Chapter 37

SONATA FOR VIOLIN

AND PIANOFORTE

Of Brahms’s three Sonatas for violin and pianoforte, respec-
tively, in D minor, A major and G major, that in A major has
been selected to give some idea of his chamber music, on account
of the spontaneous appeal of its melodies and because its perfor-
mance is possible for fairly well equipped executants. In many
respects the D minor Sonata is the greatest of the three, but it
is a work exceedingly difficult of execution and interpretation.
The A major Sonata needs few comments, as the music speaks
for itself. The work is in three movements, the first in complete
sonata-form with the two customary themes, each of distinct
lyric charm and hence eminently suited to the singing qualities
of the violin; the second movement a fusion of the two normal
middle ones, and the Finale a Rondo, freely treated. The first
movement, Allegro amabile, begins with a suave theme,e.g.,

[Music]

the first interval of which, a descending leap from the third to the
leading tone, always seems to make a distinct appeal.[265] After
the customary transition appears the second theme, announced
by the pianoforte in measure 50,e.g.,

[Music]

showing Brahms’s fondness for contrasted rhythms—three notes