COMPARISON OF CERTAIN SONATAS 
 OF BEETHOVEN AND BRAHMS 
 
 BY 
 
 GLADYS STEGENGA 
 
 THESIS 
 
 FOR THE 
 
 DEGREE OF BACHELOR OF MUSIC 
 
 IN 
 
 MUSIC 
 
 SCHOOL OF MUSIC 
 
 UNIVERSITY OF ILLINOIS 
 
 1922 
 
UNIVERSITY OF ILLINOIS 
 
 .June. _ 8 . i92_2__ 
 
 THIS IS TO CERTIFY THAT THE THESIS PREPARED UNDER MY SUPERVISION BY 
 
 Gladys __S £_e genga. 
 
 ENTITLED CDMEARIH01L-aEl-£lEP-TAlH--aaMTAS---0E.-BEETHO.VEIJ 
 
 AUH-BHAHMS. 
 
 IS APPROVED BY ME AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE 
 DEGREE OF ___BaciielcjL-D£-j4u£Lic._in_iius.ii3. 
 
Digitized by the Internet Archive 
 in 2016 
 
 https://archive.org/details/comparisonofcertOOsteg 
 
COMPARISON OP CERTAIN SONATAS OP BEETHOVEN 
 
 AND BRAHMS 
 
 Outline 
 
 I. Introduction 
 
 A. Brief resume of history of sonataform up to 
 the time of Beethoven. 
 
 II. Beethoven 
 
 A. Special characteristics of style. 
 
 1. Grandeur and power. 
 
 2. Completeness. 
 
 3. Methodical. 
 
 4. Romantic expression. 
 
 B. Sonatas 
 
 1. Op. 2, #1, for Pianoforte. 
 
 2. Pathetique, for Pianoforte. 
 
 3. Op. 31, #2, for Pianoforte. 
 
 III. Brahms 
 
 A. Influences of contemporaries. 
 
 B. Revival of long formal composition. 
 
 C. Treatment and expressive qualities. 
 
 D. Sonatas 
 
 1. Op. #1, for Pianoforte. 
 
 2. Op. #99, for Pianoforte and violoncello. 
 
 3. Op. #108, for Pianoforte and violin. 
 
 IV. Conclusion 
 

 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Before considering a direct and intensive comparison 
 of the sonatas of Beethoven and Brahms with respect to 
 their use and application of the theme proper, it may be 
 well to go briefly over the history of the sonata-form as 
 it existed before the time of Beethoven. 
 
 It is conceded and understood by all well-versed musi- 
 cians that the sonata is the highest, greatest, and most 
 original production in the province of pianoforte music. 
 
 Music, in the course of its development, has developed through 
 such forms as the Study, the Fantasia, the Variation, the Ron- 
 do, and thus on to the sonata, which in a certain sense is a 
 combination of different forms. This is the explanation 
 Marx gives to the development of the different forms of music 
 writing in his "Compositions Lehre." Others, considering the 
 subject, arrive at similar conclusions as to the course musi- 
 cal forms have followed. Some trace the development through 
 preludes and dance forms; others through fugues; and still 
 others through song. 
 
 ^n the sonata all of these forms occur, which only goes 
 to prove that it grew from these forms and is almost a col- 
 lection of them. ^-ost sonatas, it has been found, contain 
 three or four movements, the strict son&a-form as such con- 
 stituting the first movement of the collection called sonata. 
 Two-part movements on the other hand, as well as sonatas con- 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
2 
 
 taining more than four movements, have been found just as prac- 
 ticable and justifiable as a form. There is more or less 
 freedom in the sonata, and it is only distinguished from other 
 musical forms by the usual names and prominent features of the 
 collection of movements. The "Andante" or "Adagio" movement 
 appears in almost every sonata, and is one of its most dis- 
 tinguishing features. 
 
 This model of musical form, the sonata, has become very 
 popular since its beginning. Many writers are at their best 
 in this form, because it is a set form, almost written from 
 outline. An that is lacking is the suggestive idea or inspir- 
 ation. indeed, like the fugue, a sonata could almost be 
 written and developed from a single idea providing the subject 
 or theme. 
 
 Kbstlin says the object of the sonata is to display a 
 rich, expressive and subjective state of feeling, whether this 
 flows forth in a rich full stream of emotional images, or 
 whether it shows in the form of a great tone-picture, one of 
 the different phases of the prevailing sentiments of the emo- 
 tional life. 
 
 Sonatas, since their beginning in about 1690 have been 
 treated for violin and pianoforte by such writers as Johann 
 Kuhnau, predecessor of Sebastian Bach. The style has always 
 been more or less polyphonic, consisting of a quick, a slow, 
 and then a quick movement. 
 
 Scarlatti, after Mattheson, takes away the severe poly- 
 phonic element from the form, giving it, after several other 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
3 
 
 developments of a minor nature, a regular and reasonable shape. 
 
 Durante, also, is to be mentioned in connection with the 
 development of the sonata-form. He, like Scarlatti, introduced 
 more of the homophonic style. According to Elterlein, the son- 
 atas of Durante are "free, natural, valuable, and intelligent," 
 while written in transitional style between the song and the 
 sonata-form. 
 
 Sebastian Bach, the next great writer in line is said to 
 be far superior to Kuhnau and Scarlatti in richness and freedom 
 of command, combining several novements into a whole. He is con- 
 sidered the intervening transitional step. 
 
 From the middle of the 18th century until the death of 
 Emanuel Bach in 1788 was considered the beginning of a new per- 
 iod for the sonata, when it acquired a regular and satisfactory 
 form, and interpretive quality. During this period appeared 
 the movements with one or more themes employed, rather in comple- 
 ment to the first theme than contrasting to it. Emanuel Bach 
 was the fore-runner of Haydn in both form and the matter of his 
 works, using chiefly the movements "Allegro", ( sonata- form), 
 "Andante", (song form), and "Presto" (rondo-form). 
 
 The sonata in the following period was considered epoch- 
 making, receiving a new life and impetus, making more perfect 
 and important the repetition of theme in the first and third 
 movements. Haydn, in keeping with his well-known traits, gives 
 the form more freedom, more jest and humor, and more an evidence 
 of its being the product of emotion as a means of expression. 
 Mozart further adds character to the artistic side of the form. 
 

 
 ' 
 
 
 
 
 
 
 
 
 , 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 
 
4 
 
 These two writers, Haydn and Mozart influenced to a great 
 extent the works of the master, -Beethoven. On the foundation 
 built by his fore-runners, Beethoven based his production in 
 sonata-form. His mode of expression, his conception of the 
 idea and its working out, the whole tenor of the composition, are 
 far superior to any of his contemporaries. Beethoven, in his 
 writing as well as in his personality, possessed a strength, 
 artistry, and grandeur which can hardly be compared with in any 
 other composer to this day. As the transition from the classic 
 to the romantic, his music embodies a power of expression and 
 appeal hardly equalled before or surpassed since. It all shows 
 his personal touch and reflection of soul. He employs all pos- 
 sible means of clearness of expression. Beethoven's range in 
 the realm of the sonata is almost as great as his range in the 
 symphonic form. His works for the symphony orchestra are great 
 masterpieces, while the sonatas are said to be reflections of 
 his innermost being. 
 
 Through Beethoven' s first period, that period influenced 
 by the works and styles of Haydn and Mozart, he shows a sort of 
 simplicity, a sticking to form as form, and writes more or less 
 in the style of those predecessors. Nevertheless his individu- 
 ality creeps out and in his second period this feature is very 
 marked. He withdraws from these previous influences and is 
 more independent in his expression. From the time Beethoven 
 was thirty years old until he reached the age of forty-four, he 
 had a perfect balance of the faculties of conception and expres- 
 sion. The third period, after his forty-fourth year, shows the 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
5 
 
 culmination of his ability, the most wonderful powers of any 
 writer. Beethoven here shows the development of a style not 
 to be compared with in any other composer. There is a profound 
 depth of feeling, a complete mastery of the art of writing, a 
 perfect comprehension of the beautiful, and finally, a power to 
 convey his thoughts and ideas to others. 
 
 In our present study, the aim is to show the difference 
 between, and make a comparison of, the work of Beethoven and 
 Brahms, in the source, use, and treatment of the sonata subject 
 or theme • 
 
 Following the works of Beethoven in chronological order, 
 we shall consider first those of his first period, that period 
 showing the influence and characteristics of Haydn and Mozart. 
 Sonatas from ^pus #1 to Opus #10 are included in this period. 
 
 Sonata, Opus 2, #1 has an opening theme in f -minor tonic. 
 
 
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 The fact that it is based mainly on the tonic chord of the 
 key gives it a firmness and settled state right at the start. 
 The repetition in measures three and four of the same theme on 
 the dominant again helps to fix the key in the hearers' minds. 
 The accentuation here of the leading tone is another feature 
 adding to its simplicity and firmness. Measures five and six 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
6 
 
 give a repetition of the triplet figure found in the dimeters 
 just preceding. The ff tonic chord in measure seven proves a 
 sort of climax within the theme and serves as an effective con- 
 trast to the pianissimo monometer following, which, left by the 
 unresolved leading tone, emphasizes in a quiet, simple question, 
 the seeking atmosphere of the entire subject. 
 
 The use of the triplet figure in neighboring tones is not 
 very elaborate musically, but in its simplicity and repeated use 
 accentuates the staccato notes it neighbors, and proves the ques- 
 tion mark of each separate phrase. 
 
 The subject next appears in the key of c-minor, the key of 
 the dominant. 
 
 The sub- the me, appearing in the key of A-flat major, based 
 on the minor dominant ninth appears to be an inversion of the 
 main theme in its general motion. The quick triplet form is 
 omitted, and a repeated figure of three eighth-notes is used in- 
 stead. 
 
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 Even with these slower triplets, the restless spirit of 
 the movement is not impaired, for the Allegro form, in spite of 
 its tonic firmness, continues restlessly, brought out still a 
 little more by the frequent rests before the three tones appear. 
 
 The closing theme diverges greatly from the use of the 
 chords of the previous themes, it being built up entirely differ 
 ently, principally confirming the cadence in A-flat major. The 
 

 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
7 
 
 use of the grace notes serves to bring out more noticeably the 
 other tones of the theme. 
 
 In the development group both subjects are referred to, the 
 M. T. in the key of A-flat major, and the S* T. in the key of 
 B-flat at the first, and the closing theme appears in F. 
 
 Throughout the Adagio movement there is a quiet and peace- 
 ful atmosphere with still a little of the seeking in the repeti- 
 tion of its themes. The Adagio is conceded by some to be a modi' 
 fied sonata-form in itself. 
 
 The %nuetto Allegretto of the third movement brings back 
 the restlessness and uneasiness of the first movement, while in 
 the fourth movement, Prestissimo, the idea of the whole sonata 
 rises to a climactic storm of troubled feeling. This Finale 
 shows Beethoven as he appears in his later works. There is a 
 strength or power which is not found in his works written under 
 the influence of Hadyn and ^zart. 
 
 The romantic element and later Beethoven style begins to 
 show itself even during his first period in particular passages 
 of his first sonatas. 
 
 In the Bathe tique sonata, classed by some as in the first 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
8 
 
 period of his works, Beethoven uses an introduction, striking, 
 emphatic, and brilliant, in c-minor, after which follows the 
 main theme in the same key. This theme differs from the M. T. 
 of the sonata previously discussed, in that it diverges more 
 from the tonic chord tones. Beethoven has become more daring 
 and free in his choice and selection of melody. He seems to 
 write more unconsciously, that is, his work becomes more and 
 more the result of inspiration, rather than of applied effort. 
 
 
 
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 This theme, here given, differs too in that the time values 
 used show more freedom and flexibility, the result again of in- 
 spiration and a natural effort at expression. The sf at' the 
 end of the first trimeter, measure three, brings contrasts and 
 relieves a possible monotony which the scalewise progression in 
 the theme might bring. 
 
 The grand crescendo in the corresponding place in the second 
 division of the theme, in measure five, a repetition of the sub- 
 stance of the first division in the octave above, is very strik- 
 ing; showing too the natural emotion of the theme as a result of 
 inward feeling of the composer. Analogous with expression in 
 literature, emphasis is brought about by repetition. Then the 
 slow and gradual working down again to the tonic in the middle 
 

 
 
 
 
 
 
 
 
 
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9 
 
 range, half way between the tonic at the beginning of the first 
 theme and the tonic of the climax, is a splendid example of the 
 grandeur of -Beethoven’s writing. 
 
 The subject is then repeated in its original form and har- 
 monic structure. After a number of development measures, dealing 
 in part with a thematic repetition of the M. T. , the 3. T. is 
 brought in in measure forty-one. It enters in soft marked tones 
 in the key of e-minor, repeated in the same key and then brought 
 out in E-flat major. 
 
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 Here Beethoven seems to return to his simple style, mono- 
 metrical figures combined, and in the use of the tonic chord with 
 occasional passing tones. The use of the mordant in measures 
 forty-seven and eight introduces nevertheless a freedom charac- 
 teristic of the approaching period. The use of the staccato 
 in this S. T. introduces another form of contrast and emphasis. 
 The sf in measure forty-three, closly followed by the sf in the 
 next measure provides a sharpness and accent which is very in- 
 teresting. Although the use of the sf has become very popular 
 and effective, it is not often that it is so closely followed 
 by another and then suddenly left with a pianissimo. But, when 
 one has studied Beethoven' s sonatas, his symphonies, and ensemble 
 works, these little so-called tricks are no longer surprising. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
10 
 
 '•‘•'he performer must needs watch very closely the marks of ex- 
 pression which Beethoven has used in his compositions, in order 
 to get the proper effect, and a pianissimo sometimes appears 
 where it is least expected. 
 
 The closing theme in E-flat major shows the use of chromatic 
 progression leading to the sub-dominant and then through the 
 dominant back to the tonic and repetition. The dominant sf in 
 the left hand contrasts well with the pianissimo introduction of 
 the theme again. 
 
 tone, brings a sort of rhythmical combination, later used to a 
 great extent. u sed in its most extreme form today, this use of 
 held tones would be called syncopation. 
 
 Opus 31, #8 of Beethoven's sonatas may now be examined fol- 
 lowing in order those which show the development of his art. 
 
 This sonata in d-minor receives much different treatment 
 from any of the others herein mentioned because of the differ- 
 ence in its rhythmic and harmonic values. Rhythmically it is 
 quite complicated, and harmonically it is individualistic, show- 
 ing that trait of Beethoven which is so distinguishing. 
 
 The opening pp arpeggio chord is accented only in the high- 
 est tone, a half note, and held. The following quarter notes 
 
4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 i 
 
11 
 
 afford quite a different kind of development from anything 
 we have found thus far. They fix the dominant of the key quite 
 definitely. The eighth notes used in the following monometers 
 
 to he brought out in this repetition, and the tone is fixed 
 before the accent is made. 
 
 In the intervening group between the main theme and sub- 
 theme this eighth note figure treatment is continually used, al- 
 most sequentially, and then leading up with chromatics the ac- 
 companiment to the sub-theme, begun fortissimo. The eighth note 
 pairs used in the first section should be distinctly and care- 
 fully phrased so that the right effect is gained. The staccato 
 left hand part only seems to make the eighth note figures more 
 quick and accented. 
 
 In the sub-theme, which is built on the tonic for left 
 hand, the right hand plays another small theme while the funda- 
 mental of the tonic chord is held for three measures. The same 
 left hand figure now reappears in the dominant seventh chord, 
 being held on the fifth of the chord for three measures while 
 the right hand figure is introduced again. In both these ap- 
 pearances of the theme, there is a quiet triplet accompaniment 
 in the medium register. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 Then continues an extensive development section on the Heft 
 hand figure of the sub-theme and the eighth^ note figure of the 
 first theme. ^t is quite delightful in its content, interest- 
 ing and bright. The accompaniment figure of triplets does not 
 even prove at all tiresome as it might seem. The continual use 
 of the sub-theme in the right hand tones, and the accent and ff 
 for the left hand, put the triplet fora in as a quiet background. 
 
 Dickinson, in his History of Music, says that all Beethoven's 
 sonatas from Opus 26 to 90 show a complete mastery of his art. 
 
 H© has gotten away from early influences and shows his individual 
 personality and rower of expression in all he writes. H^g atti- 
 tude and aspirations were high and he was among the most versa- 
 tile of all music writers, portraying in his music almost every 
 mood or emotion imaginable. His last sonatas show him the mas- 
 ter of the form, '^here is an unquestionable unity in the usual 
 four movements, while the first is generally conceded to be the 
 only strict sonata-form movement of the four. 
 
 The next composer to appear prominent and important in the 
 use of the sonata-form was Brahms. Unlike Beethoven, he was 
 not aggressive only as his contemporaries brought him to the 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 , : 
 
12 
 
 fore. It is said by some writers that if it had not been for 
 the rivalry which Brahms was led to against Wagner , that he 
 might possibly have never come before the public as a musician 
 and composer of repute, ^his rivalry was the cause of the back- 
 ing and support he received by the agencies pitted against Wag- 
 ner; and it was also the reason for many of his compositions, 
 the impetus, if not the inspiration, which lay back of his ef- 
 forts • 
 
 Brahms, says Niecks, was a composer of absolute music in 
 his belief in the power of expression in music without text. He 
 wrote in many forms, and the first since Beethoven, he wrote in 
 consistent formal beautiful style. Bong compositions, such as 
 his sonatas were not tiresome, a fault which accompanied much of 
 the music of the time. On the contrary, they were worked out 
 in just as interesting a way as those of the great Beethoven. 
 
 Brahms, however, did not seem to have the great spirit of 
 grandeur in his works, such an evidence of power and intense 
 feeling, which Beethoven possessed. 3rahms, in relation to 
 his contemporaries, did not have the great impulse and talent 
 which Beethoven did. Brahms was usually satisfied with his own 
 enjoyment derived from his music, and was particularly reticent 
 when questioned or interviewed on his methods and practices. 
 
 In all his compositions, we find only one or two which have a 
 name or title other than the name of the form, that is, symphony, 
 trio, intermezzo, etc. 
 
 In the consideration of Brahms' sonatas we shall take first 
 of all his only piano sonata, the one in C-major. The first 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
14 
 
 movement. Allegro, introduces the first theme in very pro- 
 nounced form. What can be more effective or distinguishing 
 than a theme brought out in octave chord form, built on the 
 fundamental tone of the key and moving about it? Considering 
 this, and in contrast with those themes of Beethoven's we have 
 gone over, the theme here appears in a very strong manner. We 
 
 do not find the quietness and variety in expression which accom- 
 panies all of Beethoven’s introductory themes. instead, Brahms 
 uses a theme in staccato fortissimo passage. The use of the 
 half note trilled in the sixth measure provides a strong lead- 
 ing tone to the change of key, the key of the dominant. The 
 repetition of the eighth note figures in measures six and seven, 
 using again the leading tone of the transitonal key, helps to 
 place it. Measure five might be called the rising action in 
 the employment of scalewise quarter notes leading up to the 
 climax of the leading tone and fundamental. In Beethoven's 
 Pathetique the same scalewise progression is used toward the cli- 
 max in measure five of the example previously given. This cli- 
 max, however, is not quite as striking as that of Brahms' in the 
 theme we are at present studying. In Brahms we have a climax 
 laying particular stress on the leading tone, the effect entirely 
 brilliant and certain in a way. While the use of the similar 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
 
 
 
 
 
 
 
15 
 
 passage in Beethoven is a little monotonous because of its repe- 
 tition, because of its quietness, and because it is not so ful- 
 ly harmonized and accompanied. Beethoven shows a quieter and 
 more expressive nature in his use of the theme. Brahms is more 
 decided, marked, and emphatic. 
 
 Following through the key of G-major, the theme reappears 
 in exact repetition in the key of B-flat major, returning again 
 to C-major through a succession of octaves in downward progres- 
 sion in the dominant- seventh of the key. The original theme 
 is imitated by monometric thirds in the bass, and after two 
 measures an inkling of it is found in the right hand. The sf 
 chords in measures 25, 26, and 27, of this sonata reiterate the 
 two tones coming before the rests in the original theme. Here 
 too, the treatment may be regarded as fugal, that is, from 
 measure 17 through 25. 
 
 In measure thirty-eight we find a second theme appearing 
 in C-major and then working through a minor key back to the 
 major again. In this answering theme, as it is called, reap- 
 
 pears the quiet sort of theme most noticeable and characteris- 
 tic in the sonatas of Beethoven. The rhythmic form also is 
 quite broken up, making it more interesting. The theme, thus, 
 is divided into three parts, admitting of more accent with the 
 same rhythmical devices used in each division. However, the 
 

 
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16 
 
 theme as a whole remains quiet and expressive throughout until 
 its development group begins with a crescendo , continuing as a 
 quick and interesting group. 
 
 With measure 51 another theme comes in which might be calL- 
 ed a closing theme, according to the general division marked 
 throughout the sonata. -Beginning very softly, the whole tone 
 in each measure is a point of central attention forming a dis- 
 tinct foundation and background to the melody weaving above it. 
 
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 redundant, the half notes prove, in con- 
 
 nection with their repetition or echoing in the bass, to be 
 quite accented. Here Brahms comes as close to following out 
 the characteristic features of -Beethoven's thematic treatment, 
 as he verges from it in other works. The expression, although 
 lacking the usual surprises of Beethoven's markings, is much 
 the same in its general effect. Bike Beethoven, Brahms has put 
 colour into this particular theme, not by virtue of the leading 
 of the tones to a point of climax, but by the repetition of the 
 tetrameter in a little different form. Here, the second divi- 
 sion, although the melody is changed, seems to be a repetition 
 of the first in that the rhythmic form of the first is used in 
 its exact form. The tempo is changed only in the last measure. 
 
 The development section of this sonata is very long, and 
 

 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
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 r 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
17 
 
 the different subjects appear in different forms. The third 
 theme appears first and in single voice in the key of E-flat 
 major, a part of the theme appearing in left hand octaves 
 about six measures later. -Now it appears in ff octave chord 
 form in the right hand in the key of G-flat major. About four- 
 teen or fifteen measures of modulation intervene, and then ap- 
 pears the suggestion of the first theme in left hand octaves, 
 appearing again in the right hand, and again in the left. 
 
 The fugal form of certain parts of this sonata show itself 
 in the return and treatment of the second theme in the key of 
 D-major . 
 
 It is to be rendered with great expression, which takes 
 away considerably from the complicated fugal idea portrayed in 
 its form. The mf second appearance comes out strongly against 
 the p of the first, and serves as a pronounced reiteration of 
 what has come before. 
 
 In the reappearance of the first theme (page nine) we find 
 a treatment not occuring before in our study, ^ere, instead 
 of the tonic chord, we have the dominant- seventh in the key of 
 F-major, reverting again to the tonic in C. The end of the 
 theme is exactly as it was in the entrance. The second theme. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 
 
 
 
18 
 
 following, appears in E-flat major, passing through c-minor 
 back to E-flat major. The third theme too, enters in a differ- 
 ent key than previously, that is, in E-flat major, later in A- 
 flat major, and then in A-major an intimation of the very first 
 theme comes near the close of the first movement. 
 
 Brahms' "Zweite Sonata" in E-major for piano and violon- 
 cello is the next we shall take up in our study. 
 
 Since the violoncello is capable of such varied expression 
 and of such high emotional quality we shall probably find this 
 sonata very similar in its general import to those of Beethoven. 
 The effects perhaps will be quite similar and unmistakably 
 Beethovenistic • 
 
 The theme is introduced after a short pianissimo passage 
 by the piano, the accompanying instrument. It appears first 
 with a fortissimo, and there are no markings of expression ex- 
 cept the swell, and phrase slur. 
 
 *4 4 - ^ 
 
 f - 
 
 
 
 S4- 
 
 
 rf 
 
 r> 
 
 \ * 
 
 t I. 
 
 i -j- 
 
 M- 1, 
 
 
 M- IS 
 
 . T 
 
 V/- 
 
 
 / f 
 
 ~ — r 
 
 I v 1 
 
 1 f 
 
 T-p 
 
 
 T r 
 
 *' V 
 
 T 
 
 — \ V- 
 
 
 f — 
 
 7V 
 
 
 
 1 1 - 
 
 r 
 
 
 
 y 
 
 (V — Fa — - 
 
 1 
 
 / V 
 
 
 
 
 
 
 \ *■ 
 
 V 
 
 1 
 
 I "2 3 4 -T 6 'it 
 
 The theme continues through eight measures, the most com- 
 mon length of a theme. 
 
 Then in the ninth measure the first two measures of the 
 theme reappear an octave lower. In the eleventh measure and 
 
 continuing through the thirteenth and part of the fourteenth is 
 a repetition of the original theme in part. Through the next 
 eighteen measures follows a transition and elaboration toward 
 the key of C, and the appearance of the second subject. In 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
19 
 
 this division we find the piano accompaniment echoing the cello 
 solo in a very effective manner. 
 
 The first theme of this sonata shows a much freer use of 
 tones and intervals than Opus #1 for pianoforte does. Although 
 the theme begins with an accentuated fundamental preceded by the 
 fifth of the chord in 16th note, the next 16th note, following 
 the rest, a flat 3rd of the chord, might give the hearer the minor 
 attitude. If it were not for its very slight duration and seem- 
 ing unimportance, this might be true. Regardless of the fact 
 that Brahms here uses unusual intervals, it may be noted that all 
 accented tones in the theme are members of the fundamental chord 
 in F -major. The new intervals used, therefore, are somewhat lost 
 by their position. 
 
 The second subject of this sonata appears first in the piano 
 part in the key of C-major. 
 
 It appears first with fortissimo dominant, and works down 
 to the tonic with accents on the second counts of measures thir- 
 ty-four and thirty-five. These accents on the appearance of the 
 tonic chord serve to plant it firmly in the hearer's mind while 
 the unusual accent proves a point of interest. 
 
 The harmonic structure in measures thirty-six and thirty- 
 seven is different from anything we have found thus far in 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
20 
 
 Brahms. It shows a liberal style and thought, and a freedom 
 from the commonly employed harmonies. The triplets in the left 
 hand against the eighths in the right, too, are unusual rhythmic- 
 ally. 
 
 The theme then is employed by the cello in the octave below 
 and in almost exact repetition. The same marks of expression are 
 used, the crescendo in the fourth full measure of the theme being 
 doubly emphatic with piano accompaniment. 
 
 There follows after the two appearances of the second theme 
 a long transitional group to the key of A-major. In this group 
 the transition is brought about mainly by the free use of chro- 
 matics. Here it would seem that Brahms is a little superior to 
 Beethoven. -Brahms seems to make a daring jump from one key to 
 another, while Beethoven's transitions show much painstaking 
 throught and deliberation. 
 
 With the key of A major appears an augmentation in part of 
 the first theme, the skip downward being an octave and a sixth, 
 whereas in the first appearance the interval was only a sixth. 
 
 -A & £ — ^4-^1 — : U — 
 
 J 3_! 
 
 
 
 -4 ,, % 1 1 ^ k-_ 
 
 
 5 
 
 
 
 
 
 w 
 
 —i r * 
 
 
 
 
 
 
 — 
 
 
 
 
 # 
 
 
 
 6 
 
 , 
 
 <3 
 
 l— J = 
 
 Throughout the rest of the A-major section, there follows 
 a transition to the key of F -major, brought about mainly by the 
 use of free chromatics and unusual harmonies. Brahms shows in 
 this sonata his close relationship to modern composers and styles. 
 He combines the old with the new in that he uses the old formal 
 style and the new free harmonic combinations. The second theme 
 reappears in this division in F-major. There is also a repeti- 
 

 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
21 
 
 tion of the first theme in augmented form. 
 
 In sonata ^pus #108 for piano and violin, Brahms becomes 
 somewhat reminiscent of the style of Beethoven. The first theme 
 appears in violin part in sotto voce ma expressivo, much as 
 Beethovenfe sub jects begin. In the swell on the unaccented beat 
 
 in measures 3, 4, 7, and 8, we are reminded again of Beethoven 
 because of the fact that it is an unexpected development of a 
 tone which acts as an embellishment or passing tone. In Brahms, 
 however, we might say the marks of expression are unusual rather 
 
 rfr--,, «• 
 
 H 
 
 - -i 
 
 rf 
 
 -p-* t- 
 
 ^ — h 
 
 -e 
 
 
 f 
 
 * 
 
 — • 4 
 
 p- , 
 
 
 j 
 
 
 L. 
 
 i 
 
 1 ^ 
 
 
 1 i i ^ 
 
 
 
 
 
 
 
 
 
 
 U — 
 
 iatti roc.e KiJ ^ 4 > 
 
 than unexpected. In Brahms we do not find the figure that 
 Beethoven so often employs, that of the fortissimo directly fol- 
 lowed by the pianissimo, with no gradual change. Instead, Brahms' 
 unusual employment of irregular accents and swells is to be 
 noted . 
 
 Brahms differs greatly from Beethoven in the treatment of 
 his long form. Beethoven follows a consistent line in each of 
 his sonatas, while Brahms, especially in his Opus #1 for piano- 
 forte, is not very consistent in thought, that is, there is no 
 set outline for his composition. Beethoven's methodical trend 
 of mind shows itself in the form of his composition, without in- 
 juring it or making it mechanical. Brahms, after his first an- 
 nouncement of a theme, puts in an inkling of one every now and 
 then, just as a reminder of the important or outstanding part of 
 it. These reappearing figures do not usually return in the 
 same order as the themes of which they are a part. Withal, the 
 

 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 * 
 
 I * 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
22 
 
 picture drawn is as beautiful in most respects as the music 
 of Beethoven. In sonatas, Brahms does not show the scope, the 
 grandeur, the ease, the power, or the command of Beethoven. 
 Nevertheless, to the average hearer, there appears to be no ap- 
 preciable difference. Brahms does not represent a turning point 
 in musical history, but he revives the formal composition which 
 Beethoven had previously established. 
 
 Brahms may show a little more freedom in the choice and com 
 position of his thematic material , while Beethoven shows it in 
 his power of expression. There is nothing hard or harsh in 
 Beethoven's sonatas, while Brahms' make one feel a strained at- 
 tempt at grandeur. Brahms shows inspiration tainted by effort, 
 while Beethoven, in his individualistic style, depended solely 
 upon inspiration and emotion. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Bibliography 
 
 Mathews : 
 
 Miecks: 
 
 Dickinson: 
 Stanford-For sy th : 
 Pauer : 
 
 Stanford: 
 
 Carl Merz: 
 
 Elterlein: 
 
 H. A. Warding: 
 Faulkner, Anne Shaw: 
 Erb : 
 
 G-oetschius : 
 
 Music, Its Ideals and Methods. 
 Programe Music. 
 
 History of Music. 
 
 History of Music. 
 
 The Beautiful in Music. 
 
 Music Composition. 
 
 Music and Culture. 
 
 Sonatas - Beethoven. 
 
 Analysis of Form. 
 
 What we Hear in Music. 
 
 Brahms . 
 
 Homophonic Forms of Composition. 
 
 Beethoven sonatas, volumes one and two, for pianoforte. 
 Brahms sonatas, Opus #1, for pianoforte, Opus #99 for 
 pianoforte and violoncello, and Opus #108 for pianoforte 
 and violin.