme are treated as self-standing
motives and developed (through fragmentation); each one gets four bars:

Example
26.

Bars 447-450 are standing on (VIIhd) and 451-454 on V of the home key D major.

In bar 454, the second developed motive is picked up, in its latest version, by the solo 1st
horn; from here on, until the PAC of bar 477, the horn is playing a beautiful and moving solo,
accompanied by the full string section.

Example 27.

bb 456-460

First statement of the solo horn

(presentation of a larger sentence).
In bar 456 still sounds the previous sonority, V7 in D major. As shown in example 27, we get
on I 6/4 in F major on bar 460.

V7 in D and I 6/4 in e are connected via diminished chord, while I 6/4 in e and V7 in F are
connected via an “omnibus step”, the pivot chord being the one in bar 459: #IV6/5dv in e
minor and V7 in F major.

The next four bars (461-64) are an exact transposition of the model half step higher, with the
effect of landing on I 6/4 in F# major in bar 464.

From bar 465 the harmonic rhythm speeds up and the motive is fragmented (“un poco
stringendo” marked on the score): only the two sighing quarter notes are kept, with an
effective pause on the first beat of every bar, feature that helps the music moving forward
(Example 29). Harmonically, these bars (465-68) have something in common with the
previous sentential presentation (Example 28):

Ex.

28

The downbeat of bar 469 represents both the release of the tension build in the previous 12
bars (marked “ritardando” from there on, also see the lengthening of the note values) and
the beginning of the cadencial progression, which will bring to the PAC of bar 477.

Another motivic feature is strengthening the contrast with the previous four bars (465-468):
Now the horn elaborates on the second part of the original motive, the one which was used
for the two arrivals on 1 6/4 (with consequent release of harmonic tension, see bb 460 and
464 – example 29).

Example 29.

Effective interaction
between harmony and
motives, in order to
create musical tension.
After an 8 bars-cadential progression (see example 28 for harmonic analysis), made even
more effective by the use of suspensions, we (as previously said) reach the PAC in bar 477.

From here on, the function is the one of tonic prolongation, with only a few (and not
extreme) excursions in closely related keys.

This very last section can be subdivided in two smaller subsections: “in tempo, ma piu’
tranquillo” (b 477) and “in tempo, sempre tranquillo” (b 497).

In the first one, the “horn” motive is stated once more by the 1st violins, while the cellos and
basses play a berceuse-like version of the motto, and 2nd violins and violas play syncopated
chords on the underlining harmony. This phrase (477-485) has a sentential setup (2+2+4)
and ends with an IAC in bar 485; is eventually repeated (with embellishments) and extended,
bringing to an half cadence ending on I 6/4 in the home key (bar 497).

In bar 497 (“in tempo, sempre tranquillo”) Brahms brings back two elements that were not
seen in their original setting since the exposition (shown in example 4). In fact, we saw them
in all sort of employments (accompanying the lullaby theme, counterpointing during various
moments in the development, eccetera), but never (since their first appearance in the 1st
transition – bar 66 on) having a dialogue in a soft dynamic, one “staccato”, the other
“legato” (example 30).

Example 30.

bb 497-500

Dialogue between oboe, horn and

bassoon.

In this last section, “motto” and “horn” motives never stop sounding, since they are put in a
continuous dialogue between each other: apart from the abovementioned situation, we can
find the motto hidden in the 1st violin pizzicato (501-504), in the 1st oboe and 1st flute (502),
horn and bassoon (505 and 507), in the whole orchestra,(an hemiolic syncopated version,
509-512) and finally in the 1st violins (twice, the first time doubled by the flute), again
pizzicato; interestingly, this time not transposed and even complete of its original second bar
downbeat (note A).
 Example 31.

Bb 514-518

Two last statements

of the “motto” (D-
C#-D-A)

The horn motive (apart from the case of example 29), can be found in bars 506 and 508 in
the higher winds (in its derivation), and very clearly in bars 513-516 in the horn and trumpets
(in its original form, only the head of the theme). To end the movement, Brahms choses to
give the different motives to the instruments that first presented them: as if, after a
tempestuous journey through the movement, rest and peace would be restored.

5 Interesting rhythmic features

Brahms’ second symphony, and in particular its first movement, could be considered as an
extensive essay on hemiola technique. In fact, this technique is thoroughly applied during
the course of the whole movement, leading in various spots to rhythmic uncertainty.

It would be too long, and maybe meaningless for the purposes of this paper to name every
single bar in which this happens; I will therefore highlight the most exciting moments.

The first time in which the stability of the ¾ meter is undermined is seen in the continuation
of the first sentence (bb 20-31). The long descent of 1st violins and violas (later replaced by
the cellos for tessitura reasons), which evolves from the motto, soon displays a strong
hemiolic character, due to widening of the intervals and to the alternation “high-low notes”.

Ex.32

Example 32 shows the conflict between motive and barlines, between the “normal” ¾ and
the “hemiolic” ¾ (which is spread over two bars, and has strong accents on quarter notes 1-
3-5).
The exact same situation is again presented in the recap, but here the quarter notes are
replaced by eight notes (example 33).

Ex. 33

The same “hemiola over two bars” situation also prepares the entrance of theme 1B in the
exposition (bb 42-43 in the oboe and bassoon); if the case of example 32 leave space to
doubt and bilateral interpretations, bars 42-43 are instead crystal clear (example 34). Some
conductors (in my opinion rightfully so) chose to conduct these two bars as one (at half
tempo, of course) in order to stress the importance of the hemiola.

Example 34.

Bb 42-43 and their possible

interpretation.

As already mentioned before, the first transition brings up two new transformations of the
two main motives (horn and motto); they get one bar each (bb 66-71), and they stress
different beats within the bar, creating a 6/8 -3/4 feeling:

Example 35.

bb 64-71
The transition carries another remarkable hemiolic moment. Bars 78-81 have the function of
preparing the dominant of the 2nd theme key, f# minor.

The harmonic progression here used, is known as “omnibus”: starting from a V6/5, and
following a chromatic contrary motion of the outer voices, it reaches a root position of the V
in the same key (here f# minor); the straightforward progression has five consonant steps,
but here Brahms, in order to make it fit to the “double hemiola” (over four bars), adds an
extra resolution (moving also the inner voices) on the second last chord (ex 36).

Example 36.

bb. 78-91

The third theme is the one in which rhythmic uncertainty is playing a bigger role.

It already starts during the transition, with bassoons and violas (bb 114-117) playing an
hemiolic version of the “lullaby” upbeat.

From bar 118 on, everything becomes very ambiguous:

Example 37.

bb. 118-121

As you can see, the punctuation of the rhythmic figures chosen by Brahms doesn’t match
with the ¾ meter.

In bar 127 starts the long sentential 3rd theme. The 4 bars-presentation shows a
binary/ternary contrast (as seen before in the 1st transition):
 Example 38.

bb. 127-130

The register displacement (“high-low”) trick, gives us the feeling of an “hemiolic” 3/2 in bars
127-28, that is restored in bars 129-30 to a normal 3/4.

The 4 bars- sentential repetition starts of as the presentation, but it soon develops further
(from the last quarter note of bar 132); See example 39 for a proposal of rhythmic
interpretation of the passage (perception is crucial here, so it is more about what you feel
and why).

Ex.
39

bb.
131-
136

The metrical setting of bars 131-134, will contribute in shaping our perception of the
sentence continuation (135 on); let’s explain how.

The repetition of the basic idea starts as the presentation, with an hint of 3/2 ( b 131
strings); the last minim though (which should close the ideal 3/2 bar) becomes a dotted
minim, thanks to the prolongation of the last beat of bar 132. From there on, the possibility
for a listener of hearing a displaced ¾ (having its one on the second quarter note of each
bar) is highly probable. Nevertheless, Brahms shows us once again his incredible nuances
when it comes to ambiguous details; look at the brass: horns and trumpets are entering on
the same motive (eight note-two sixteenth note-minim) one quarter note later then the
strings, so creating an exciting but also confusing “delay effect”.

Let’s not forget that the chord on the last quarter note of bar 134 (marked Fortissimo, fully
orchestrated) has a very strong effect on the listener, which maybe rhythmically lost in the
previous bars, finally finds an anchoring point.

Taking into account everything we explained above, we easily can tell why many people tend
not to feel the G# in the celli, double basses and bassoons of bar 136 as the second beat of a
¾ bar (the way it’s notated), but rather as a first beat (if we follow the strings - see again
example 38) or as a third beat (if we follow the delayed brass and we hear the ff chord as a
downbeat).

The mystery is solved only pretty late, when the closing section starts: the weak cadence on
I6 (b 155) is still a little ambiguous (due to the 5+5 beats grouping – see ex. 40), but the
entrance of the “lullaby” theme solves any possible doubt.

Ex. 40

bb. 151-155

The development brings more rhythmically interesting moments. Two noteworthy ones are
the hemiola of bb 224-225 of the trombones (3/4-3/2), and the transformation of the horn
motive in the last section of the development (b 246 on, winds). This hemiolic version of the
horn motive, will come up once again, together with the deceptive cadence at the start of
the coda (bars 447-450).

An hemiola prepares also the beginning of the last section of the coda (bb 493-496), and
another one closes the movement, in bars 509-513.
6 Pedal points
A final small chapter is dedicated to the use of pedal points, another central feature of this
movement2. When looking closely, we actually see that pedal points are indissolubly
matched with the first theme; in other words, pedal points appear when the first theme, or
elements of it, are coming into play. In fact, pedal points contribute actively in the creation
of the pastoral atmosphere of the first movement (and especially of the first theme).

Let’s look closely into it. As just said, theme 1A stands completely on pedal points.

The pedal tones are A (bb 2-4), D (6-8), E (10-12) and A (14-23). All of them are supporting
harmonies on I and V in the respective keys of which they are tonic (D major for the A and D
pedals, E minor for the E pedal and A major for the second A pedal).

Theme 1B, for its first eight bars, also stands on a pedal point D (bb 44-50 starting in the
Horns/bassoons and then in the double basses).

At the beginning of the development, the “horn” theme is presented again (“quasi”
recapitulated, I would say), still accompanied by its pedal point (first on A, then on D –
sequential repeat); the harmonic background though, is now completely different (example
41).

Ex.41

Bb 183-90

Pedal points appear again in the last section of the development. The first is on note D, and
it lasts for 16 bars (246-261).

The second pedal point is on note A, and it lasts for 20 bars (262-281); if we add to that also
bars 282-289 (dyads) where A is the common tone between the two dyads F-A/F#-A, the
length of the pedal can be even extended. This long A pedal functions as a signal of the
imminent return of the recapitulated 1st theme.

2
Brahms has experimented other times with pedal point technique: the most remarkable examples are
probably:
-the fugue on Der Gerechten Seelen sind in Gottes Hand, und keine Qual rühret sie an, from part III of the
Deutsches Requiem op. 45, which is in fact a 36 bars-fugue completely standing on a tonic pedal point.
-The development section of the violin sonata n. 3, op 108: the whole section is standing on a dominant pedal
point.
The cadential progression which prepares the beginning of the recapitulation is also standing
on pedal points: notice the interesting harmonization of the “motto” (circled in red, played
by the trombones), basically standing on II7 (with a neighboring V6/4) and resolving plagally
on I 6/4 in bar 302.

Example 42.

Bb 296-302

In the recapitulated 1st theme, the periodical sentence presentation (302-317) enjoys the
same harmonies on pedal tones as the exposition, but the continuation take his own path.

Example 43 shows an harmonic reduction of bb 320-339: having left out the V over pedal I,
we only see the pivotal moments of the modulation, and therefore the role of the pedal
point in it (bass line of a “Monte 5-6” like progression).

Example 43.