Brahms: Exposition - Subject 1, Counterstatement, Transition

Question 1

Where is the Exposition?

Answer 1

Bars 62-185

Question 2

Where is Subject 1?

Answer 2

Bars 62-77

Question 3

What does allegro non troppo, ma con brio mean?

Answer 3

Fast, not too much, but with vigour

Question 4

What are the key characteristics of Subject 1?

Answer 4

Broad and distinctive

Question 5

What work is Subject 1 compared to?

Answer 5

Beethoven Symphony No. 9 mvmt IV; ‘Ode to Joy’ theme

Question 6

What are the similarities between Subject 1 and Ode to Joy?

Answer 6

1. Simple in style
2. Quite ‘religious’, folk/hymn like, broad
3. Use of opening dactylic rhythm (long short short/minim crotchet crotchet)
4. Repeated melodic supertonic at the end of the first 4-bar phrase
5. Similar harmonic profile
6. Stepwise/conjunct movement
7. Narrow range
8. Both in the major key

Question 7

How many phrases can S1 be divided into?

Answer 7

4

Question 8

How is the head motif referenced in S1?

Answer 8

The interval of a perfect 4th between the first two notes

Question 9

How is S1 accompanied?

Answer 9

Melody supported by horns and violas, with pizzicato string bass

Question 10

What harmonic characteristics do each phrase of S1 have?

Answer 10

Primarily tonic and dominant harmony in phrases 1 and 2 (only primary chords)

Music shifts into the keys of Am (bar 72) and G (bar 75) in phrases 3 and 4

Question 11

How does S1 end?

Answer 11

Perfect cadence in C major bars 77-78, overlapped by the counterstatement of S1

Question 12

Where is the Counterstatement of S1?

Answer 12

Bars 78-93

Question 13

What is each section’s role in the Counterstatement?

Answer 13

Counterstatement heard in woodwind

Light pizzicato in strings

Short rolls in timps

Question 14

How does the Counterstatement draw to a close?

Answer 14

Statement concludes with a crescendo over the final few bars

Strings revert to arco in bar 92 beat 4

Ends in a perfect cadence in C major (V7-I) bars 93-94

Question 15

Where is the Transition?

Answer 15

Bars 94-117

Question 16

What happens in the first two bars of the Transition?

Answer 16

Third statement of the theme at ff and labelled animato - though it soon fragments after this

Question 17

What key theme is heard in the upper strings and violas in bars 95-97?

Answer 17

Head motif - isolated and used in diminution

Question 18

What key theme is heard in the contrabassoon, cello, and double bass parts in bars 95-97?

Answer 18

Ascending scalic idea is reminiscent of Figure X inverted.

(Takes us briefly to G major)

Question 19

Where in the Transition is there a passing E minor modulation?

Answer 19

Bar 99

Question 20

What is different about bars 99-101 in comparison to bars 95-97?

Answer 20

No ascending scalic idea, and the S1 opening/head motif is now used in an ascending sequence

Question 21

What happens in bars 102-105?

Answer 21

Two violin descents spanning two octaves over the chords of D minor (102-103) and A minor (104-105)

These are counterbalanced in contrary motion by dramatically rising bass lines

Question 22

What key does the music move through in bar 102?

Answer 22

D minor

Question 23

What previous material can be heard in bars 106-110?

Answer 23

Bar 106 is reminiscent of bar 20 (ascending scales from Section A2 of intro)

Figure X is heard in inversion and diminution in bar 106 and then in imitation in bars 108-110

Question 24

Where is the Alphorn Theme within the Transition section?

Answer 24

Bars 114-117

Question 25

Describe how the Alphorn Theme is played in bars 114-117

Answer 25

First 4 bars of the theme

Played by original instruments that presented the theme - horn and flute

Horn imitates the flute line

Question 26

How is the Alphorn Theme in bars 114-117 accompanied?

Answer 26

Violins in descending semiquaver arpeggio figuration

Cellos + double basses add pizzicato support

Question 27

Describe the harmony in bars 114-117

Answer 27

Chords:
Bar 115: C#dim
Bar 116: Ddim
Bar 117: D7

The diminished harmonies of bars 115/116 lead to D7 in bar 117. This is chord V7 of G major, the key of S2