Formally, the first movement of the Quintet is of considerable interest. The interest is generated not by a problem in determining the overall form, for that is clearly sonata form. Rather, it is in determining the exact location of the main sections and subsections within the sonata form. The sections which will most concern our discussion are the introductions, the exposition and the developmental section. I say introductions as plural as it appears actually be two sections of music. These two sections function as two separate introductions under the guise of one. If we were to examine the score only from its graphical appearance, we would quickly conclude that the double bars at the of measures 4 and 70 suggest an introduction (excluding
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This restatement would result in the material seen in the second graphic of music. The arrows between the second and third graphic of music clearly show measures 3 and 4 relate to measures 1 and 2. Their melody contour is almost exactly the same, and aim towards a similar resolution in both instances. Something interesting to point out here is that we do not begin the piece in the tonic harmony, but rather its relative key of D major. These three thematic ideas (a sixteenth note turning figure, a more lyrical figure based off the same material, and a rhythmic syncopated accompaniment) are used throughout the first movement. Additionally, almost all of the material is derivative of this material in some way. The implications of this conclusion will be built upon later in this …show more content…
For a brief moment, the listen may think Brahms repeated back to the introduction material. It begins almost exactly the same, with the clarinet following the ascending eighth note motive. In measure 75, Brahms begins to play with the sixteenth note figure from measure 1, only this time the cello is the first initiate it. The figure is passed to the first violin soon after, and in measure 79 it sees a rhythmic retardation. The dotted quarter followed by the sixteenth note turn becomes a dotted quarter followed by a quarter and an eighth note, which then becomes two dotted quarter notes. The piece then begins its development
This restatement would result in the material seen in the second graphic of music. The arrows between the second and third graphic of music clearly show measures 3 and 4 relate to measures 1 and 2. Their melody contour is almost exactly the same, and aim towards a similar resolution in both instances. Something interesting to point out here is that we do not begin the piece in the tonic harmony, but rather its relative key of D major. These three thematic ideas (a sixteenth note turning figure, a more lyrical figure based off the same material, and a rhythmic syncopated accompaniment) are used throughout the first movement. Additionally, almost all of the material is derivative of this material in some way. The implications of this conclusion will be built upon later in this …show more content…
For a brief moment, the listen may think Brahms repeated back to the introduction material. It begins almost exactly the same, with the clarinet following the ascending eighth note motive. In measure 75, Brahms begins to play with the sixteenth note figure from measure 1, only this time the cello is the first initiate it. The figure is passed to the first violin soon after, and in measure 79 it sees a rhythmic retardation. The dotted quarter followed by the sixteenth note turn becomes a dotted quarter followed by a quarter and an eighth note, which then becomes two dotted quarter notes. The piece then begins its development