Brahms: Exposition - Subject 2, Closing Section

Question 1

What key is S2 in?

Answer 1

G major

Question 2

How is the theme in S2 accompanied?

Answer 2

With figure X used as an ostinato pattern in cellos and double basses

Question 3

In S2, how does the theme contrast the ostinato accompaniment?

Answer 3

Disjunct

Question 4

How does the S2 theme link to figure X?

Answer 4

It’s a disjunct arrangement of the notes from figure X - GF#ED reordered into EDF#G

Means both the ostinato and the melody are built from the same material

Question 5

How does bar 2 of the S2 theme develop from the first bar?

Answer 5

Decorated version of the initial four notes EDF#G

Question 6

What key does bar 122 hint at?

Answer 6

E minor (through use of D#) - relative minor of G

Question 7

How is the S2 theme developed in bars 124-127?

Answer 7

Flute and oboe enter with a continuation of S2 in bars 124-125

Violin 1 returns to the original subject material in bars 126-127, repeating bars 119-120 with slight decoration

Question 8

What happens in bars 128-129?

Answer 8

Woodwind pick up figure X with chromatic alteration

The descending 4-note motif moves up a 5th in the bass

Violin 1 ascends with purpose

Question 9

What interval is notable in the ostinato pattern in bar 129?

Answer 9

Augmented 2nd (Eb-F#)

Question 10

How is a sense of climax reached in bar 130?

Answer 10

High syncopated violin 1 part supported by quirky rhythms

Question 11

How can the ‘quirky rhythms’ in bars 130-131 be linked back to S1?

Answer 11

Feels like an accelerated version of the dactylic rhythms in S1 (long short short)

Question 12

What compositional techniques can be heard in bars 130-131?

Answer 12

Chromaticism
Inversion
Contrapuntal working
Contrary motion
Diminution

Question 13

What cadences can be heard in bars 130-132?

Answer 13

Imperfect cadences (I-V)

Bars 130-131 and 131-132

Question 14

How can the oboe part from bar 132 be described?

Answer 14

The second section of S2

Material has “developed into a real tune” (Broadbeck, 1997)

Quiet and gentle in character

Includes triplet rhythms as it moves upwards

Question 15

How is the oboe melody from 132 accompanied?

Answer 15

Viola part adds a distinctive syncopated rhythm which is almost a pedal note

Cellos and double basses play repeated dotted minim - crotchet pattern from 136 onwards

Clarinets and bassoons play slower moving chords from 136

Question 16

How can the oboe parts in bars 136-141 be described?

Answer 16

Chromatically altered passage

Contrapuntal texture - dialogue between 2 oboe parts

Question 19

What key is the Closing Section in?

Answer 19

E minor

Question 19

How is S2 developed at the start of the Closing Section?

Answer 19

S2 transformed in strings using diminution

Staggered entries: viola then violin 2 then violin 1

Question 20

What happens in bar 146?

Answer 20

Strings join together in a strong descending then ascending unison movement

Question 21

What does bar 148 reference?

Answer 21

Bars 22-24 of the intro - thematic version of this material

Question 22

What key does the cadential figure in bars 150-151 suggest?

Answer 22

D major

Question 23

Where does the music return to E minor in the Closing Section and how?

Answer 23

Bars 154-155

Two imperfect cadences (I-V) in Em, one in each bar

Question 24

What textural change can be heard in bar 156?

Answer 24

Orchestra subsides to leave the thematic material subdued in the oboe

Question 25

Which key is briefly suggested in bar 158?

Answer 25

D minor

Question 26

How does the triplet rhythm in violas in bar 156 grow?

Answer 26

Extends to be heard throughout the strings and in the bassoon

Question 27

What chord does the music arrive at in bar 160?

Answer 27

V9 in E minor

BDF#AC

9th (C) heard in oboe

Question 28

What happens in bar 162?

Answer 28

Flute takes over ‘sighing’ transformation of S2

Suggestion of G major

Question 29

What do bars 164-167 consist of?

Answer 29

Staccato triplets in strings with come imitation

Long-short rhythms in cello and double bass

Question 30

Describe bar 168

Answer 30

Emphasis on C major

Triplet rhythms harmonised in 3rds dominate the texture

Question 31

What happens in bars 170-171?

Answer 31

Figure X heard in oboes, clarinets, horns in E, and violas

Imitation in strings and bassoon

Question 32

What is a noticeable feature that bars 176, 178, and 179 have in common?

Answer 32

Syncopated leap

Question 33

What is bar 180-182?

Answer 33

Final accented version of S2

Question 34

What key does the Closing Section end in and when is this established?

Answer 34

E minor

Established bar 183

Question 35

How does the horn part at the end of the Closing Section reference previous material?

Answer 35

Plays rising 4th reference to opening interval of S1

Question 36

What chord does the Closing Section end on?

Answer 36

G7

Prepares for the return of the main theme (chord V7 of C major)