s the second theme, announced by the
pianoforte in measure 50, _e.g._,

[Music]

showing Brahms's fondness for contrasted rhythms--three notes to a
beat in one hand against two in the other. After a repetition by the
violin there is a spirited closing theme in measure 75, of great
importance later. The Development, one of Brahms's best, manifests
real organic growth; there is nothing labored or perfunctory. It is
based on the first theme and the closing theme of the Exposition,
_e.g._

[Music]

[Footnote 265: It is used at the beginning of three other well-known
melodies, _e.g._, the slow movement of Beethoven's _Ninth Symphony_,
in the middle part of Schumann's _Aufschwung_ and in the first phrase
of Wagner's _Preislied_.]

The Reprise beginning in measure 158, shows the usual treatment. The
Coda, from measure 219, is long and, like codas of Beethoven, has
features of a second development. The movement ends with brilliant
arpeggios in the pianoforte against octaves and double stops in the
violin. In the second movement, Andante tranquillo, in F major, Brahms
fuses[266] together the moods usually associated with the slow
movement and the scherzo, playing one off against the other; the slow
theme appearing three times--at its final appearance with eloquent
modulations--and the rapid one twice, with contrast gained the second
time through pizzicato effects on the violin. The two themes are as
follows:--

[Music]

[Music]

[Footnote 266: This practice he has adopted in several other works and
it is also the structural feature in the slow movement of Cesar
Franck's D minor Symphony.]

The short, dashing Coda is based on the vivace theme, with sonorous
chords on the violin, both pizzicato and arco.

The Finale, Allegretto grazioso, is a convincing example of how such
a rigid form as the Older Rondo can be freshened up and revitalized by
the hand of a master, for the main theme, _e.g._

[Music]

has such genuine melodic life that we always recur to it with pleasure
and yet at each appearance it is so deftly varied that no monotony is
felt. The two episodes afford stimulating contrasts and need no
comment. The main theme at its third appearance is in the subdominant
key, with effective rhythmic modifications. The movement is a
remarkable illustration of idiomatic style for each of the
instruments: the violin part, sustained and cantabile; the pianoforte
part, broken up and of remarkable color and sonority. T