or faltering. This part of the work is not beautiful in
the popular sense of the term, but no one can fail to be impressed
with its character. A climax is finally reached, in measure 224, with
a fortissimo statement of the chief theme of the prelude, and then,
after this has cooled down, diminuendo e calando, the second theme
enters in the home key. The rest of the recapitulation corresponds
closely with the exposition. The Coda begins, in measure 306, with a
shadowy outline of modulatory chords, as if slumbering forces were
slowly awakening; and, becoming more crescendo and stringendo, reveals
its full glory at the Piu Allegro. This portion, based on quickened
phrases of the first theme, seems charged with superhuman energy, and
mounting higher and higher culminates in a majestic proclamation of
the choral-like motto of the prelude, _e.g._

[Music]

On hearing this it always seems as if the heavens above us really
opened. The rest of the Coda is a scene of jubilation with ever more
life and light. The dissonant tones of F-sharp and A-flat try to lift
their heads but this time are crushed forever by the triumphant
fundamental chords of C major, _e.g._

[Music]

The movement, in keeping with its serious message, ends with a
prolonged and brilliant Plagal Cadence in which the double basses and
the trombone surge upward with elemental power.

SONATA FOR VIOLIN AND PIANOFORTE

Of Brahms's three Sonatas for violin and pianoforte, respectively, 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 performance 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 appear